Sound and Water: Understanding Cymatics


In my last few blog posts, I discussed some ideas presented by the authors Masaru Emoto, Leonard Horowitz and Michael Tyrell. It must be noted that I have barely scratched the surface of the ideas they have discussed in their works. For more details about these and related ideas, I recommend a more in-depth study of their publications, which include books, articles, and audio and video presentations. It is not my intention to go into a detailed discussion of the entire contents of their works. I have discussed here no more than may be found in a book review or, perhaps, an academic dissertation – citing their works under fair use guidelines.

That said, I would like to recapitulate, summarize and elaborate upon some of the ideas previously discussed to enable the reader to come to a better understanding of the deeper significance of the themes being discussed here. These are tough concepts to understand and need to be revisited, chewed and digested before they can truly be appreciated.

Water has structure and memory

One of the basic ideas emerging from these discussions is the revelation that water is not what it appears to be. It is not simply the bland liquid we use to slake our thirst and, for the most part, take for granted, unless one is stranded in a desert with no oasis in sight.

Water, in fact, has a distinct molecular shape – a tetrahedron – that enables water molecules to assume invisible (for the most part) microscopic structures. Structured water behaves like a “liquid crystal superconductor of sound and light” (Horowitz, Leonard G., The Book of 528: Prosperity Key of Love, Tettrahedron, 2011, p. 166). The form of structured water was captured by Masaru Emoto, in his experiments with freezing ice crystals under various conditions. Emoto claims to have established that not only does water have the ability to structure itself, microscopically, it also appears to display one of the primary characteristics of consciousness – response to external stimuli. The hidden structure of water appears to be affected by external circumstances – and even by human actions, words and, it appears, even thoughts. Water appears to have some sort of connection with human consciousness in that its hidden structure and ability to crystallize when frozen are affected by human consciousness. This concept is so mind-blowingly remarkable that it is worth thinking about and discussing extensively as a subject in itself.


If it is true that water has the ability to retain and “remember” various types of information, then the implications of that possibility are profound. Hopefully, such an understanding will inspire a more reverential attitude towards the world’s water supplies, particularly with regard to dealing with issues involving water contamination and pollution. If rivers, lakes and oceans are literally alive at some level, then surely humanity has a great deal to learn from them – if it were possible, somehow, to communicate with water or, at least, interpret its “hidden messages” (Emoto, Masaru, The Hidden Messages in Water, Atria Books, 2005, Prologue).

Water resonates with certain sound frequencies

Owing, in part, at least, to its tetrahedral molecular shape, water appears to be influenced by sound frequencies so that it seems to resonate with certain frequencies in particular – namely, the so-called Solfeggio frequencies and their harmonics. Water appears to demonstrate its resonance with these frequencies by organizing itself, at a molecular level, into “structured water” – liquid crystal – which is visible when the water is frozen under certain conditions, as in the case of fresh snowflakes or Masaru Emoto’s experimental ice droplets. These specific sound frequencies were discovered through mystical/Divine inspiration and a study of the Biblical Book of Numbers by Dr. Joseph Puleo, an associate and collaborator of Dr. Leonard Horowitz. These frequencies are centered around the sound frequency of 528 Hertz (or cycles per second). While each of the Solfeggio frequencies discovered by Dr. Puleo has a characteristic set of traits, the “Miracle tone” of 528 Hz. – the Mi note in the Solfeggio scale – seems to be unique for its miraculous healing and stress-relieving ability.


Additionally, through the study of Cymatics – which examines the symmetries of wave formations generated in various media – it is possible to gain some appreciation and understanding of how various sound frequencies influence the media they travel through. The wave formations studied in the discipline of Cymatics can readily be viewed when transmitting sound frequencies through bowls and containers of water. The frequency of 528 Hz., in fact appears to generate a unique shape – a 36 pointed star. It is possible to capture these shapes through photography or other methods, e.g. the cymascope. The images of wave formations obtained by such techniques often manifest as remarkably complex patterns and designs – mandalas – which are a deep-rooted part of many Eastern religions and cultural practices.

The human body is largely made of water

The human body has been described by many as being a glorified sac of water. The human physiology, by varying estimates, is 60-70% water.

It stands to reason, therefore, that if water is deeply affected by various sound frequencies, the human body would also be profoundly affected by those frequencies. Indeed, as posited by Dr. Leonard Horowitz, the Solfeggio frequencies are exactly these biologically resonant sound frequencies. This may be why, it has been suggested, the human body vibes with certain sounds and, especially, musical notes. These particular notes – claimed to be the Solfeggio frequencies or notes – are organically resonant because they  profoundly resonate with the water that makes up 60-70% of human body chemistry.


We human beings “feel” certain musical notes deeply in our beings – resonating with us at a profound cellular and molecular level – because this music resonates with the water in our body chemistry. This water responds to the stimuli of musical notes by organizing its molecular structure into so-called “structured water”, which has a unique set of properties. It stands to reason, therefore, that our health – which includes our physical fitness and well-being as well as our brain function – is profoundly influenced by the resonance of structured water to the Solfeggio sound frequencies. For this reason, among others, it has been suggested that the Solfeggio frequencies may have healing properties.

The Key of David

The musician Michael Tyrell recounts in his book The Sound of Healing that he believes that he has discovered the so-called “Key of David” – an enigmatic icon derived from a mention in the Biblical Book of Isaiah. By following numerological clues and his knowledge of Biblical and musical history, especially regarding how the legendary King David of Israel tuned his lyre (kinnor) to a higher note or frequency than was the common practice, Tyrell surmised that David possibly tuned his lyre to set the key of A to 444 Hz., as opposed to the modern tuning of A=440 Hz. (standard western turning) or the alternative tuning of A=432 Hz. Doing so results in 4 of the 6 Solfeggio frequencies manifesting themselves when playing the instrument, especially C5 manifesting as 528 Hz.


Tyrell came to believe that this secret higher-than-usual system of tuning of A=444 Hz. is the key to the allegedly miraculous powers of King David’s music – its supernatural healing properties and miraculous heavenly sound. Apparently, the secret has to do with the Solfeggio frequencies manifesting in the music, which, as was mentioned earlier, resonates with water at a molecular level and, as such, appears to have profound effects on human health and well-being.

The Rockefeller Foundation, Joseph Goebbels and Standard Western Tuning

Both Dr. Leonard Horowitz and Michael Tyrell provide extensive evidence on the background and historical circumstances leading to the eventual standardization of music tuning in the the 20th and 21st Centuries – standard western tuning, which defines the key of A tuned to 440 Hz. This system of music tuning is currently widely adopted and universally accepted as the standard.

Dr. Horowitz mentions that in the 1930s, prior to WWII, according to citations in their own archives, the Rockefeller Foundation conducted extensive research into the psychological impact of sound frequencies for wartime applications, especially with regard to the ability of certain sound frequencies to trigger negative emotional responses such as unease, fear and even mass hysteria. Dr. Horowitz also mentions that the Rockefellers’ Standard Oil corporation was closely affiliated with Nazi Germany through its association with the IG Farben petrochemical cartel. These circumstances culminated, on the eve of WWII, with the Nazi propaganda minister, Joseph Goebbels, holding a conference in London to institute the music tuning system of A=440 Hz. as the international standard. While this arrangement did not last for long, due to the war, subsequent attempts were made to standardize music tuning by the ISO and the EU, presumably at the behest of the Rockefeller Foundation.


Both Dr. Horowitz and Tyrell emphatically state that the standard tuning system of A=440 Hz., which is widely deployed by the modern mass media, produces a biologically harmful set of sound frequencies that do not resonate organically with human physiology. While the difference in frequency between standard tuning vs. Solfeggio tuning is barely perceptible to the human ear – a mere 4 cents or approximately 0.16 semitones difference in music pitch – the difference can be felt physiologically and even psychologically. The lack of organic resonance to the standard tuning of A440 results in a devastating physiological and psychological impact after prolonged exposure. This can lead to significant health and psychological problems in the widespread populace – a circumstance aggravated by the exponentially growing deployment of mass media technologies like TVs, cellphones, tablets, etc., all of which apparently transmit media at standard frequencies.

The need for a universal music pitch shift

Underscoring the devastating effects of prolonged exposure to music tuned to the “standard” frequency of A=440 Hz., Dr. Horowitz and Tyrell call for a dramatic shift in universal practices of music tuning. They urge musicians and music producers worldwide to reject the standard system of A440 music tuning and, instead, adopt the much more organically resonant and beneficial Key of David tuning system of A=444 Hz. Doing so, they allege, can bring about a dramatic shift in circumstances for the human race.

This new system of music tuning has the potential, if exponentially deployed and amplified, to raise the collective vibration of the human species and to bring about a paradigm shift in human affairs. We could be witnessing miracles transpiring everywhere and dramatic instances of healing and recovery from deadly diseases.


As Tyrell mentions, when music is played at the correct frequency and with the right intentions, when it is magnified sufficiently to the glory of God, He responds and Heaven comes to earth (Tyrrell, Michael S., The Sound of Healing: Unveiling the Phenomena of Wholetones, Barton Publishing, 2015, p.96). Both Dr. Horowitz and Tyrell firmly believe in the remarkable potential of correctly tuned music to dramatically improve the quality of life for all people worldwide, if deployed at a sufficient scale and with the right intentions at heart.


The evidence provided by the authors I have cited is pretty compelling. If I may add my personal testimony to the mix – although I have not experienced any dramatic instances of healing or recovery resulting from music tuned to A444, I have certainly experienced a profound sense of peace of mind upon listening to A444 music tracks. They are also extremely powerful stress relievers and energizers to listen to. I can also attest to playing some Solfeggio music tracks on headphones for my father when he was gravely ill – while there is no direct evidence that the music had any significant healing properties, I did notice that it gave him a tremendous sense of relief from the illness – an effect that was directly perceptible in his improved heart-rate and breathing patterns.

Is it possible that music played over the Solfeggio frequencies could dramatically transform our lives – healing us from illness and clearing our troubled minds? While the definitive corroborative clinical evidence may be lacking, the possibility certainly holds a great deal of promise. If nothing else, the music is tremendously effective at providing relief from troubles and stress. At best, however, and with further research, it holds the promise of miraculously transforming our lives for the better – but these possibilities still need to be researched and investigated further.


There may be some misconceptions about musical instrument tuning, and I think I should clear them up here. For example, I believe there may be some confusion about the difference between major and minor keys on a keyboard vs. the tuning of the keyboard. These are not the same things. A typical keyboard, like the one I own, has a “Function” button with some enhanced settings. If I press the “Function” button on my keyboard a few times, I arrive at a setting labeled “Tune”. This tuning setting was set, by default, to 440.0 Hz., which is the standard western tuning of A=440Hz., perpetuated by Nazi propagandist Joseph Goebbels and the Rockefeller Foundation. What I have done on my keyboard is to modify this setting to 444.0 Hz., which results in A=444Hz. tuning, as suggested by Dr. Leonard Horowitz. As a result, my keyboard now plays in this “Key of David” music tuning system. It still has both major and minor keys, but the entire keyboard plays in this new, more vibrant tuning system, which, supposedly, has health benefits and, in general, is more pleasing to the ear.

The Key of David: Michael Tyrell and the Music of Healing

In 2015, Grammy award winning musician Michael S. Tyrell published The Sound of Healing: Unveiling the Phenomena of Wholetones to accompany his Wholetones music project. The original project contains more than 150 minutes of music – 7 music tracks recorded over 7 music frequencies – the six Solfeggio frequencies and, additionally, 444 Hz. – the supposed “key of David.”

In his book, Tyrell describes an encounter with Dr. Leonard G. Horowitz while he was undergoing alternative medical treatment for a health problem. Tyrell mentions:

After meeting Leonard, I felt that my theories of sound and light and spontaneous healing with music might be far more than just theories. (Tyrrell, Michael S., The Sound of Healing: Unveiling the Phenomena of Wholetones, Barton Publishing, 2015, p.41)


Dr. Horowitz, as mentioned in my prior blog post, is the author of The Book of 528, in which he makes the case for the Solfeggio frequencies – especially the 528 Hz. frequency – as having remarkable – even supernatural – healing properties, as they are profoundly organically resonant and connected with the molecular structure of water.

In his book, The Sound of Healing, Tyrell provides a musician’s perspective on the significance of the Solfeggio frequencies, drawing upon his considerable knowledge of music history and practice.

Tyrell describes the history of Solfege, or “sight singing”, which, he notes, he was introduced to while he was training to become a Madrigal singer. He notes that:

The early Christians and disciples of Jesus continued to sing the psalms of the Old Testament. These psalms by King David became the inspiration of the Gregorian chants or Solfege (sight singing). (Ibid., p.61)

Tyrell then describes how, in AD 590, Pope Gregory officially made several modifications to the original music of the Roman Catholic church:

Historians reported that the Pope reduced the multiple original intervals of the scale to just 7, then modified the ancient music accordingly. He compiled the altered chants in two books, Antiphonarium and Gradual Romanum…. (Ibid., p.63)

The upshot of these changes was that:

By the year 1050 AD, the Church admitted to losing 152 of the original Solfeggios sung by the early Church prior to Pope Gregory. Along with those Solfeggios, 6 intervals or frequencies inspired by ancient Hebraic songs were also missing, seemingly forever. (Ibid., p.64)

Tyrell then suggests that these missing frequencies were, in fact, identified by Dr. Joseph Puleo and Dr. Leonard Horowitz, as recounted in their book, Healing Codes for the Biological Apocalypse. These are the very frequencies that, in addition to the 444 Hz. “Key of David”, form the basis of Tyrell’s Wholetones healing frequency music project, which he clearly acknowledges and documents in his book.

Tyrell describes taking a trip to Israel with a friend, and stopping at a coffee shop on Ben Yehuda street in Tel Aviv. Upon a chance encounter with a piano player, coincidentally named David, Tyrell was gifted with “manuscript copies of several of David’s psalms” (Ibid., p.80) which contained his musical transcriptions of the ancient musical texts. Upon examining the transcriptions, Tyrell “noticed that [David, the piano player] had adapted these manuscripts to play in modern keys, based on the A440 tuning. At the time, it seemed logical.” (Ibid., p.81)

After returning home, Tyrell tried playing these adaptations of the Biblical psalms on his guitar. However, he notes, “[t]hough they were beautiful, I felt that something was missing.” (Ibid., p. 81) Tyrell also mentions that for him, music has a supernatural quality to it: “I had always known that music held a key to far more than entertainment.” (Ibid., p.81)

Tyrell also mentions his association with a music band named “The Key of David” and describes his reflections on the number 222, especially with regard to Biblical numeric interpretation. “It reminded me of the scripture, Isaiah 22:22, which is where the band The Key of David got their name,” (Ibid., p.82), he explains. The verse in question reads, “I will place on his shoulder the key to the house of David.…” (Isaiah, 22:22)

Tyrell mentions that King David famously played the lyre or kinnor – a musical instrument that never left his side and was a critical part of the practice of worship of the nation of Israel. Tyrell notes that David constructed his lyre out of cedar wood from Lebanon, which was sturdier than other wood, resistant to insects and natural decay, while being beautifully fragrant.

As Tyrell reflected on these varying themes, he was struck by an epiphany – a sudden realization about what it all meant:

I always imagined David tuned his kinnor [i.e. lyre] with some derivative of the note “A,” which in Western tuning today would be 440 Hz…. I also knew that David tuned higher than many of his contemporaries. Suddenly, I remembered page 222 in my Bible, as well as Isaiah 22:22. I asked myself, “What if I double them to 444? Could the tuning be 444?”

Then the bomb dropped! Could it be more than a note … maybe a key, THE key of David? There was only one way to find out!

I grabbed my guitar and tuned it to 444 (“A”) and there it was: 4 of the 6 solfeggio tones were right under my fingers! (Ibid., p.94)

Tyrell goes on to say that this realization was like solving a musical puzzle as all the pieces began to fall into place:

Suddenly, it all made sense. Because David was not satisfied with the kinnors that were available to him, he built his own. He chose cedar from Lebanon because it was a stronger, warmer sounding wood…. Its strength holds up under the higher tensile strength of the 10 strings tuned to 444 Hz. (Ibid., p.95)

All the questions in Tyrell’s mind began to be answered by this understanding. “I began to understand why the ‘Sound of Heaven’ was so elusive and impossible for musicians to capture,” he continues. “Not only have we been playing music in the wrong key, but also we often do it with impure motives.” (Ibid., p.95) Tyrell continues with a powerful affirmation of the spiritual and supernatural dimension of correctly tuned music:

When someone plays music with true spiritual motives and properly directs it to God in worship of HIM alone, God responds and heaven invades earth. (Ibid., p.96)

Tyrell proceeds to discuss the history of music tuning in the western world. He mentions that early instrumental music tuning did not follow any consistent guidelines – there were no reliable standards in place. While King David apparently tuned his lyre to A=444Hz, his contemporaries did not necessarily abide by that system of tuning. However, Tyrell points out, “[t]uning would eventually become stringent due to polyphony and larger symphonic works.” (Ibid., p.97)

Tyrell observes that from the 17th through the 19th centuries, music tuned to A=432Hz was widespread – a practice that is common even today. “By 1850,” Tyrell notes, “instruments were redesigned to play at pitches from 420 Hz (A) to 460 Hz (A). Some played even higher in the cultured theaters of Venice. A full swing tuning war thus began in Europe!” (Ibid., p.98)

Citing the Schiller Institute at length, Tyrell observes that the current practice of A=440Hz music turning was never widespread or taken seriously until the 1930’s, when it was adopted by Nazi Germany and promoted by Hitler’s propaganda minister, the infamous Joseph Goebbels:

The first effort to institutionalize A=440, in fact, was a conference organized by Joseph Goebbels in 1939, who had standardized A=440 as the official German pitch.… The congress did in fact occur in London, a very short time before the war, in May-June 1939. No French composer was invited. The decision to raise the pitch was thus taken without consulting French musicians, and against their will. The Anglo-Nazi agreement, given the outbreak of war, did not last, so that still A=440 did not stick as a standard pitch.

A second congress in London of the International Standardizing Organization met in October 1953, to again attempt to impose A=440 internationally. This conference passed such a resolution; again no Continental musicians who opposed the rise in pitch were invited, and the resolution was widely ignored….

As recently as 1971, the European Community passed a recommendation calling for the still non-existent international pitch standard. The action was reported in “The Pitch Game,” Time magazine, Aug. 9, 1971. The article states that A=440, “this supposedly international standard, is widely ignored.” Lower tuning is common, including in Moscow, Time reported.… (Ibid., pp.99-101)

Tyrell then makes an emphatic, unequivocal statement on his opinion regarding A=440Hz frequency music tuning, which is currently widely accepted as “standard western tuning” and is used by most mainstream media organizations in their practices of sound calibration:

The 440 Hz frequency is a dissonant, unrested, and chaotic tuning that creates agitation in the human body. (Ibid., p. 101)

Tyrell quotes the abstract of an article by Dr. Leonard G. Horowitz that summarizes his position with regard to the insidious and damaging nature of the A=440Hz music tuning standard:


“This article details events in musical history that are central to understanding and treating modern psychopathology, social aggression, political corruption, genetic dysfunction, and cross-cultural degeneration of traditional values risking life on earth.

This history concerns A=440 Hz “standard tuning,” and the Rockefeller Foundation’s military commercialization of music.

The monopolization of the music industry features this imposed frequency that is “herding” populations into greater aggression, psychosocial agitation, and emotional distress presdisposing people to physical illness and financial impositions profiting the agents, agencies, and companies engaged in the monopoly.

Alternatively, the most natural, instinctively attractive, A=444 Hz (C5=528 Hz) frequency … has been suppressed … [and] musically censored.

Thus, a musical revolution is needed to advance world health and peace, and has already begun with musicians retuning their instruments to perform optimally, impact audiences beneficially, and restore integrity to the performing arts and sciences.

Music makers are thus urged to communicate and debate these facts, condemn the militarization of music that has been secretly administered, and retune instruments and voices to frequencies most sustaining and healing.” (Ibid., pp.102-3)

Tyrell proceeds to point out that Joseph Goebbels was a deeply depraved and monstrous member of Hitler’s Nazi party, whose “goal was to ‘Nazify’ the art and culture of Germany.” (Ibid., p.105) Tyrell states that “Goebbels used radio and propaganda films to win over supporters … [and] was also responsible for creating a cult of personality for Hitler.” (Ibid., p.105) Tyrell then poses the naturally occurring question:

Is it a coincidence that a Nazi, anti-Semitic, outright hater of the Jews [sic.] would push for a tuning (A=440 Hz) that facilitates social unrest, agitation, and friction? (Ibid., p.106)

Again, to clarify his point, Tyrell poses the question:

Why would Joseph Goebbels, propaganda minister and right hand man to Adolph Hitler, master of mind-control, manipulation, and unspeakable evil be so concerned with the international standardizing of musical pitch? (Ibid., p.106)

Tyrell then provides the response to his own question:

My answer is control, manipulation, and power. (Ibid., p.106)

Tyrell makes the case, in his book, for the power of music properly tuned to the correct Solfeggio frequencies to provide healing and even mystical and supernatural experiences. His claims and affirmations in this regard are informed both by personal experience with the power of frequency tuning and music healing as well as the ideas and literature of Dr. Leonard Horowitz and others who have addressed this subject in their publications.


Clearly, the thought that the monolithic modern media machine operates on music frequencies that were standardized, initially, under the auspices of a Nazi war criminal – in fact, one of the most depraved and heinous characters ever to walk on the face of the earth – is deeply disturbing, to say the least. Is it a far cry to suggest that a slight modification to the pitch of live and recorded music, especially when exponentially amplified and transmitted by modern music and communications technology, could have a dramatic effect on our quality of life?

“‘Does tuning really make a difference?’” Tyrell inquires in his book. He replies, “My answer would be, ‘Only if you are interested in spontaneous healing, changing the world, and touching the heart of God.’” (Ibid., p.97)

Tyrell notes that:

Intonation is simply the accuracy of pitch…. When the cells of the body are in tune with each other, the body functions flawlessly and resonates with life. When the body is in a state of disease, it is out of tune with itself and in need of cellular intonation. (Ibid., p.107)

He summarizes his position with the statement:

“Life is too short to live out of tune.” (Ibid., p.107)

While it is hard to provide definitive, concrete evidence to support claims of miraculous healing brought about by frequency music, it is undeniable, in my mind, at least, that certain sound frequencies, and music tuned to those frequencies, have a palpable effect on one’s mind and body. I can attest to having listened to music tracks that almost magically remove stress from one’s system, even as other music tracks I have been exposed to have the power to inexplicably generate a sense of unease, perturbation and even deep-seated dread.

That music generates a powerful emotional response is undeniable in my mind. That this emotional power of music can extend, under the right circumstances, to produce miraculous healing is a remarkable idea and certainly worth considering, debating and putting into practice.