In 1998, Dr. Leonard G. Horowitz, a Harvard-educated independent researcher, published Healing Codes for the Biological Apocalypse, in which he recounts his collaboration with respected naturopathic physician and herbalist, Dr. Joseph Puleo. In his book, he describes Dr. Puleo’s discovery, through mystical inspiration, of the so-called lost “Solfeggio musical frequencies.”
In his 2011 publication, The Book of 528, Horowitz describes the events that led to Dr. Puleo’s epiphany:
Dr. Puleo, who died in 2008, had a knack for decrypting Bible codes. He never told me if he developed his decoding skills in the military, while serving as a Navy Seal, but I suspected he was more than an intelligence agent turned naturopathic doctor….
Joey knew there were six verses to St. John [the Baptist]’s sacred hymn. Each verse was chanted in a different ancient Solfeggio frequency. The sacred music, he knew, could resonate Water to Divinely anoint herbal formulas (sic). Joey’s Catholic intelligence network could (or would) not provide the intelligence he sought. So, Dr. Puleo took his quest to Jesus, and prayed for the musical revelation.
Soon thereafter, Joey awoke to “a vision” of Jesus standing bedside, next to a huge angel. The vision did not disappear when he opened or closed his eyes.
Joey reported that while in this “altered state,” Jesus showed him a section of the Bible’s Book of Numbers, Chapter 7, beginning with verse 12 – wherein the six musical frequencies are hidden in the verse numbers. Joey found and deciphered them, without the aid of a computer….
The numbers: 396, 417, 528, 639, 741, and 852, provided the musical notes (i.e. Hertz frequencies) of the original Solfeggio musical scale. These were passed down to Levitical priests from ancient – pre-Egyptian – mystics. The Levites later encrypted the pure tones in the verse numbers of the Bible for posterity. (Horowitz, Leonard G., The Book of 528: Prosperity Key of Love, Tettrahedron, 2011, pp.2-3)
Horowitz points out that the water molecule has a tetrahedral shape and resonates, in its natural state, to certain sound frequencies. He notes that water is abundant throughout the universe and that “pure structured Water vibrates in 528Hz, as does the entire hydrated universe, as evidenced by snowflakes and their sacred geometry” (Ibid., p. 19). Through the study of Cymatics, the science of how sound vibrations affect physical media, especially water, one can come to an understanding of how sound impacts human body chemistry at a cellular, even molecular, level, by vibrationally influencing the water that constitutes nearly 70% of human physiology. “Ultimately, harmony, health, and homeostatic balance is administered vibrationally.” (Ibid., p.32)
Horowitz presents a more detailed mathematical analysis of the number 528, which, he suggests, is a “universal constant” that defines the mathematical constants Pi, Phi and the Golden Mean. He suggests that “the number 528” is “a most important frequency impacting sacred geometry, space/time measurements, and the energetic dynamics of the universe.” (Ibid., p.49) Horowitz points out that the 528 Hz. frequency resides at the heart of the electromagnetic spectrum, translating to the greenish yellow color of chlorophyll and nature, at the center of the rainbow of visible light. “This ‘good vibration’ identified as the ‘miracle frequency’ at the heart of the ancient Solfeggio is, likewise, at the heart of the sound and light spectrum” (Ibid., p.59).
A striking proof of the significance of the 528 Hz. frequency presented by Horowitz is the photograph of a “hydrosonic CymaGlyph” produced by John Stuart Reid – a remarkable 36-pointed star generated on the surface of water upon transmission of a “528 Hz pure tone.” (Ibid., p.60) Horowitz also presents detailed analyses in sacred geometry and Pythagorean mathematics by mathematician Victor Showell to demonstrate the numerical significance of 528 and other Solfeggio frequencies in the grand scheme of reality – proofs which are best interpreted intuitively as reflective of a symmetry and mathematical design underlying all of existence.
One of the most remarkable demonstrations Showell makes involves the original value of the mathematical constant Pi, which, he notes, evaluates to 3.142857 repeating to infinity. When doubled, the constant evaluates to 6.285714 to infinity, etc. Remarkably, the digits to the right of the decimal point include transpositions of the Solfeggio frequencies 528 Hz and 741 Hz, which, when combined, produce a dissonant sound known, in musicology, as the “Devil’s tone.” This arrangement of digits to the right of the decimal point, which is retained however many times the value of Pi is doubled, reflects the yin/yang pattern of nature.
Missing in the fractional part of Pi, are the digits 3, 6 and 9, which inventor Nikola Tesla suggested were the key to a deeper understanding of reality. Describing the structure of Pi in its decimal form, Horowitz notes that “the ‘period’ may denote a time warp separating past and future, instead of being in the NOW of physical/spritual totality, or existentially enlightened experiences” (Ibid., p.73). Horowitz also points out the interesting observation that “when [musical] instruments are tuned to 396 Hz., the music feels ‘angelic’ or more spiritual.” (Ibid., p.73) Horowitz concludes that:
All piezoelectricity, oxidative-reductive reactions, and electromagnetism, affecting chemical interactions (sic) rely on the harmonics or dissonance of a musical-mathematical matrix fundamental to physics and chemistry.” (Ibid., pp.82-3)
Having posited that the sacred Solfeggio frequencies of sound and light are fundamental to nature, and that all of nature, especially the tetrahedral water molecule, resonates to these frequencies, Horowitz describes the actions of an international cabal of bankers and industrialists, led, prominently, by the Rockefeller Foundation, to manipulate and suppress these holistic, organic sound frequencies, while imposing, instead, a dissonant set of frequencies designed to cause physiological and psychological stress to the human system.
Horowitz describes research into acoustics prior to WWII, funded largely by the Rockefeller Foundation, into determining which sound frequencies would maximize stress and mass hysteria in an audience. He cites Dr. James Tobias’ review of Rockefeller Foundation archives which “documented investigations leading to psychological warfare applications of acoustic vibrations, ultimately advanced militarily and commercially.” (Ibid., p.91) According to Tobias:
“[t]he (sic) power of sound control [creates] musical, corporeal synchronization.” That is, people’s bodies would bioenergetically entrain to the musical frequencies and electronically-engineered sound effects. These would affect people’s emotions and cause them to act in certain programmable ways. (Ibid., p.117)
Citing historian Lynn Cavanagh, Horowitz suggests that all this acoustic research into determining which sound frequencies would maximize stress and mass hysteria in an audience led to the adoption of the A=440Hz music turning standard by the British Standards Institute. Horowitz mentions:
Ironically, and most revealing about the British-German-American cartel arrangement, European musicians and the British Standards Institute (BSI), were persuaded to accept this tuning in 1939 by Nazi party propaganda minister, Josef Goebbels. (Ibid., p.103)
Thus, we have the bizarre historical circumstance that, on the eve of WWII, the British Standards Institute was persuaded into adopting a music tuning system promoted by an enemy agent of propaganda, working for one of the most blatantly evil and infamous regimes in history – the product of research into acoustics funded by the Rockefeller Foundation and their international banking and corporate associates. Horowitz notes that:
After the war, the Rockefellers’ Standard Oil Company was indicted by a US Federal Court as an ‘enemy national,’ that is, an American traitor. It was proven that the Rockefeller enterprise was a full partner with IG Farben and the Third Reich” (Ibid., p.104)
IG Farben, it must be noted, was an industrial cartel, that included Bayer Pharmaceuticals, BASF, Agfa, and others, which collaborated with the Nazi Third Reich during WWII, profited off concentration camp slave labor, and even manufactured the poison gas used in Nazi gas chambers. Apparently, IG Farben was a major shareholder in and collaborator with Standard Oil, and the Nazi war machine was heavily reliant on allied suppliers like Standard Oil for their success. For example, Standard Oil was a major supplier of tetraethyl lead gasoline, which was required by the German Luftwaffe to fly their aircraft in bombing raids across Europe.
Regardless of the legal fallout of WWII, which resulted in grave harm to the Rockefeller family legacy, the damage was done with regard to the institution of the A=440Hz music tuning standard, which continues to this day. Citing Cavanagh, Horowitz even notes that “the B.B.C. began to broadcast the A=440 Hz tuning note, which, for the sake of accuracy was produced electronically.” (Ibid., p.104)
Citing musician and researcher Brian T. Collins, Horowitz notes that “the current tuning of music based on A=440 Hz does not harmonize on any level that corresponds to cosmic movement, rhythm, or natural vibration.” (Ibid., p.108). On the contrary, it appears, this standard western system of music tuning is fundamentally dissonant with nature, with human physiology and even with the molecular structure of water. On the other hand, citing Llewelyn S. Lloyd, Horowitz notes that “the British author and composer expressed his preference for precisely A=444Hz tuning, that manifests the C-5-pitch at 528Hz. He wrote that this 4Hz higher pitch is more pleasing generally for musicians worldwide.” (Ibid., p.107)
A difference in 4 Hz of sound frequency in the tuning of the key of A may not seem to be very significant, but I can personally attest to the fact that this subtle pitch shift is enough to render a duller, flatter tone into a brighter sound, which appears to be more physiologically and psychologically resonant. Using audio software, it is easy enough to pitch-shift any music track recorded at the standard frequency tuning of A=440Hz, by approximately 0.16 semitones, to render an output tuned appromimately at A=444Hz. One can observe the brighter, more resonant sound for oneself and attest to the validity of the claims made in this article and in Horowitz’s books. As pointed out by Dr. Horowitz, a frequency tuning of A=444Hz produces several of the organically resonant Solfeggio frequencies, in particular C-5 at 528 Hz, resulting in music that is more pleasing to the ear, spritually uplifting and even, it appears, having healing properties.
Horowitz concludes his discussion of the “musical cult control” exerted on modern society by the hidden powers that be, with a series of powerful statements:
The current world crises, cultural indoctrination, and behavior modification has a lot to do with the science of coercian, the history of musical instrument tuning, and the media. (Ibid., p.119)
Music bioenergetically affects your body chemistry, psychoneuroimmunology, and health. Your body is now being vibrated musically, audibly and subliminally according to an institutionally imposed frequency that resonates in dissonance with LOVE and positive emotions. (Ibid. p.120)
… the military’s acoustic frequency research and technological developments advanced during the 1930s to induce psychosocial pathology, herd behavior, emotional distress, and mass hysteria, were successfully deployed and are now being used against We The People. (Ibid., p.120)
Instruments and voices tuned to the A=444Hz scale are far more acoustically pleasing, instinctively and kinesthetically stimulating, spritually refreshing, linked to genetic repair, and arguably, even resonating pure LOVE. (Ibid., p.121)
Dr. Horowitz then urges humanity to “reject secret militarization of music, and retune instruments and voices to frequencies most sustaining and healing.” (Ibid., p.121)
Indeed, music has, since time immemorial, been a profound and deeply spiritual expression of the human experience. Ancient Tibetan musical chants were believed to have the power to levitate boulders and open portals into other dimensions. Music has also played a key role in religious and spiritual experience, from the Psalms of King David, to the Gregorian chants, to modern church hymns and popular music.
Dr. Horowitz summarizes these ideas with the observation that:
Music is humanity’s best hope for physical salvation and Divine-human connection. The spiritual musical portals through which planetary rebirth and harmonization is destined, await your vision and activism. (Ibid., p.121)