by Susan Alexjander, MA
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F#s - What's This All About???
If you Google F# you come up with almost two million possible references, mostly about MicroSoft software and music theory. However if you Google F# Great Pyramid Egypt you get 380 picks. The Great Pyramid?!!
What began as a fun hobby for me in the l980s - collecting information about specific pitches - has turned into a dedicated treasure hunt. As a composer I love all tones including microtones, but there is something special about F#. This pitch holds a fascination. It keeps coming up. This article will focus on F/F#s which appear in the following places:
1. The Great Pyramid
4. Schumann Resonances
5. Crop Circles
6. Vela X Pulsar
7. ‘further references.
Collecting the Data:
‘Frequency’ encompasses more than audible sound. If we enlarge our perspective to take in the fullest possible view of our vibrational world, then frequency can be just about anything...an angle, electromagnetic energy, thoughts and feelings, shapes, language. If we have a number for the ‘frequency’, such as an angle of 45 degrees, we can start to build data. This is admittedly a strange country, difficult to define or explain until our mindset adjusts to it. We have no overall template or blueprint to refer to, but the work I and many others do reveals that there are patterns which speak to us through these numbers. Math is often ‘mythic,’ it tells stories; shows how things communicate; lends meaning. Numbers can show the hidden patterns of cosmic creation. Pattern/number fascination is found today among artists, scientists, musicians, astronomers and above all, by those devotees of sacred geometry. I am indebted to them all.
The most obvious source is to begin with that which we have agreed to call the pitch, or tone, of F#. I use the tuning scale where C = 1 cycle per second, or 1Hertz. The numbers on this scale are slightly flatter than the scale using C=l.03 (A = 440). On the tuning chart where C=1, all F#s fall in octaves on the following hertz numbers (rounded off):
1.4, 2.8, 5.6, 11.25, 22.5, 45, 90, 180, 360, 720, 1440 etc.
(An octave is a frequency either doubled, or halved). So, finding an actual tone mentioned in connection with sound on one of these octaves is then the first and most direct method.
A second way to gather this ‘tone’ involves a leap of faith into a view of our universe as pure vibration. This Nada Brahma (The World Is Sound) cosmology has long been celebrated by ancient civilizations such as India, China, Greece and many others. It has resurfaced in our century as Total Holism - a perspective of interconnection - with the enthusiastic backing of much mainstream science. And, if one suspends the usual restrictions on what we normally think of as ‘vibration,’ then any energetic event, whether it is an audible tone, or electromagnetic frequency (also measured in Hertz), or time cycle, or rhythm, etc. can be related to an actual sound as long as we have a number. For instance, 90 years can also be related to a vibration of 90 which, IF it were sound, would correlate to an F# on our tuning chart. This is an abstract stretch, but an extremely valid way to build patterns. I.e: collect all the 90s you can find and see if they have commonalities. Do they have energies in common? Do they relate to similar things? Can they begin to tell a story?
The third method - Gematria - is an ancient art of profound integrity found in almost every established language in the world. Gematria is a method of assigning numbers to letters of the alphabet to measure energetic patterns. For instance, A = 1, B = 2, etc. Languages such as Hebrew, Aramaic, Sanskrit, Arabic and even English have slightly different ways of doing this. I have taken the simplest method of going steadily through the alphabet from A = 1 to Z = 26, but with an extra step. I then add up the numbers of a word and call that a Hertz number, or a frequency. For instance: Thunder = 20+8+21+14+4+5+18 = you guessed it, 90. F#.
These three methods taken together form the data base. Little bits here and there don’t mean much, but like filings on a magnetic plate, they begin to collect and form a shape or, in this author’s vision, a tantalizing glimpse into that abstract realm which informs the Whole. So, here we go.
1. THE GREAT PYRAMID AT GIZA
Many respected researchers now feel that the Great Pyramid may have been deliberately ‘tuned’ as a resonator. About six years ago, Tom Danley, an acoustics engineer who used to work for NASA, was invited to Egypt by the producer of the movie The Mystery of the Sphinx to measure sound in the King’s Chamber. Using highly sophisticated equipment, he commented as follows:
I found some very low frequency sound…resonances which start at a few Hz and go upward to 15-20 Hz or so. At least some of these were the same LF resonances I excited with my sweep, but not all of the them. This
sound was present even if everyone is silent. I crunched the results of the measurements, and they were sent on to a musicologist that was part of the staff. As mentioned, he identified that there was a pattern of frequencies which roughly form an Fsharp chord. Not all the resonances fell in the right place but many did, and some repeated the pattern for many octaves. In other words, it was roughly tuned to F# over many octaves.
Danley also uses the description: ...some kind of an F# chord. He infers then that there can be many variations and that the ‘chord’ does not have to fall exactly on the correct numbers for F or F# on our tuning scale, but only in the region of those tones... F/F#, A/A#, C/C# - a triad. Also, the octave levels he measured would have been inaudible to a human ear but rather felt as pulses. Danley goes on to wonder if these infrasonic tones were used deliberately to alter brainwaves. Christopher Dunn (Giza
Power Plant) in 1998 proposed that the Great Pyramid was actually a large acoustical
device, analogous to a huge musical instrument. By its size and dimensions, this edifice is an integer of the Earth's own dimensions. Dunn believes that the Pyramid had a harmonic relationship to the Earth and was capable of responding sympathetically with the Earth's resonance. Evidence found within the Grand Gallery supports his contention that resonators for converting vibration to airborne sound were installed there. Page 163 offers many measurements which, if they were frequencies, would be F#s, A#s and C#s. Also, Dr. Robert Schoch of Boston University (Pyramid Quest) agreed after his on-site study of the Great Pyramid that it was like a giant musical instrument.
Finally, it is well-known that the sarcophagus in the King’s Chamber is tuned to A = 438. Musicians such as Paul Horn have recorded this and made music with it. If you would like to hear these pyramid chords, please see the end of this article.
(note: I tried to email Tom Danley but received no reply. Later I was told that he had signed a disclaimer for the Egyptian government and was forbidden to speak further about his findings. I don’t know if this is true or not).
In l989 I completed a translation of electromagnetic frequencies gathered from the four DNA bases, cytosine, guanine, adenine and thymine, into a sonic medium. I was assisted by Dr. David Deamer, noted cell-biologist at the University of California Santa Cruz. Briefly, I found 60 ‘pitches’ ranging over a two and one-half octave. Out of those 60, 18 were Fs and F#s, 6 were C#s, and 3 were A/A#s...a total of 27 or almost HALF, corresponding to the tunings of the Great Pyramid. Most of these probably came from the water molecules in our DNA: hydrogen and oxygen. (The entire process can be read on my website: www.OurSoundUniverse.com, in an IEEE article).
Molecular water frequencies also correspond to ‘some kind of an F#
chord. Again, Dr. Deamer provided me with the wave numbers of water which are:
1600 converted to hertz = 698 F/F#
2100 converted to hertz = 918 A#
3500 converted to hertz = 134.58 C#
Wave numbers are collected from a device called a spectrophotometer which measures vibrational activity occurring in molecular activity (see IEEE article).
The significance of water to our planet is of course indescribable. It is that humblest of servants, going about it’s business of life (even from the starry heavens) largely unnoticed because it is so literally who we are. Water is the great connector, creating our weather, balancing the temperatures of our planet, bringing life and recycling. Water is found in sunspots, in stars (the Orion Cloud Complex), at the center of the earth in the form of hydrated silicate; everywhere. It is in our bodies (roughly 70%) in the same proportion that it is found on the body of our planet. For an astounding read on water, see Marrin in references.
4. SCHUMANN RESONANCES
Not only are we are about 75% water, we are also literally swimming in the Schumann Resonances. These electromagnetic frequencies, mostly infrasonic and unheard, occur in the cavity between the earth’s crust and the ionosphere about 35 miles above the earth. They are activated by lightening storms and the sun. The basic frequency, 7.8Hz. creates a standing wave around the earth (traveling around the earth 7.8 times/second). The figure fluctuates by plus or minus 0.5Hz daily, as the ionosphere fluctuates. In addition to this base frequency of 7.8Hz, there are quasi-harmonics at (rounded off) 14, 19, 25, 30, 36, and 42 Hz, corresponding to the following tones: B/C, A, D#, G/G#, B, D, and E/F. So far no F#s. But a curious thing happens when these frequency numbers are octavised up. Instead of the usual doubling to create the octave above (i.e the octave above 440 = 880) - the method used in linear harmonics and ‘standard’ physics - when working with the harmonics of a sphere the rules are different. Instead of reaching an exact doubling of the original number, a slight collapse takes place and the upper number is less than an octave. When you ‘octavise’ the Schumann frequencies into our hearing range, six of the seven tones are F#s, A#s and C#s. The seventh is a D#. As they ascend they become even more like the ‘pyramid chords: F/F#, A/A#, C/C#. I haven’t a clue what this means, beyond imagining a theoretical tuning’ taking place on our physical plane. (See First, refs.)
So far we have collected F# data from the traditional sciences of acoustics, spectrophotometry (water and DNA) and physics. The fifth source derives from astronomy but has a fascinating story attached to it....the origin of the Sumerian God EA:
5. VELA X Pulsar (PSR 0833-45)
The Vela X pulsar was discovered in l968, but was born when a supernova in the Gum Nebula, constellation Vela in our Milky Way, blew up sometime between 11,000 and 7000BC (difficult for our scientists to measure at this time). It would have been visible on earth around 1300 light years later, to the ancient Mesopotamians and/or Sumerians, shining for months in the Southern sky. One scientist describes it this way:
It would have hung low over the Mediterranean, shining as bright as the moon, with an endlessly dancing, varying mass of fire, shooting spears of intense color every way like a fountain...flooding pulsing illumination.
A pulsar is what’s left after a supernova has blown up and collapsed down into a dense star. These explosions occur when a star runs out of hydrogen to burn and gravity takes over. It collapses down and becomes incredibly dense...a matchbox full would weigh a billion tons. A pulsar’s energy expands and lights up the nebula around it. It possesses a powerful magnetic field that traps and accelerates charged particles and shoots them through space as radio waves. Their rapid rotation makes them powerful electric generators, capable of accelerating charged particles to energies of millions of volts - a million times greater than those of lightning bolts. These voltages create a blizzard of electrons and anti-matter electrons, or positrons...equal to the force of thousands of suns! The VelaX is rotating these powerful voltages like a lighthouse, at a frequency of 11.24 cycles per second - F#. It is also traveling in orbit as a binary system at 90km/sec -another F# association. We know of more than 1000 pulsars, so what makes this one special?
This supernova flash might have altered the course of our planet’s development. There are references to it in Sumarian cuneaform, and on the mural from Tell Ghassul is an eight-pointed star painted with sophisticated compounds of 12 to l8 minerals. (Teleilat Ghassul, orTulaylât al-Ghassûl, is a large Late Neolithic and Chalcolithic settlement in the lower Jordan Valley some 5-6 km. northeast of the Dead Sea).
It would have burned at least 50 times brighter than Venus. George Michanowsky’s wonderful book The Once And Future Star tells the story of what this pulsar must have meant to the Sumerians (or earlier cultures) and traces the origins of their highest god, EA (Babylonian; formerly Enki), to Vela. A supernova event characterizes Death and Transfiguration, as the dying star explodes to birth new elements essential for life. The explosions provide energy for the birth of new stars and also accelerate high-energy cosmic rays that cause many of the mutations needed for the evolution of life. Some scientists feel that the radiation from the Vela, particularly neutrinos, could have changed rates of solar nuclear reactions and increased the sun’s luminosity. The Vela explosion might have begun the sun’s cycle of intensity and could even have been a powerful organizing force upon civilization. Michanowsky says:
The psychological and possibly environmental impact of the Vela starburst triggered a development in their culture that, in a short time span, made them something entirely different from what they had been before. For better or worse, humanity had thus quite suddenly bitten into the fruit from the Tree of Knowledge.
The Vela and Crab pulsars are the only known ones to emit visible light - another mystery. If you add the Pulsar Code theories of Jose Arguelles into this mix, it begins to look as though pulsars have a vital role to play in ‘stepping down’ powerful frequencies emitted by the Central Sun in the center of our Milky Way as these vibrations travel to earth. (Just recently scientists detected pulses from our galactic center and remain mystified by them). Arguelles says:
These neutron stars are actually inter-dimensional intersections piercing the veil of third-dimensional mind. There are many different kinds of these intersections. Through each inter-dimensional intersection, g-force bleeds through in a kind of beam. These galactic beams are synchronously triggered. There are greater and lesser periods of activation of these beams...etc. (Arcturus Probe)
6. CROP CIRCLES
Crop Circles are fortunately gaining more respect as scientists continue to legitimize their amazing properties. I am going to mention a few F# references by Freddy Silva from his book Secrets In The Fields.
When Jane Ross and I earlier had sat inside the ‘Grid Square (within the Etchilhampton Flower Circle – l997), we recorded an oscillating, high-pitched tone. Its purpose was later made clear during a channeling session. ..’The frequency of the note that they gave us is important…to be used in the ‘opening’ process. It’s a frequency that needs to be used to complete the opening for the individual.’ That note – F# - creates an unusual oscillating effect between the two cavities of the brain, especially when generated by the tuned resonant cavity of a quartz crystal bowl. It has a frequency of 5.8 kHz (5800 Hz) and is traditionally associated with the tone of the Earth; this is a whisker away from that other frequency associated with crop circles..the trilling noise…and its frequency of 5.2kHz. (ME: not really a whisker. It’s almost a whole step away…from E to F#. Just under) p.293
F# happens to be the resonant frequency inside the Grand Gallery of the Great Pyramid at Gizeh, and the floor of the corbelled chamber is inclined at an angle of 26.3027 degrees, making its vertical height twenty-eight feet (F#) and the height perpendicular to the floor twenty-five feet (E), which are the Grid Square hum and the trilling noise, respectively. The Circlemakers and the Pyramid designers appear to share the same technology. Essentially, the Great Pyramid contains the necessary ingredients that make it a kind of transformational, possibly inter-dimensional temple….its effects on the molecules of steel, meat, and particularly water are already well known.
And F# is regarded with great respect by the ancient Chinese as Hu, the tone of the Earth. (Hu is also referenced by HI Khan as the origin of sound)). Native American flute makers to this day tune their instruments to serenade Mother Earth to this note. Silva also references acoustician Tom Danley’s work where he measures the resonant frequencies in the Great Pyramid (cited above): The notes form an F# chord which, according to ancient Egyptian texts, was the harmonic of our planet. Danley’s tests show that these frequencies are present in the King’s Chamber even when no sounds are being produced. (from an interview on the Laura Lee Radio Show, Seattle, l997).
7. Some further F# References:
a. 360 is often referred to as Spherical Consciousness i.e. expanded awareness.
b. 11.11 = F/F# an opening gateway for mind expansion.’
c. speed of light = 363.83 F# (186,282.3959Hz)
d. Gematria of Consciousness = 175 (F/F#)
e. Gematria of Zero Point Field = 174 (F/F#)
d. Gematrias of hate + love = 88
good + evil = 89
yin + yan = 88....all octaves of F/F#.
I vote for an intelligent web of connection - possibly a template, a grid, a Great Tone River as a carrier wave for frequency and information. Were the Egyptians trying to anchor to this grid? or to act as a conduit between heaven and earth? So many questions arise. But it seems reasonable to conclude that water is the glue, the communicator, that holds everything together....the huge entity, if you will, that supports vibrational energies traveling between dimensions. I believe that we are glimpsing a grand cosmology and that these energetic connections are part of a web of vital sentience. My vision is that we bring our different puzzle pieces together in a shared design. What might we find?
As a composer I like making music with these tones just to see/hear what happens. Sonic relationships are exciting and great beauty can be found there. But for certain I want to be on the train, in the middle, and at the party if and when a huge transformation happens soon to this planet. I’m betting it will, and it’ll be the only game in town.
Comments are most welcomed. Please write to:
Note: I’m able to create microtones on my Yamaha DX7 and have come up with seven possible chords using slightly different F#s (more correctly, F/F#s) as the root of the chord. One is based on the sarcophagus tuning, another using octaves of 11.11, another using the Sepher Yetzirah, and so forth. I call them Pyramid Chords, and when two or three of them are played simultaneously they have a weird and haunting effect. Please contact me if you would like further information, or a sound file. You can also hear them in the soundtrack of Zero Waiting, a video ‘short’ by myself and Diana Hobson (available from OurSoundUniverse.com). SA
Charlottsville, VA. 2002.
1. Alexjander, Susan. The Infrared Frequencies of DNA Bases: Science and Art, IEEE Engineering in Medicine and Biology Journal, March/April 1999. (entire reprint www.OurSoundUniverse.com)
2. Arguelles, Jose. The Arcturus Probe; Tales and Reports of an Ongoing Investigation (see appendix: Pulsar Codes). Light Technology Publishing. Sedona, AZ, l996.
3. Danley, Tom. Early Reflections, Live Sound Magazine, July/August 2000.
4. Dunn, Christopher. The Giza Power Plant. Bear & Company, Santa Fe, New Mexico. l998.
5. First, David, The Music of the Sphere, Leonardo Journal 2003.
6. Marrin, West. Universal Water: The Ancient Wisdom and Scientific Theory of Water. Inner Ocean Publ, Maui, HI. 2002.
7. Michanowsky, George. The Once and Future Star. Hawthorn Books, Inc. New York, l977.
8. Silva, Freddy. Secrets In The Fields. Hampton Roads Pub. Co., Inc.,