Next conference 20th March 2005
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Ellis C Taylor
Brian Allan
The Rosslyn Cipher
part 2
© Brian Allan 2005


The Solfeggio Frequencies

Before leaving this section it is perhaps appropriate to consider yet another set of frequencies that, presumably, were sanctioned by the church, and these are the Solfeggio Frequencies. Originally these frequencies were apparently incorporated into official Church music e.g. Gregorian Chants, such as the hymn to St. John the Baptist. However, when asked, Catholic Church authorities rather non-committal about this, claiming that along with others styles of sacred music they were lost centuries ago. It is believed that the Solfeggio Frequencies were deliberately harnessed to imbue both those singing them and those listening with feelings of tremendous spiritual awareness when sung in harmony during religious ceremonies. Research into Book of Numbers chapter 7 vs 12 – 83, conducted by one Dr. Joseph Puleo, a naturopathic physician, has revealed that there were six base tones or frequencies. This information was extracted using a form of gematria, an ancient technique for obtaining hidden information by transposing letters into numbers. According to Dr. Puleo the Six Solfeggio frequencies include:

1.UT – 396 Hz – Liberating Guilt and Fear
2.RE – 417 Hz – Undoing Situations and Facilitating Change
3.MI – 528 Hz – Transformation and Miracles
4.FA – 639 Hz – Connecting/Relationships
5.SOL – 741 Hz – Awakening Intuition
6.LA – 852 Hz – Returning to Spiritual Order

It is interesting to note that the third note, at 528 Hz relates to the note MI on the tonic scale and derives from the phrase ‘MI-ra gestorum’ in Latin meaning ‘miracle.’ Incredibly, this is the frequency used by genetic biochemists to repair broken DNA strands, i.e. the genetic blueprint upon which life is based. While this is fascinating and apparently corroborating information, it should be viewed with some care.

Although the effects of sound both positive and negative are now much better understood this was not always so. The effect that music, which is of course entirely derived from different frequencies of
Brian Allan
Brian Allan is a UFO/Paranormal researcher, lecturer and writer. He is the Scottish Director of Strange Phenomena Investigations (SPI UK) (Scotland) and co-director of P.E.G (Paranormal Encounter Group), which is a self-help group designed to provide a safe and sympathetic environment for people who have been traumatised by their encounters.
consciousness for magical purposes. Archaeologists have discovered that megalithic structures such as Newgrange in Northern Island and Maes Howe in Orkney appear to have been deliberately constructed to exploit this effect. In the case of Newgrange, which was constructed approx 3,500 years ago, a standing wave of 110Hz has been measured in its long entrance passageway. It has even been suggested that some sets of standing stones were erected to reflect sound from the faces of the monoliths which would act like primitive amplifiers, although the effects would have been much more subtle. If the secret is in fact hidden in the cubes, perhaps we should look at the science behind them.

Chladni Patterns

In an effort to create a visible demonstration of sound, the late Ernst Chladni (1756 – 1827), a German
sound, has on human beings is still not particularly well known. It has been used for millennia as an adjunct to meditative states by various mystical groups, e.g. Cabbalists and Sufi’s, but less so by mystical Christian groups like the Cathars because of their ruthless and systematic suppression by the early Catholic Church. It is also a common technique used by Shamans when inducing altered states of
physicist and father of the science of acoustics, succeeded in producing a variety of patterns representing various frequencies of sound using fine sand, thin metal plates and a violin or cello bow. He used the bow to stroke the edges of the thin metal plates, which were lightly covered in fine sand, then observed and recorded the delicate patterns that formed. He discovered that different frequencies formed a variety of patterns depending on the size and shape of the plate. Crucially, this method of producing sound patterns was available to William Sinclair. Nowadays, these experiments are part and parcel of the methods employed in university laboratories to teach the science of acoustics. Although oscillators and vibrating platforms have now
replaced the primitive bow and metal plates, the results are identical. When the patterns produced in laboratories are compared with those on the cubes there are clear similarities. The only consideration is did William Sinclair use this knowledge to encode the information on the stone cubes?
Since many of the patterns on the cubes are almost an exact match for the laboratory produced Chladni Patterns, there is every reason so assume that he did. I should make if abundantly clear that this idea has been floated for some years now and most recently by hotelier Steven Prior who employed the services of a musicologist, computer programmers and a photographer to try to make sense of the carvings, it is not clear if the project was ever completed.
If in fact this is the secret of the cubes, can these notes still be reproduced? The answer is almost certainly yes, but to do so we would have to look at how instruments were tuned in medieval times; perhaps more specifically we would need to learn how middle-eastern musical instruments were tuned and reproduce this tuning. As previously mentioned, the Templars had formed a relationship with their foes based on mutual respect forged in battle. This being the case it is almost certain that given the spiritual core of Templar philosophy, they became privy to certain esoteric practises and customs of Islamic mystical groups and this would almost certainly include music. Current musical tunings are based on an ‘equal temperament’ system, which was not prevalent in medieval times, and therefore any attempt at reproducing the musical notes carved in the stone patterns would have to take this into account. This is not to say that they cannot be reproduced because they can, it has been suggested that the first two notes of the song ‘Maria’ from ‘West Side Story’ reproduce the devil’s chord, or a very close approximation of it. The chord, or tritone, does not appear on any modern guitar, piano or other contemporary instrument, it is however present in certain Mesopotamian tunings, which, once again, introduces the Middle Eastern element.

Conclusion

Over a period of several years, many of the mediums and psychics who have visited Rosslyn Chapel are convinced that the answer to the puzzle is indeed musical, or at least directly related to frequency, which, of course is the framework that carries reality. It is interesting to note that during an evaluation carried out by this author in 1998, (See ‘Rosslyn Chapel, a Psychic Evaluation’ on www.p-e-g.co.uk), there was a group of singers in the crypt performing some beautiful, unaccompanied music. This music is written by a French monk for voice only with the specific purpose of being sung in Rosslyn Chapel. Is it possible that this man is attempting to unlock the key to the puzzle of the chapel? During the same investigation we encountered an American woman who was, when requested, kind enough to sing pure tones: ‘Her voice reached a plateau of sound and levelled off. “How about that, is that what you need?” she asked. Annemarie [one of the mediums present during the evaluation] nodded her head saying, “Can you try again”? The woman smiled and turned away facing back down to the church again. She opened her mouth and the powerful voice reverberated around the church. Her voice rose in pitch until she once again achieved the note. The whole chapel seemed to shimmer, almost ringing in sympathy with the tone. Everyone in the building had paused to watch what was happening; abruptly she stopped, shook her head and smiled. In the sudden silence there was a faint resonance, a humming sound emanating from the walls, then slowly the normal background noises picked up again as people turned away, almost embarrassed. (See ‘Rosslyn Chapel, a Psychic Evaluation’ on www.p-e-g.co.uk).

There is one final detail to add to the puzzle, one of the cubes is missing and according to the chapel management its whereabouts are currently unknown. Does this mean that even if the carvings on the hundreds of other cubes were decoded and transcribed as music with all the appropriate tunings that the missing cube would prevent the completed work from being performed? It this is the case then perhaps the final answer is concealed in a small, engraved cube of stone, which in turn is the last key to a greater understanding. In the end we are all creatures of frequency in one way or another and as such there is every likelihood that specific frequencies can and do interact with human consciousness at some level. If this information is what is encoded in the ‘cubes’ then it is valid and at the time when it was put there, a secret with huge implications for the medieval Catholic Church, It would be genuinely fascinating to decode the patterns and finally listen the music put there by the builder of Rosslyn, frozen in stone for centuries awaiting an intellect that could unlock it.

Sources:

The Hiram Key by Robert Lomas and Christopher Knight, pub Century
The Stone Puzzle of Rosslyn Chapel by Philip Coppens pub. 2002 by Frontier Publishing
The Holy Blood and The Holy Grail, by Baigent, Leigh and Lincoln, pub Arrow Books
‘In the Name of the Gods' by David Elkington, pub, Green Man Press
Light Bridge Music
‘Rosslyn Chapel, a Psychic Evaluation’, by Brian Allan
Please click on the cover for more information