​A historic gathering of momentous potential occurred recently in Washington D.C. April 12-13, 2024. Fifty Indigenous leaders from North America and around the world came together to establish the First Global Summit on Indigenous Peacebuilding under the United States Institute of Peace (USIP).


They came to unite and commit their hearts, their minds and their spirits, for peace to reign not only in our country but globally. Important relationships were fostered and formed during this most significant gathering of souls. Louise Herne, Mohawk Bear Clan Mother of the Haudenosaunee Confederacy, opened the summit.


She stood not alone, but with an honored elder, Kanatison and Kaianenhawis, both woman of high-standing from her clan. With Eagle Wing in hand, she spoke of the prophesy of the Northern Eagle flying with the Condor of the South. Just as she uttered the words, she was given the condor feather in support by a representative from a region in South America. The moment spoke volumes to many.


“The words before all else,” was a powerful and deeply-moving prayer she graced upon the room, the people and the land. One could say it was an Invocation as she called-in the four sacred directions, all relations of the earth, the sky, the mineral, the insect, the plant, the fish and animal kingdoms, and not forgetting in the least, the Haudenosaunee ancestors and the Creator.


When the Bear Clan Mother finished, Jonel Beauvais (Kaianenhawis) stepped forward. She spoke in a gentle tone but with strong presence, and reminded everyone to remember to represent the love from whence they came. She closed by singing a Medicine Song, and that’s when the past and the future wove itself together into the present moment. It was potent.


President and CEO, of the U.S. Institute of Peace, Lisa Grande spoke first and informed all that the USIP was first established by U.S. Congress in 1984. She then introduced U.S. Secretary of the Interior, Deb Halaad, (Turquoise Clan, Laguna, Pueblo, NM) who delivered a stirring keynote packed with vision, compassion and far-reaching goals that lifted all who were present. 


Those that spoke after her, each with their own perspective and gifts of inspiration, captivated everyone with their honesty and their truth. But Grand Chief Wilton Littlechild of the Confederacy of Treaty, Six First Nations, took our hearts as we watched him struggle to stand while speaking due to, what he called, sport-injuries from his past.  He was brought a chair and the symptoms abated. All his words and efforts were appreciated.  


Overall, the finest moments for me came when Deb Halaad spoke of the Haudenosaunee and honored them….


The Haudenosaunee, also known as the Iroquois Confederacy, are the Original Keepers of the Great Law of Peace - The Gayanashagowa or Great Binding Law; that which inspired and helped to create the Declaration of Independence and the United States Constitution. 


Bear Clan Mother and her people were given worthy recognition and leading positions in what promises to be a strong movement for peace-building in the world. No matter who gets elected in 2024, we now know the Peacemakers have united in America. This is huge, and they will continue to gain strength and vigor, from this moment onward, as humanity aligns in right ways on the Path of Peace, Strength and Healing.



Author
Kristen Farquhar
Lady Freedom Circle

Website
​www.somaticsoundtherapeutics.com

Photograph
​Screenshot USIP

Link to watch Indigenous Peacebuilding Summit 
https://www.youtube.com/live/v2CbQny4L9g?si=EdZY3t_UARXtxv44




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In the mid-1970’s Dr. Joseph Puleo, a naturopathic physician and one of America’s leading herbalists, found six electro-magnetic sound frequencies that corresponded to the syllables from the hymn to St. John the Baptist. 


According to the documentation provided in his book, Healing Codes for the Biological Apocalypse, Dr. Joseph Puleo was introduced, through an open vision, to the Pythagorean method of numeral reduction. Using this method, he discovered the pattern of six repeating codes in the Book of Numbers, Chapter 7, verses 12 through 83. 


The Pythagorean method is a simple reduction method, used to turn big numbers into single digits. The values of all digits in the number are added up. When after the first addition the number still contains more than one digit, the process is repeated. Here’s an example: 456 can be reduced to 4+5+6 = 15, and subsequently reduced to 1+5=6. So the number 456 reduces eventually to the single digit 6.


It is written that each syllable was thoroughly studied by Dr. Puleo and other professional researchers. David Hulse, a sound therapy pioneer with over 40 years of experience, described the tones as the following:


C - UT - 396 hz - Turning grief into joy, liberating guilt & grief
D - RE - 417 hz - Undoing situations & facilitating change (432 hz would be here) 
E - MI - 528 hz - Transformation & miracles, repairing DNA, genetic blueprint of life
F - FA - 639 hz - Relationship, connecting with spiritual family
G - SOL - 741 hz - Expression, solutions, cleaning & solving
A - LA - 852 hz - Returning to Spiritual Order 
B - (SI  - 963 hz - Unity and oneness - was later added with 2 more  to the original 6)


The Pythagorean Theory (3, 6, 9) and Nikola Tesla 
Nikola Tesla was the great genius and father of electromagnetic engineering. 3, 6, and 9 are the fundamental root vibrations of the Solfeggio frequencies. If you only knew the magnificence of the 3, 6 and 9, then you would hold a key to the universe. Nikola Tesla


When I read those words, and matched the numbers with their planetary and stellar associations, I lit up inside. I still do, which is why I continue to work with the Solfeggio sounds, and have been doing so for many years. Western Hermetic Star Knowledge teaches that the vowels are planets and the consonants are constellations and light bodies, as well as colors and so much more, but more on that subject another time.


As a singer and musician, I wanted to tune to the Solfeggio scale which is why I went on this journey.  I learned it was easy with an electronic keyboard. One simply tunes A4 from 440 to 444 hertz, or so the various posts on the internet have said.


If I had any doubts, (and I did) they were removed after I read, “… not to take all the tuning so seriously, but to just listen within to what just feels right.” Here is where I stopped, because this is what I know.


I know that sound-healing is about the personal-internal experience, no matter what the frequency. The same person who shared with all to "just listen within," also mentioned that when many Indigenous peoples of the world come together without background music (naming the Native Americans), they tend to sing in the natural Solfeggio. 


That sounded right to me. That particular article is nowhere to be found now unfortunately, but I remember it well, and it was my turning, or rather “tuning” point. (Pun intended)


So what do we tune to? We tune and TONE TRUE to the Source within each of us, and we will be guided through all frequency and all vibrational changes. I call it, Attunement to Inner Source (ATIS). 


May we learn to trust it. That seems to be our collective and individual challenge, for the healing tones live naturally inside each of us, regardless of what the outer-world tells us. If we listen deeply, and tone at the same time, we will attune. 




Author
Kristen Farquhar © January 2016
Updated April 10, 2024

Hymn to St. John the Baptist: 
Ut Queant Laxis: https://youtu.be/SugtS3tqsoo

Photograph: Cymaglyph of my voice toning OM/AUM
Created by www.cymascope.com


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To Tone True has been a mission in my life, especially due to the fact that I’ve been a singer most all of my life. Upon entering the wellness field as a Health and Reiki Practitioner in 2009, Healing Sound became a natural tool and expression for me as I pursued bright health for myself and others.  


Along the way, I realized how very sensitive I was (am still) to energy, which is vibration on many levels. The deeper I went into the ancient art, the more convinced I was of its significance. My studies with Tom Kenyon (Psychotherapist and Master Sound Healer) proved that to be true beyond any doubts.


My perception grew, not only as a practitioner but as an artist, and I have had the honor and great joy to have helped many find their healing-voice knowing that when it is found and raised, it could be one of the most powerful tools — if not the most powerful tool — we have for self-healing.


A sound-experience is direct and alters us inside and out. Think about how music transforms us in a split second and even takes us back in time. In my humble opinion, I more than believe the inner-ear and the inner-voice are one mechanism breathing in and breathing out - listening, transmuting and transmitting. But when we sing out, I began to question, to what frequency do we best tune? 


As a writer of Astrological Moon essays (Tune to the Moon, now Tune to the Light), I took on a passion to try and match the sound, (the vibration) of constellations and planets with their corresponding moon cycles listed in Hermetic Teachings with the human voice. 


The more I learned about the various tunings however, the more I questioned my own direction and what I was doing. My work has to always feel right within me, and it reached a point where it just didn't. As a result, I tossed-out all my vocal explorations over the past few months, and there was a lot, but that allowed me a “clean slate” to further explore. I was ready.


In regards to healing frequency, there is a race going on around the world to understand the mystery of sound and how it works. It is a major factor in science, in space, and medical technology today.  We would all do well to be in tune, but in tune to what is the question. What follows is my personal journey.


Classical Tuning
For those that do not know, the first of the three most popular ways to tune an instrument is the Classical 440. After 1885, it became the standard tuning. One tunes the note A on a piano, (called A4 above middle C and it can be any instrument) to 440 cycles per second (CPI), or what is also known as "hertz" (HZ). Any mechanical tuning device should work. 


Because all instruments playing in an orchestra have to be in harmony with one another, back in the 1800s, they had to agree on a common frequency, but how and why they chose 440 hertz is quite a story (if one believes it), and one not without controversy and even a little conspiracy. I’m sure you can find the 440 story online. The links I researched are no longer active. 


Glad I wrote and researched these topics in 2016 because it appears that much of the information is classified now as conspiracy theories on google’s internet. To summarize for you, the history of 440 tuning goes back to Europe and the 19th century. In 1939, standarization was achieved and has been associated with Nazi Germany, the Illuminati and dark agenda to deliberately lessen the positive affects music has on humanity. There are others that deny this. Many perspectives can be found online today. I encourage personal research and perhaps even more - personal experience.


Giuseppe Verdi 
The second tuning is 432 hz, or what is known as "Verdi's" tuning, and it also has quite a story. It has been said that when tuned into Verdi's frequency, one tunes to nature, and for this reason, its tuning is said to be much more harmonious to our bodies and to our world than the Classical 440. Of course, this triggered my interest, but what was even more interesting was finding out how the new tuning helped the voices of the Opera Singers. Their experience changed. 


Evidently, it was discovered that with the classical tuning, singers were forced into their higher register which caused strain and tension on their vocal chords. In comparison, Verdi's tuning caused voices to relax allowing singers to vocalize more freely and with more power. One of the 432 story links I researched is still active. I have included it in the credits along with examples for your discernment and enjoyment.


Solfeggio
The third and final of the three tunings is the Solfeggio 444 hz (also seen as 528 hz). If you've read about 440 and 432, you'll know that disharmony was experienced with the Classical tuning, and Verdi's completely altered the experience in positive ways. 


A positive experience is what occurred with the Solfeggio as well, at least that is what has been reported. However, for me there is much more going on with the Solfeggio....


"Solfeggi" (solfège, or sol-fe) is a French and Italian term used to describe a method of music education that teaches pitch and sight-reading, or sight-singing. Upon reflection, the Solfeggio is about singing and searching for that sound inside, the tone, the pitch - the VOICE WITHIN - in order to tune from the inside-out. 


Developed in the 11th century by the music theorist Guido of Arezzo, the method centers around a six-note ancient ascending scale that we know as, DO RE MI FA SO LA.  Originally, it was written as: UT, RE, MI, FA, SOL, LA with a seventh note SI added at a later time, but how these words, or syllables came to be is a story unto itself. 


They were "recognized" at the beginning of a Latin hymn entitled, Ut queant laxis, which was written in honor of John the Baptist by Paulus Diaconus in the 8th century. The hymn with its esoteric message follows. Ut Queant Laxis translation: So that your servants may, with loosened voices, resound the wonders of your deeds, clean the dirt from our stained lips, O Saint John. 


There is much symbology here, and I realize now why I was drawn, from the very beginnings, to the Solfeggio. It's more than the tuning, especially if one sings and is aware of the science of vibration and the associated planetary connections and influences. An inner experience occurs that I cannot quite define. 


What has also come to me is the "shaping of the sound," or what is called a "sound envelope" by Tom Kenyon, may perhaps be more important - or at least just as important - as the actual tone, pitch, or tuning.


This has been my experience, but I will stay on track with the original question, What about the tuning? and how did the Solfeggio teaching method get applied to frequencies? 


First, the six sounds UT, RE, MI, FA, SOL, LA (SI/TI) were assigned to the musical notes C D E F G A (and B); however, these notes can be tuned in many ways. My question persisted, So what created the Solfeggio Frequencies with their sacred music found in the beautiful and well-known Gregorian chants? Answer: First came the vibration: the tones.


Where Do These Tones Come From? 
With a little back-tracking, according to Professor Willi Apel, the origin of the ancient Solfeggio scale is traced back to a Medieval hymn to John the Baptist. The hymn 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. Because the music held codes of mathematic resonance, the original frequencies were said to be capable of spiritually inspiring mankind to be more god-like. 

Continued in Part II.


Author
Kristen Farquhar 
First published © January 2016, Updates July 5, 2023 & April 10, 2024

Listen for yourself the Ut Queant Laxis: https://youtu.be/SugtS3tqsoo
Verdi Tuning "Beethoven Symphony No. 9 - (part 1)" https://youtu.be/_YDVog236Bc
Classical Tuning "Beethoven Symphony No. 9": https://youtu.be/KoFRxRWmxS8
 432 Tuning 2016: https://ask.audio/articles/music-theory-432-hz-tuning-separating-fact-from-fiction
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​Photograph
Cymaglyph of my voice toning OM/AUM



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