Viktor Schauberger

viktor schauberger

                                                                       The Last True Alchemist




                                                    “You must learn to think one octave higher” – Viktor Schauberger


Viktor Shauberger was born in Holzschlag (Austria) on June 30 1885. His family’s traditional way of life was closely related to forestry for generations, spanning well over 400 years. According to some sources, his family tree can be traced back to 1,230 AD to one of the distinguished German aristocratic dynasties of land owners of that time.

It seemed Viktor had nature in his genes, including the insatiable fascination with forest and water phenomena. After WW1, his own work as a forester, included having responsibility for over ten thousand hectares of forest land. We can say that this area served as a living laboratory for Viktor and at the same time as an endless source of inspiration for his scientific ideas. During this period his way of thinking and practical approaches in his scientific work were shaped by the phenomena he observed in nature. His leading principle of work and innovation was “kapieren und kopeiren” which means to comprehend and copy nature and was derived from his unrivaled ability as an observer of nature’s secrets. His study of the spiraling forms and vortexes in water and other natural phenomena was the catalyst to many of his inventions and implosion technologies whose spiraling movements fully harmonized with those found throughout the cosmos, and became the dominant principle seen in his work. They also had no harmful polluting emissions.

One of his more esoteric projects occurred In the middle of the WWII when he was working under the close surveillance and control of SS troops in Nazi Germany, on a project which saw him designing an anti-gravity motor for a prototype “flying saucer” know as the Vril. Viktor was forced to work for the Nazis in the Mauthausen concentration camp, with the threat of death an ever present reality. The Nazis focused only on the possible military application of his ideas. The unscrupulous actions of first, Nazi Germany then Soviet Russia and eventually Cold War America to use his inventions for their own selfish purposes, completely ruined and finally destroyed his life.

“Implosion is no invention in the conventional sense, but rather the renaissance of ancient knowledge” – Viktor Schauberger

Later, Russian forces laid waste to his apartment in a desperate attempt to gain the secrets of his inventive mind. Even liberation did not bring the long anticipated improvement to Viktor’s position. He was held as a prisoner for over a year by the American occupation troops. Eventually he was forced to “sell” all his patents for one single ticket which was to allow him to get back home to Austria, but only five days after his arrival in Linz (Austria), he died on September 25, 1958 at the age of 73, a broken man.

Along with his amazing inventions, Viktor’s legacy includes books showcasing his brilliant insights into the workings of nature. These were translated into English by researcher Callum Coats and named ‘The Eco-Technology series’. These include: ‘Nature as Teacher’, ‘The Energy Evolution’, ‘The Fertile Earth’ and his magnum opus, ‘Living Energies’, which could best be described as the bible for Shauberger students.They contain many of Schauberger’s original drawings and patents. The number of new editions produced by Coates and other authors is the best testament to Viktor Schauberger’s popularity and his visionary work inspires the imagination to this day.

                                                           Comprehend and Copy Nature
                                                   The highest wisdom is simple and  passes through the brain directly to the heart – Viktor Schauberger



The innovative science of Viktor Schauberger is clouded in
controversy and even mystery. From Viktor we learn that all we have to do is to watch and learn from nature itself. Viktor’s perspective and outlook on science  was greatly influenced by Goethe, whose brand of science encompassed the wholeness of nature. The Goethean perspective was that of approaching and viewing the natural world and life itself with wonder, honing one’s senses, immersing one’s self in it to gain new and inspiring perspectives on life.  Although Johann Wolfgang von Goethe is best known as a German writer, artist and poet, he was also a keen natural scientist, as shown in his classic work ‘The Metamorphosis of Plants’ .

“The hardest thing to see is what is in front of your eyes” 
– Goethe

Anyone interested in Viktor’s amazing insights into the natural
world should read the book ‘Hidden Nature’ by David Bellamy. It is a fantastic
reference work, encompassing fields that were covered by Schauberger’s
multi-disciplinaried mind and reveals him to be one of the last true alchimests,
in the way he viewed and produced the transmutation between water and energy through his vortex mechanics. His way of describing the structure of the natural world could be called alchemical, as were his inventions that had the transmutation and manipulation of the subtle energies as their goal. He often used his own terminology when describing the elements, which he called carbones – another similarity to the alchimests of old.

He viewed water as a living being and looked  upon nature as a beautifully inter-connected whole, and through his inventions and writings he has became a conduit to a kind of spiritual science of nature’s subtle energies.

“You must look at the processes of motion in the macrocosmos and microcosmos accurately, and copy them!” – Schauberger


His examination of nature, and its processes, made him a pioneer in the field of Biomimicry. For example, observing the spiral, twisting movement of a snake swimming, led to
his revolutionizing of the “log flume”and after  watching a brown trout ride on strong levitative currents in a fast flowing stream, Viktor then applied this principal to his biologically inspired engineering, resulting in the“trout turbine” as well as his other vortex mechanics.

Vicktor’s visionary merging of the universal
cosmic movement of the vortex with its centripetal inward motion and his incredible inventive mind led him to develop a number of over-unity or free-energy machines.

Some of his  inventions included a machine that produced mountian quality spring water – a climator, a type of dynamo that produced natural forms of temperature ie: mountian quality air – a home power generator that produced energy from water and air, which worked through water jets traveling through spiral pipes – and an anti-gravity motor called a repulsine that was meant to power a prototype flying saucer designed and built by the third reich. With the exception of a few of these inventions such as the repulsine, most of these prototypes where destroyed after the second world war.

 The laws prevailing in the cosmos also operate in the minutest  space of the human being”  – Schauberger



The all encompassing natural phenomena of the vortex movement he first observed in the rivers in the virgin forests of his native Austria, which were teeming with
trout, eels, snakes and many other creatures, was the essence of his working philosophy.  His perception of the vortex concept was expanded, to include water and air, which is shown in the functioning of  his repulsine
engine, which utilised the Coandă effect and the principle of matter transformation and energy flow. His theory about the vortex is based on water’s
regeneration through the implosion or inward movement, where the water is being oxygenated in a coherent and logical crystal pattern.

The two basic movements that machines could utilise are: 1. centripetal or implosion, an inward motion used in nature to produce energy and it was this first movement on which Viktor based his own technology and  2. the current desructive centrifugal or outward movement, which is explosion and is the basis of  the current industrialised world and is polluting our environment. This dangerous explosion technology, which Viktor described as the “technology of death” also produced water that had lost its natural energy and memory and was essentially lifeless.

Viktor’s indepth study of the subtle energies operating in nature,left him with a completely different world view from the scientific dogma of his day. He saw how energy works through the flow of healthy pulsating water, especially in the vortex formation and how it is carrier of the sub-atomic and microscopic information imprinted upon it by its surrounding environment and which Schauberger considered so vital, the life blood of the earth.The microscopic photos of water samples before and after the so-called restructuring with the implosion technology are unparalleled evidences of Viktor’s profound comprehension of natural processes.
He also accurately predicted the enviromental and moral breakdown that would result from mankind’s misguided science, greed, and materialistic worldview. Viktor Schauberger, the “water wizard” remains one of the knights of science and like other esoteric natural scientists such as Nikola Tesla and Wilhelm Reich, his theories were wholey unique and outside the structures of established science

“I think it would have been much better if Newton had contemplated how the apple got up there in the first place!” – Schauberger


Water and the sacred Solfeggio Harmonics

Water & The Sacred Solfeggio

Photos by From:

What Are The Ancient Solfeggio Frequencies?

These original sound frequencies were apparently used in Ancient Gregorian Chants, such as the great hymn to St. John the Baptist, along with others that church authorities say were lost centuries ago. The chants and their special tones were believed to impart tremendous spiritual blessings when sung in harmony during religious masses. These powerful frequencies were rediscovered by Dr. Joseph Puleo as described in the book Healing Codes for the Biological Apocalypse by Dr. Leonard Horowitz. I give honor to both of these gentleman for the part they’ve played in helping return these lost frequencies back to humanity.

The Six Solfeggio Frequencies include:

UT – 396 Hz – Liberating Guilt and Fear

RE – 417 Hz – Undoing Situations and Facilitating Change

MI – 528 Hz – Transformation and Miracles (DNA Repair)

FA – 639 Hz – Connecting/Relationships

SOL – 741 Hz – Awakening Intuition

LA – 852 Hz – Returning to Spiritual Order

For example, the third note, frequency 528, relates to the note MI on the scale and derives from the phrase “MI-ra gestorum” in Latin meaning “miracle.” Stunningly, this is the exact frequency used by genetic biochemists to repair broken DNA – the genetic blueprint upon which life is based!

A Little History

At the turn of the century the awareness of DNA
entered the collective consciousness of the world. We have incarnated
into this human experience as divine beings with a blueprint, a set of
instructions. We know that a very small percentage (3%) of those
instructions make up our physiology.

Carl Sagan writes that most of our genetic
information (about 97%) is unused DNA. He refers to this as ‘genetic
gibberish.’ Is it possible that most of who we are still lies dormant as
our human potential?

In the old paradigm of religion, ‘potential’ remained
a mystery to the human mind, therefore we coined a mystical term called
‘SPIRIT.’ ‘Spirit’ was something that was detached from who we were,
something we didn’t have and could only be gained through the systems of
most religions.

The old paradigm and its premise stated that we began
as biology in the womb of our mothers. Telliard deChardin tells us that
we are not a human being trying to attain a spiritual experience,
but, rather, we are spiritual beings having a human experience.
shift in perception causes a tremendous difference in the way we
perceive ourselves in this third/fourth time-space continuum.

Being a student of ‘A Course In Miracles’ in the late
80’s, I was faced with a dichotomy in the idea that we are not a body. I
never understood this statement fully until I read a quotation by Albert
Einstein which stated: ‘Concerning matter, we have been all wrong.
What we have called matter is energy, whose vibration has been so
lowered as to be perceptible to the senses. There is no matter.’
believe what is being stated is that at the deepest level we are not
separate, as a body, as a spirit, as a soul — we are just energy-beings.
This is the level of consciousness being opened to us from which a new
paradigm is emerging for the purpose of healing all separation. The
popular term, ‘The Divine, is in me’- makes ‘me’ separate from the
Divine. May I suggest a shift in the saying to: ‘The Divine, AS me’ to
remove the separation.

As we move from genetics and concepts like Soul,
‘Soul Mates’ and ‘Soul work,’ we move beyond physical diagnosis, into a
new field of quantum physics. In this new field, where consciousness is
seen as a unified field where everything is everything else, (T.O.E.
Theory – The Theory of Everything) —there are no boundaries. There is no
‘this’ or ‘that;’ no you or me. It is a pure field of awareness –
consciousness. I solved the dichotomy about ‘we are not our body’ by
changing my perception of genetics to energetics – realizing that we are
not meant to ignore our physiology, but recognize the body as energy,
vibrating at a very dense frequency.

Repairing DNA

I was first introduced to DNA in 1988 when I was
going through a transitional period, during which I felt that I had come
to the end of everything that I believed. A tape was given to me of a
gentleman speaking in an accent, (which I thought at the time, was
rather boring), and I didn’t understand what he was talking about. Then
all of a sudden, as I was ready to turn it off, he said: ‘Quantum
physics has found that there is no empty space in the human cell, but it
is a teeming, electric-magnetic field of possibility or potential.’ 

That’s all he said! But whatever frequency was contained in those
words, RESONATED something inside the CORE of my BEING — and I had a
KNOWING in me that the NOTHING I thought I was looking at was the
EVERYTHING. Much like in Zen, and the idea of becoming ‘as an empty
bowl.’ Eastern Religions (including the Bible) refer to it as the VOID –
The Nothing that is EVERYTHING – The Womb of Creation. I knew that I was
experiencing a re-birth! The person on that tape was Dr. Deepak Chopra.

I had never heard of Deepak Chopra in 1988, as he was
just coming on the scene about that time. I credit him for a very
important transition in my life, just from the statement he made on that
tape. Today, in retrospect, I would call my response to that statement a
‘cellular memory experience.’ We know that intelligence is stored within
the cells of the body, and when the right resonance comes and releases
that information to become inherent information or inherent KNOWLEDGE –
that comes from the true Self. That is why so many of us seem to jump
form one stimuli to another looking for what will resonate in us.

The work being done today with energy at the cellular
level really excites me, since I had been very interested in DNA before
it became a household word. In fact, I think it took me two years just
to learn how to pronounce it (deoxyribonucleic acid did not roll off my
tongue quickly). But, I was determined to understand this tremendously
powerful energetic blueprint for life, as we know it, at the cellular
level on this planet. DNA became a part of the collective consciousness
when CNN produced a special on the Genome Project in 2000.

As I pursued my passion for the study of DNA, I
attended a workshop by Dr. Robert Girard from California on DNA
Activation. His work focused on using certain sounds and frequencies to
activate DNA and I started doing DNA Activation workshops. Through those
workshops, an article was given to me that reported how biochemists are
using the frequency 528Hz to repair human DNA. The article stated that
it was a ‘C.’ When I read that I thought, ‘All I would need to do is go
to a piano or other instrument and play a ‘C’ and then, in the DNA
workshops we would be able to repair DNA.’

Well, it wasn’t that simple, because I discovered
that the regular ‘C’ that we all know of in this culture (which is from
the diatonic scale of do, re, mi, fa, so, la, ti, do) was not the 528 Hz
frequency ‘C’, as described in the article. Instead, I discovered that a
regular ‘C’ vibrates to a frequency of only 512 Hz, and that the ‘C’ of
528 Hz used in DNA repair had been a part of an ancient scale called the
Solfeggio Scale. Moreover, the difference in the scales existed
because of different tuning methods that were utilized in ancient times,
vs. those in general use today. Later, we will explore that difference
between how we create music today vs. how we used to create it, and how
that simple change has made all of the difference in the world.

How I found out about the Ancient Solfeggio Frequencies

I found this ancient scale to be part
of a 6-tone scale sequence of electro-magnetic frequencies called the
Original Solfeggio Scale through the book ‘The Healing Codes of
Biological Apocalypse’ by Dr. Leonard Horowitz. These particular
frequencies were rediscovered by Dr. Joseph Puleo, who received them in
a wonderful experience that some would suggest was mystical. These
frequencies are not something new, but they are something very old.

I shared the information about these frequencies with
a musician friend who had a studio in her home. After reviewing the
information, she decided that she would like to experiment with these
frequencies in the form of meditation music. She was also in touch with
Jonathan Goldman (author of the book, ‘Healing Sounds’) and he knew of
these frequencies, and was using them in some of his music such as ‘The
Lost Chord’ CD. Aryiana requested that he have the tuning forks made for
her to research the frequencies. I asked if she could also have a set
made for me.

After I received the tuning forks and began talking
about them around the country, I noticed that people were resonating
with the information about these powerful frequencies. It felt as though
something was going on in a much larger picture. We were connecting
energetically to this information, and yet I didn’t know what I was
going to do with the tuning forks. Then people began to ask if I could
use the tuning forks on them. From those experiences, and with
information I had gathered, a method and technique began to develop. I
called the technique SomaEnergetics TM,
which is designed to utilize the optimum energy of the Solfeggio
frequencies using tuning forks. Soma, meaning ‘body’ in the Greek,
combines the wholistic idea of the body as an energy field –
SomaEnergetics TM.

When starting these first tunings, the main frequency
that I knew the most about was 528 Hz – that biochemists are using for
DNA repair. I realized that the right side of the body is controlled by
the left-brain, and the left side by the right brain and that these
correspond with our inner male and female energies. As I took the fork
down each side of the body, I could get in touch with the dominate
ancestral DNA that comes thru the Mother’s side or Father’s side of the
chromosomes. I would many times get a tremendous imbalance in the sound
between the two sides. The purpose of energy work, as many of you know,
is to attain balance. For example, if everything is in balance, such as
the ph level, the physical body can heal more naturally. It’s the same
way in our energy bodies. If we can find that energy balance, that
equilibrium, where everything aligns or everything comes into
synchronization into the rhythm of the dance of life – then healing
becomes the natural state. It’s nothing supernatural, or miraculous. I
think a lot of spiritual texts have referred to this idea when they
describe, ‘going home to heaven.’ Heaven, to me, is the complete
synchronization with higher frequencies and vibrations of creation being
totally entrained. In other words, being in a state of at-one-ment.

When I would continue to do the technique, the sound
would begin to even out between the male and female sides of the body,
and the client would indicate they were ‘feeling’ a shift. As that would
occur, I was totally amazed, and asked myself, ‘What is happening here?’
Although I’ve been a speaker of spiritual things for over 40 years, I
can’t tell you that I’ve been the most intuitive person in the world.
All of a sudden I started having certain feelings about what to do with
the forks. I found that at some point in working with the client, I
stopped ‘doing’ the tuning forks (being the initiator of the technique),
and they started ‘doing me’ – seeming to direct the movement of the
Forks! After hundreds of tunings and positive testimonies, I have
learned to trust the Ancient Solfeggio Scale frequencies in the form of
Tuning Forks as a legitimate modality.

Energy and Relationship

Everything is relationship. I remember Dr. Fred Wolf,
who is a physicist stating on a tape ‘Everything is consciousness.’ He
further noted, ‘When you are observing an object, on some level the
object is observing you.’ As I listened to that statement, I thought it
was strange. I then realized that because something doesn’t have a human
consciousness, as I do, that doesn’t mean it doesn’t have it’s own
consciousness. Apparently, observing something changes it on some level
– that the observer, and the observed are one.

I treat the Solfeggio tuning forks as a conscious
‘entity.’ They are energy, they’re vibration, they’re frequency – the
client is vibration, frequency and energy – I am vibration, frequency
and energy. All of that coming together begins to produce a synergetic
experience that takes place on many levels. The energy bodies that we
focus on using the Solfeggio Frequencies are the physical, the etheric,
the mental/emotional, and the astral.

Sound, Vibration and Form

For more than 200 years, researchers have been
validating the connections of Sound and Vibrations on physical form. The
first to make that connection was German scientist Ernst Chladni, who,
in 1787, detailed his research in his book ‘Discoveries Concerning the
Theory of Music.’ In that pioneering work, he explained ways to make
sound waves generate visible structures. He detailed how a violin bow,
drawn at a right angle across a flat plate covered with sand, produces
patterns and shapes. Today, those patterns and shapes are called Chaldni
figures. (Coincidentally, Chaldni died in 1829, the same year as
Beethoven. Mozart, a Free Mason, heavily influenced Beethoven about the
mathematics of music, and likely influenced Chaldni as well).1

In 1815, Mathematician Nathaniel Bowditch followed up
on Chaldi’s discoveries. He concluded that the conditions for these
designs to arise were because the frequencies, or oscillations per
second, were in whole number ratios to each other—such as 1:1, 1:2, 1:3
and so on.2

The study of wave phenomena, the ability of sound to
organize and repattern matter, is called Cymatics. According to
John Beaulieu, in Music and Sound in the Healing Arts,
‘Form is the more elusive component of sound. Sound-forms can be seen by
subjecting mediums such as sand, water, or clay to a continuous sound
vibration.’ The following pictures taken by Dr. Hans Jenny are
sound-forms. They were obtained by placing various mediums on a steel
plate with a crystal sound oscillator attached to the bottom. The
Oscillator creates a pulse, which vibrates the steel plate. The forms on
the plate are examples of sound organizing matter.’ Jenny also ‘noticed
that when the vowels of ancient languages like Hebrew and Sanskrit were
pronounced, the sand took the shape of the written symbols for those
vowels. ‘Modern languages, including English, failed to generate those

‘Space is not empty. It is full, a plenum as opposed
to a vacuum, and is the ground for the existence of everything,
including ourselves. The universe is not separate from this cosmic sea
of energy.’ David Bohm

Jenny concluded that were examples of cymatic
elements everywhere—’vibrations, oscillations, pulses, wave motions,
pendulum motions, rhythmic courses of events, serial sequences, and
their effects and actions’—and they effected everything including
biological evolution. The evidence convincingly demonstrated that all
natural phenomena were ultimately dependent on, if not entirely
determined by the frequencies of vibration. He argued that physical
healing could be aided or hindered by tones. Different frequencies
influenced genes, cells, and various structures in the body, he claimed.

Vibration of Music of the Spheres: ‘Every cell
pulsates, reflects and interacts with acoustic oscillations of the
medium. Even the earth and sun vibrate in unison based on a main rhythm
of 160 minutes. Each musical note is therefore united to non-audible
notes of higher octaves, and each symphony to other symphonies that we
do not hear, and although they make our cells oscillate and possibly
resonate. Even DNA has it’s own melody. The musical nature of nuclear
matter from atoms to galaxies is now recognized by official science.’3
In ‘ Molecules of Emotion,’ by Candice Pert, Ph.D., she
writes, ‘… basically, receptors function as scanners (sensing molecules,
on a cellular level). They cluster in cellular membranes, waiting for
the right ligand (much smaller molecules than receptors),
to come dancing along (diffusing) through the fluid surrounding each
cell, and mount them – binding with them and (tickling ) them to turn
them on and get them motivated to vibrate a message into the cell.
Binding of the ligand to the receptor is likened to two voices, striking
the same note and producing a vibration that rings a doorbell to open
the doorway to the cell.’

Poet Cathie Guzetta summarized this science best when
she wrote:


‘The forms of snowflakes and faces of flowers may
take on their shape because they are responding to some sound in
nature. Likewise, it is possible that crystals, plants, and human
beings may be, in some way, music that has taken on visible form.’

How Did The Solfeggio Frequencies Get Lost?

I discovered that these powerful frequencies had been
given to the church many years ago for a very spiritual purpose. This
was back when the church was a wonderful place for the people in the
villages to gather together. The church served as a social, political,
and spiritual place. People came to Mass, which at that time, was done
in Latin (until Vatican II came along). When people sing in Latin or
musical tones, it is very powerful, because it gets through all of the
limited thought forms, and into deeper levels of the subconscious –
accessing insights beyond belief systems.

As described above by Dr. Candice Pert, PhD, energy
and vibration go all the way to the molecular level. She states that we
have 70 different receptors on the molecules and when vibration and
frequency reaches that far they begin to vibrate. Moreover, she
observed, ‘as they begin to vibrate they sort of touch each other, and
tickle each other, and they play and mount each other.’ It’s this whole
energetic dance ritual, at the cellular level, that opens the
chromosomes and exposes the DNA to the frequencies. When we do toning,
drumming, chanting, or tuning forks – it can be a way to direct energy
for transformational purposes.

Vibration and sound can be used, like most things,
either with positive intention or negative intention. Used negatively,
it’s nothing more than control and manipulation. Most of the world has
been built upon control and manipulation by the way we communicate thru
language. A lot of different texts, such as the Bible, talk about the
importance of just making Sound—whether it’s chants, drumming, or
speaking in tongues (such as the charismatic fundamentalists do), they
are just different ways that people are accessing deeper levels of
themselves. I suggest to you that the Solfeggio Tuning Forks are an even
purer ways of doing that with positive intention.

When Dr. Joseph Puleo was researching the tones, he
was directed to a Monsignor at a university in Spokane WA, who was head
of the medieval department. Following a 20 minute conversation, the

‘Can you decipher Medieval Latin?’
‘And you know the musical scale and everything?’

‘Well then, could you tell me what ‘UT – queant
laxis’ means?’
After a brief pause, the Monsignor quipped, ‘It’s
none of your business’
Then he hung up.’1

Additionally, as Dr. Puleo researched the tones
further, he came across a book on Gregorian chants by Professor Emeritus
Willi Apel who ‘argued that the chants being used today were totally
incorrect, and undermined the spirit of the Catholic faith.’1
Moreover, Professor Apel reported that ‘one-hundred fifty-two chants
were apparently missing. The Catholic Church presumably ‘lost’ these
original chants. The chants were based on the ancient original scale of
six musical notes called the Solfeggio.’1
Trust me, nothing is lost, it’s just neatly put away; however, they
cannot hide from the masses what is energetically placed within the

According to Professor Willi Apel,1
‘The orgin of what is now called Solfeggio…arose from a Mediaeval hymn
to John the Baptist which has this peculiarity that the first six lines
of the music commenced respectively on the first six successive notes of
the scale, and thus the first syllable of each line was sung to a note
one degree higher that the first syllable of the line that preceded it.
By degrees these syllables became associated and identified with their
respective notes and as each syllable ended in a vowel, they were found
to be peculiatly adapted for vocal use. Hence ‘Ut’ was artificially
replaced by ‘Do.’ Guido of Arezzo was the first to adopt them in the
11th century, and Le Marie, a French musician of the 17th century added
‘Si’ for the seventh note of the scale, in order to complete the

Further research states that, ‘Pope Johannes later
became a saint – Saint Iohannes – and then the scale was changed. The
seventh note ‘Si’ was added from his name. ‘Si’ later became ‘Ti.’ These
changes significantly altered the frequencies sung by the masses.
The alterations also weakened the spiritual impact of the Church’s
hymns. Because the music held mathmatic resonance, frequencies capable
of spiritually inspiring mankind to be more ‘Godlike,’ the changes
affected alterations in conceptual thought as well, further distancing
humanity from God.’ In other words, whenever you sing a Psalm, it is
music to the ears. But it was originally intended to be music for the
soul as well or the ‘secret ear.’ Thus by changing the notes, high
matrices of thought and to a great extent well being, was squelched. Now
it is time to recover these missing notes.’1

I’d heard of do, re, me, fa, so, la, ti, do. I
particularly responded to it whenever I hear that song by Julie Andrews
from ‘The Sound of Music.’ I literally have a ‘brain cell firing’ as it
is engraved into my brain, and I see her coming over the mountain in the
movie. I didn’t realize this was actually a second, modified scale. The
original Solfeggio scale was actually: UT, RE, MI, FA, SO, LA.

Looking at the definitions of each of the original
syllables, using hidden entries from Webster’s Dictionary and the
Original Greek Apocrypha, I have determined that these original
frequencies can be used for: Turning grief to joy, helping the person
connect with their Source to bring forth miracles, DNA repair,
connecting with spiritual family, solving situations & becoming more
intuitive, and, finally, returning to spiritual order.2
Through music these tones can assist all the channels in staying open
and keep the life force (the Chi) literally flowing thru the Chakra
System quite freely. Is this is what the six electro-magnetic
frequencies were to accomplish that were put into ‘lost’ hymns and
Gregorian chants?

I think we are living in a tremendously wonderful
time, and rather than seeing the glass as ‘half empty,’ I see it as
‘half full.’ Rather than accepting ‘CNN’s perspective’ of the world
view, it’s about finding perspective thru the vision of your own heart.
It is about change and transformation of mankind to the next level of
evolution. We, as Spiritual Light Workers, have made ourselves
accessible at this time, by Divine Appointment, to be here to help those
in humanity who choose (it’s all based upon irrevocable choice) to stay,
or to go. Those who have chosen to stay will come into our lives, and we
have already agreed to assist them.

It’s all about assisting other people. It’s not to be
their ‘Healer,’ but to assist them in knowing who they are and
connecting with their true Source. It is about providing an atmosphere
of non-judgement, a Sacred Space, for the purpose of healing themselves.
We should be continuously teaching while assisting people. The old
paradigm teaches us to keep the information among the professionals. The
new paradigm is to share the information, and empower the client.
Everyone you work with—whether it’s Reiki, Massage, Tuning Forks or
other modalities you are using, you should feel that you’ve empowered
that person, so they can extend this information to someone else.
Healing has become about our evolution by reconnecting our additional
strands of DNA. Healing is also about assisting the person in restoring
themselves to a state of ‘Spiritual Wholeness.’

1 ‘Healing Codes for the Biological Apocalypse’ by
Dr. Leonard Horowitz, p. 345-6
2 Ibid.
3 From ‘Man’s Cosmic Game’ by Guiliana Conforto

The 3, 6, and 9

As we look at the six original Solfeggio frequencies, using the Pythagorean method, we find the base or root vibrational numbers are 3,6, & 9. Nicola Tesla tells us, and I quote: ‘If you only knew the magnificence of the 3, 6 and 9, then you would have a key to the universe.’

John Keely, an expert in electromagnetic
technologies, wrote that the vibrations of ‘thirds, sixths, and ninths,
were extraordinarily powerful.’ In fact, he proved the ‘vibratory
antagonistic thirds was thousands of times more forceful in separating
hydrogen from oxygen in water than heat.’ In his ‘Formula of Aqueous
Disintegration’ he wrote that, ‘molecular dissociation or disintegration
of both simple and compound elements, whether gaseous or solid, a stream
of vibratory antagonistic thirds, sixths, or ninths, on their chord mass
will compel progressive subdivisions. In the disintegration of water the
instrument is set on thirds, sixths, and ninths, to get the best

In the book of Genesis it states that there are six
days of creation. Yet many talk about the creation week – or seven days,
and the Christian Bible views the number seven as the number of
completeness. Why Seven? It is due to the influence of the Near Eastern
culture at the time in which Jesus lived, when it was believed that
there were only seven planets.

When wrestling with adding a 7th number, I was
mystically drawn to an article in Discover Magazine. In his newest book,
Just Six Numbers, Rees argues that six numbers underlie the
fundamental physical properties of the universe, and that each is the
precise value needed to permit life to flourish. In laying out this
premise, he joins a long, intellectually daring line of cosmologists and
astrophysicists (not to mention philosophers, theologians, and
logicians) stretching all the way back to Galileo, who presume to ask:
Why are we here? As Rees puts it, ‘These six numbers constitute a
recipe for the universe.’
 He adds that if any one of the numbers
were different ‘even to the tiniest degree, there would be no stars, no
complex elements, no life
.’ (From Discovery Magazine). As some
authors have speculated, could these tones have played a role in the
miraculous shattering of Jericho’s great wall in six days before falling
on the seventh day? Some scientists are now stating that if we have
been created, we most likely would have been sung into existence.

Is it possible that the six days of creation mentioned in Genesis
represent six fundamental frequencies that underlie the universe?
Religious scholars believe both events occurred as a result of sounds
being spoken or played.

Other scientists, including the geniuses Nikola
Tesla, Raymond Rife, as well as Mozart, Haydn, Beethoven, and Chladni,
all must have known about, and used the concept of, the inherent power
of threes, sixes, and nines. So we are dealing with three powerful
numbers: 3-6-9. Everyone of the six Solfeggio Tuning Forks all add up,
individually to the Pythagorean scheme of 3-6-9. In fact, because there
are two sets of 3-6-9 (anagrams) in the solfeggio, they are even more
powerful as these combinations serve as ‘portals’ to other dimensions!

Just Intonation – 12 Tone Equal Temperament

As I observed earlier, another reason these Ancient
Solfeggio frequencies became ‘lost’ was because of the change in tuning
practices throughout history. The standard tuning method for the past
200 years is quite different from the tuning practices dating from
antiquity through about the 16th century A.D. These ancient tuning
practices used a system of tuning known as Just Intonation.
The tuning practice adopted for western cultures during the 16th, 17th,
and 18thcenturies, and used today, is known as Twelve-Tone
Equal Temperament
. The explanation of the fundamentals of these
tuning systems is far too complex for this agenda, but the following
quote from a book written by David B. Doty, titled The Just
Intonation Primer
, should give an idea of the confinement that music
has been relegated to. ‘Essentially, music has been placed in a box
of limitations’
— as the result of the rigidity imposed by the
Twelve-Tone Equal Temperament tuning standards in use today.

‘Although it is difficult to describe the special
qualities of Just (Intonation) intervals to those who have
never heard them, words such as clarity, purity, smoothness, and
stability come readily to mind.
 The supposedly consonant intervals
and chords of (12-Tone) Equal Temperament, which deviate from simple
rations to varying degrees, sound rough, restless, or muddy in

Just Intonation can be found in many of the great
Fathers of Classical Music – Beethoven and Hyden, just to name a few.
They did not use this 12-tone temperament and I think that is why we
have a richer experience when we hear music that was composed several
hundred years ago. Classical Music based on Just Intonation gives us a
different rapport with time and space and brings us into our higher

Native American chanting is many times based on Just
Intonation. The chanting seems to sound monotone, but we are finding out
that within the monotone sound is multi-dimensional harmonics.

How these different types of tones affect our health

Consequently, since all music in our contemporary
world (from commercials, to modern hymns and symphonies) has been
composed utilizing the 12-Tone Equal Temperament Scale, they all have
vibrational limits. As a result, vibrational frequency of the tones of
modern music can create situations such as ‘boxed-in thinking,’ stuffed
and suppressed emotions; and fear-based ‘ lack’ consciousness—all of
which then tend to manifest into physical symptoms of ‘dis-ease.’

This is in contrast to music created from the Ancient
Solfeggio Scale, which stimulates the vibration of expanded creativity,
easier problem solving and holistic health.

Again, it should be noted that although there are contemporary notes that approximate the Solfeggio tones, they are not the same frequencies as the ancient tones. Example: The Solfeggio tone, Mi. vibrates to 528 Hz. The closest, comparable, contemporary tone is C, above Middle C, which vibrates at 512 Hz. Our research indicates that the vibrational frequencies contained in the Solfeggio tones hold these original healing potentials.

1 – Professor Apel’s and Dr. Puleo’s remarks as reported in ‘Healing Codes for the Biological Apocalypse’ by Dr. Leonard Horowitz. Pages 58-61

2- Hidden Entry Meanings from the book, ‘Healing Codes for the Biological Apocalypse’ by Dr. Leonard Horowitz. Pgs. 166-67 Transformational Tuning Forks and CD’s based on the ancient Solfeggio Frequencies. Download Printable version of the full booklet: Forgotten In Time: The Ancient Solfeggio Scale (.pdf 233kb)

Other Resources:

[*] John Beaulieu, ‘Music and Sound in the Healing Arts.’ Station Hill Press, 1987
[*] Giuliana Conforto, ‘Man’s Cosmic Game,’ Edizioni Nowsis, 1998
[*] David B. Doty, ‘Just Intonation Primer’
[*] Jonathan Goldman, ‘Healing Sounds: The Power of Harmonics,’ Element Books, 1992
[*] Leonard Horowitz and Joseph Puleo, ‘Healing Codes for the Biological Apocalypse,’ Tetrahedron Publishing Group, 1999
[*] Candice Pert, PhD, ‘Molecules of Emotion’
[*] Michael Talbot, ‘The Holographic Universe’
[*] Dr. Rees, ‘Just Six Numbers’