THE FOUR FUNDAMENTAL FREQUENCIES
OF UNIVERSAL OSCILLATION
and their harmonic connection to the
resonant tones
of the Great Pyramid of Giza
and the bases of DNA
An excerpt from
THE TOTALITY OF GOD
AND THE IZUNOME CROSS
Unlocking the Secret to the Riddle of the
Ages
With so much to consider, rather than get
into the specifics of all the forces and
particles involved in the course of evolution
as I have envisioned it, I’ve preferred to
keep to the general principles so that the
process is as easy to visualize as possible.
And the one thing I’ve needed to emphasize
is the role that Harmonic Alignment and
Dynamic Stability play in the process. But
the reason Harmonic Alignment works at
all is because there are certain frequencies
for which the Universe seems to have been
pre-designed. And these frequencies are
harmonics of four fundamental
frequencies of universal oscillation. They
are the frequencies responsible for the
Four Pathways to Light and Truth, and are
the guiding forces for everything we’ve
studied in this work. Whether they’ve
manifested in the Physical Realm as the
four forces in nature, the four seasons, the
four energy fields and ancient elements, the
four philosophical functions, the four noble
truths, or the four whatever, they all have
their origin in the Four Frequencies of God.
And whenever I’ve made a claim to the
existence of any Spiritual Law, I’ve tried to
substantiate it with its tangible reflection.
The fact that the Universe seems to be
tuned to four fundamental frequencies is
one that the Ancient Egyptians apparently
understood. A fascinating book was written
by Christopher Dunn on his research into
the technologies of Ancient Egypt hidden
among the mysteries of the Great Pyramid.
Called The Giza Power Plant, it includes
Chris’ own discoveries, as well as some
earlier research. A quote from Boris Said, a
member of Tom Danley’s team, which did
acoustic analysis within the King’s chamber,
is illuminating:
Subsequent experiments conducted by
Tom Danley in the King's Chamber of the
Great Pyramid and in Chambers above
the King's Chamber suggest that the
pyramid was constructed with a sonic
purpose. Danley identifies four resident
frequencies, or notes, that are enhanced
by the structure of the pyramid, and by
the materials used in its construction.
The notes from [sic] an F Sharp chord,
which according to ancient Egyptian texts
were the harmonic of our planet.
Moreover, Danley's tests show that these
frequencies are present in the King's
Chamber even when no sounds are
being produced. They are there in
frequencies that range from 16 Hertz
down to 1/2 Hertz, well below the range
of human hearing. According to Danley,
these vibrations are caused by the wind
blowing across the ends of the so-called
shafts – in the same way as sounds are
created when one blows across the top
of a bottle.
[This quote is footnoted as having being
from Said’s web site: http://www.lauralee/.
com/said.htm]
So, the Great Pyramid of Giza was built with
the Principle of Harmonic Alignment in
mind! And its frequencies are sub-sonic, all
the way down to ½ hertz. There is no doubt
in my mind how that could serve to
harmonically couple the pyramid to the
Universe’s, and the Earth’s, sonic glue. Now,
I don’t mean to imply that every celestial
body in the Universe is tuned to F#.
Specific frequencies are relative to the body
involved. Only the Principle of Harmonic
Alignment is absolute throughout the
Universe. But F# is the resonant chord for
the Earth, a fact apparently intrinsic to
ancient wisdom in a diversity of cultures.
Mr. Said produced a documentary video on
the Giza Plateau, and the web site also
notes:
Included in the program is a meeting
with a Native American maker of sacred
flutes from Oregon. His flutes, which are
made to serenade Mother Earth, are
tuned to the key of F Sharp! [Ibid.]
Of course, the exact notes in the chord
would be significant, especially when one
considers how the four frequencies would
need to maintain the balance between
Order and Chaos for both harmonic and
non-harmonic conditions, as we earlier
explored. But, as Said’s web site points out,
the information Danley may have on the
matter is currently tied up in a legal battle.
However, Chris Dunn’s own research can
afford us a clue to narrow it down:
Without confirmation that the granite
beams were carefully tuned to respond
to a precise frequency, I will infer that
such a condition exists in light of what is
found in the area. While I have not
found any specific record of anyone
striking the beams above the King's
Chamber and measuring their resonant
frequencies, there has been quite a lot
written about the resonating qualities of
the coffer inside the chamber itself. The
coffer is said to resonate at 438 hertz
and is at resonance with the resonant
frequency of the chamber. This is easily
tested and has been noted by numerous
visitors to the Great Pyramid, including
myself. [http://www.gizapyramid.com/
chrisdunn.htm]
438 hertz is within the tuning range for A
natural. Chris himself measured 439 and
440 for different samples of sound he
recorded in the pyramid, 440 being the
most common tuning for A. In the context
of F#, this would produce an F# minor
chord, assuming the third note is a
consonant perfect fifth, and not a dissonant
diminished – or flatted – fifth. Given the
Universe’s need to seek Order over Chaos,
I’d go with this assumption and call the
third note C#. The key to resolving how the
Universe would accomplish Dynamic
Stability through Harmonic Alignment lies
in the fourth note. Briefly, here’s why. Let’s
assume we only have to account for the 12
tones between octaves of the tempered
scale, and not the 70 of the chromatic, as
was pointed out in Footnote 149 , p. 368!
The tempered scale is sufficient to create
beats. Actually, as we learned in the section
devoted to it, all it takes is a few cycles
difference between two notes. These
produce slow beats. But even in a
tempered scale, faster beats will occur
between adjacent, half-step tones. Now,
realize that while the F# chord being
considered has four tones with a harmonic
relationship to each other – with F# as the
fundamental, or First Harmonic – each
note in the chord is its own First Harmonic
in the Theory of Harmonic Creation. Thus,
each fundamental can, through harmonics,
manifest its own seven tone major scale
(the eighth is the octave):
A key is a family of seven related tones.
These tones are all derived from one
tone, the head of the family, called the
Key-tone . If a vibrating string gives the
pitch C, and we wish to find a tone most
nearly related in vibration, but differing
in pitch, we would first divide the string
into halves and set either half in
vibration. Either segment vibrates twice
as fast and gives the pitch C, one octave
higher. Next try dividing the string C into
thirds, and set the two-thirds or longer
segment into vibration. This gives the
pitch G, or the fifth tone above C. This
fifth tone is the most nearly related tone,
differing in pitch, to the fundamental. In
the same way the next nearest related
tone will be two-thirds of G, or a fifth
above G, which is D; the next, a fifth
above D, which is A; the next, a fifth
above E, or B.
Conversely, if D is two-thirds of G, and G
two-thirds of C, C must be two-thirds of
a tone a fifth below, or the tone F. We
now have seven different pitches all
derived from C, and therefore related to
C. These pitches constitute the Key of C.
C is the Key-tone.
When the seven pitches are arranged in
a progressive order, C D E F G A B C,
they form a Major Scale .
[George A. Wedge, Ear-Training And Sight-
Singing , 4 th ed. (New York: G. Schirmer,
Inc., 1921), pp. 17-18.]
Interesting how dividing a string by two will
produce its higher octave, but dividing it by
three will produce a relative pitch. To get
back to our chord, when you account for
the notes in the major scales the first three
tones can generate, you can cover all but
one note in the 12 tone tempered scale.
Now, whether the triad is F# major or
minor will change which that lonely note is;
but for an F# minor, that note is G. How
can we generate it from the seven-tone
major scale in the key of F#? Let’s look at
the notes we’ve yet to use. G# will do it. G
is its major seventh. But G# in an F# minor
chord is dissonant to A, the minor third. A#
, the major third, will do it, too. But we’ve
already ascertained this to be a minor
chord, and playing the major third with the
minor third is likewise dissonant. Of the
remaining three, B, the fourth to F#,
doesn’t have G in its major scale. The only
ones that will generate G in its own major
scale when applied as the fundamental are
D# and F. F is a major seventh to F#, which
is quite beautiful against a major triad, but
not nearly so against a minor one.
However, D# is the sixth to F#, and against
a minor chord you’d have an F# minor
sixth. That’s musical. And it would provide
all the notes the Universe would need to
create beats in a tempered scale
customized for Earth. So, that’s where I’d
put my bet. I hope some day to learn if it’s
win, place, or show!
Now, in case you think I’m implying the
Universe needs only twelve tones to satisfy
Dynamic Stability for the diverse number
of particles and forces it contains, guess
again. I only mentioned this phenomenon
re the Giza Pyramid to show how its ancient
wisdom reflects the Theory of Harmonic
Creation , and how four fundamental
frequencies can generate harmonics to
accomplish Harmonic Alignment. The 12
tone tempered scale is easily visualized as
an evolutionary step from the initial four
frequencies, and we already know how
powerful the number 12 is in the Big
Picture . But, the Universe would certainly
need the diversity of tones available in the
chromatic scale, if not many more, to
accomplish Dynamic Stability with the
particles and forces manifested at the Big
Bang, and ever since.
Before I continue, Watson, I realize you are
probably tired of hearing me tell you how
some person or thing appeared in my life
just in the nick of time. But I wish to share
with you amazing information that came to
me literally within days of completing the
rewrites to the Second Digital Edition of
this book. I didn’t ask for it. It was sent to
me by Chris Dunn as a result of an email
correspondence relating to his research. He
suggested I do a web search for Susan
Alexjander. I did.
Ms. Alexjander is an internationally known
musical artist who, in collaboration with Dr.
David W. Deamer, professor of Chemistry
and Biochemistry at the University of
California, Santa Cruz, recorded something
quite remarkable. The music of DNA! Rather
than explain what they did, it is best to let
their words speak for themselves; and I’m
grateful for the opportunity to present
them. The following are excerpts from her
article, The Infrared Frequencies of
DNA Bases, as Science and Art:
In 1988 the author and biologist Dr.
David Deamer collaborated on a science/
art project which consisted of measuring
the vibrational frequencies of the four
DNA base molecules, translating them
into ‘sound,’ programming them into a
Yamaha synthesizer and using this tuning
system as the basis for original
compositions entitled Sequencia (1990
and '94 CD). The realization of biological,
infrared frequencies into sound has
resulted in unusual insights into the
harmonic fabric of DNA, and reactions
from listeners suggest that our bodies
may have a way of recognizing their own
electromagnetic patterns through the
resonance of tone. . . .
One significant constraint with this
project required that, rather than
‘mapping,’ or assigning arbitrary pitches
to ‘hear’ patterns, the actual vibrational
frequencies were to be collected directly
from the molecular realm. These
frequencies would then be arranged as
‘scales’ of tones, and used as the basis
for musical composition. . . .
There are about three billion base pairs
in the DNA of each human cell. If they
were strung out they would measure
about three feet long. Yet each of these
bases remains absolutely consistent in its
chemical makeup. The four DNA bases,
adenine, cytosine, guanine and thymine,
consist each of carbon, hydrogen, oxygen
and nitrogen. There exists a variety of
chemical structures, including C=O, N-H,
C-H, O-H, and C-O whose bonds bend,
stretch, and rock upon absorbing
infrared light with a specific frequency
related to the energy and strength of the
bond and the mass of the nucleus of the
atom. . . . The tuning system for
Sequencia was derived directly from the
laboratory chemistry of the four bases,
and had nothing to do with a particular
gene, or configuration of bases along a
helix. . . .
. . . The bases of DNA and RNA have
certain resonance frequencies related to
the absorption of infrared light. This is a
common property of all organic
molecules, and in fact infrared spectra
are used as a primary diagnostic
characteristic in analytical procedures.
As the light is passed through the
sample, it is absorbed by the sample at
specific frequencies and the instrument
plots the absorption bands as a
spectrum. . . .
The problem of getting the frequencies
within hearing range can be solved by
recognizing that any hertz number
divided in half or doubled will produce
its corresponding lower or upper octave,
respectively, whether it be sound or
light. Thus, 8.7 x 1013 Hz can be divided
in half, again and again, to create lower
and lower octaves. Finally we derive,
after dividing 36 times, a workable
frequency which, if it were sound, would
fall within the range of hearing. Thus we
would have for the example above 1266,
which is a very comfortable frequency
for the ear, corresponding to a (slightly
sharp) D#.
The question of ‘translating’ light into
sound is more a philosophical one.
Sound sped up can of course never be
light, since the former depends upon
molecules to push around while the
second derives from electromagnetic
radiation. One could argue that what is
important here is not so much the
medium but the ratios involved; the
relationships between frequencies. . . .
By discovering patterns of ratios in light,
we are simply translating into a sound
medium to "hear" what information they
might contain and how they relate to
each other. It could also be argued that
both light and sound refer back to a
common archetype which, as yet, is
unknown to us, not unlike cousins who
relate back to a common relative.
Again, four base molecules were
measured: adenine, cytosine, guanine
and thymine. Each base molecule after
being subjected to light yielded about 15
or 18 frequencies; 60 in all. Once this
data was collected, it was iterized down
into a hearing range and programmed
into a Yamaha DX7 IID synthesizer which
would create sound banks from any
hertz numbers provided as input. A
special electronic keyboard was needed
because the tunings that were derived
were almost all microtones, or tones
smaller than a normal half-step (for
instance any c to c#) on a piano. . . .
The four individual bases – adenine,
cytosine, guanine and thymine – are very
similar in terms of the ratio relationships,
or the distances between the separate
‘pitches’ within each base. If they are
configured like a musical scale, arranged
from lowest frequency to the highest,
there is about a 2 and l/2 octave span
for all four with a noticeable gap, or
distance, of a Major 6th/minor 7th in all
bases. Intervals on the keyboard are
named major and minor seconds, thirds,
sixths, and sevenths, depending on how
many steps they are away from the
beginning note, or tonic. . . .
In addition to difficulty of tone
production, microtones play havoc with
the idea of ‘key,’ or tonality. What one is
working with is a clump of 'random'
sounds with no seeming tone order or
organization at all. However, something
very interesting began to happen. After
weeks and weeks of experimenting with
different sound combinations on the
synthesizer, a tonal center began to
emerge. One pitch seemed to draw other
pitches to it – to lend coherency to the
mass. This pitch turned out to be a kind
of a C#, common to all the bases. . . .
. . . If one looks at the pitch chart [Fig. 2
in the original article, unavailable at the
below referenced source] one can see
that this C# is found in all four bases
almost exactly in the middle of each
column. Also, it is positioned almost
exactly in the center of the absorbency
rates, and shows up as the average. This
C# seems to act as a balancer for the
entire spectrum of frequencies.
The pitch which shows up the most
frequently and ought to have asserted
itself as a tonic, or tonal center, is F#. It
is found no less than three times in each
base collection. But instead it is its fifth,
the C#, which acts as the organizing
force. . . .
Are The Frequencies in DNA Bases
Harmonically Ordered? They most
certainly are. By comparing all 60 pitches
one can find all of the precise ratios
found in the first 16 harmonics of the
overtone series: octaves, P5th, P4ths,
Major and minor thirds, Major and
minor 2nds and 7ths; even a ‘flat’
seventh. Mathematically, the odds of this
happening at random are almost non-
existent.
It is not known what information is
encoded in these ratios, but one
particular pattern appears striking.
Figure #3 [again, only in the original
article] shows a curious leap in all four
bases from the pitch F# up to the D#
above, roughly a Major 6th/minor 7th.
The interval in-between, G to D, contains
no measurable frequencies at all. Its
mirror, the G to D an octave below,
contains a tightly packed cluster of 22
frequencies, over a third of the total
frequencies measured.
What is the function of this ‘shadow’ gap?
Is it just a coincidence, or are we looking
into some kind of anti-matter, fourth
dimension? More and more we are
finding that things contain their
complements; their opposites. It is
almost a given ‘law’ of the universe. This
‘gap’ could be important, especially
because both are balanced on their
lower and upper edges by D#-F#
intervals: nine pitches in the lower
cluster and 10 pitches in the upper
cluster. Almost perfect symmetry.
Again, MATH makes processes visible. It
decodes meanings. We can see the self-
organizing power of the universe, and
because the universe is a community it is
constantly communicating. Are the
sounds of DNA communicating anything
to us?
Sequencia first begins to communicate
through its concept, that we can hear the
hidden beauty of life. This helps to give
us a perspective – to find our place in
the "Great Tone." . . .
. . . These particular DNA ratios,
originating in light, are profoundly
arresting to the ear. This first wakes up
the nervous system, puts it on alert.
What follows in sound is then allowed to
enter our psyches on a deep level.
People report feelings of connectedness,
familiarity. "I feel right at home," they
say. It is tempting to speculate that the
body is recognizing itself, and is
communicating this to the psyche.
[http://www.healingmusic.org/SusanA/
infraredfreq.html]
I had been quite excited when I learned of
the four fundamental frequencies in the
Great Pyramid, but this blew me away. I
inherently understood the structural nature
of DNA as it applied to the Quadralitic
Grids , but was unaware of its harmonic
nature. I should have intuitively realized
this, since all structure has resonant
characteristics, and when those aren’t
properly accounted for, either in nature or
by us, destruction is the result. A little later
we’ll talk of the Tacoma Narrows Bridge
disaster, a benchmark example of such. Yet,
this information took me by surprise. I had
allowed myself to be blinded by the very
law I spoke of in the "Spiritual Appendix" of
the THIRD VERSE, where I commented that
you won’t find what you’re not looking
for because your Mind’s eye won’t see it .
I had seen what I needed to see and didn’t
look to see if there was any more to see!
Well, I saw it now, and more than I would
have seen then because my own knowledge
had since grown. Let’s cover the article’s
key points (double entendre intended), and
add our own in brackets.
Ms. Alexjander and Dr. Deamer set out to
create music from DNA, not through
arbitrary assignments, but from the actual
molecular frequencies. As light was passed
through the various samples, frequency
spectra were generated that related to the
energy and strength of the bonds and the
mass of the nucleus of the atoms. This is a
common property of all organic molecules.
[It was established in the Theory of
Harmonic Creation that the frequencies
inherent in the forces and masses
generated after the Big Bang would allow
Dynamic Stability to occur through
Harmonic Alignment.]
By using the property of frequency division,
the very high frequencies associated with
light absorption spectra could be resolved
to the lowest frequencies of sound. It was
not a direct equating of light to sound, but
more a translation of information based on
the understanding that all waves are
related to a common archetype through the
phenomenon of frequencies. [It’s been
clearly established that the information
needed for the Law of Universal Use was
frequency related. And the ability to gather
and respond to that information can be
found in our paradigm for creation, which
from Moment One established relationships
between all waveforms, no matter what
their frequency range or means of
transmission – the Quadralitic Cube .]
Each base yielded about 15 frequencies, 60
in all, over a 2½ octave span, and all are
very similar in terms of ratio relationships.
Moreover, all manifested a tonal center
around C#, which seemed to act as a
balancer [sic] for the entire spectrum of
frequencies. This was in spite of the fact
that the most frequent pitch was F#, to
which C# is the fifth. [So, the Universe
apparently does need frequency
specialization on the order of the
microtonal (less than half-step) scale used
in Sequencia, to accomplish Dynamic
Stability . But even more significantly, the
frequencies of DNA have a balancing center
that acts as its organizing force. And the
note she discovered to be such is the third
one we assigned within the Pyramid. If we
now allow the F# at each end of an octave
to represent tonal extremes, C# serves as
their means, especially with the C# average
being a 1/4 tone flat, as pointed out in the
article. And this seems to reflect the
phenomenon science has yet to be able to
account for, why the Universe appears to
be so precisely tuned between Order and
Chaos. Naturally, all this is in accord with
the Principle of Balance and the Law of
Order . C# is not exactly midway between
octaves. C, the tritone, is. But C# is
harmonically consonant; and having it as
the organizing force would indicate that
while the Universe has to account for both
Order and Chaos, it obviously favors the
former. Moreover, it must not be missed
that regardless of which frequencies DNA
on some other planet may resonate to, on
this one it resonates to the same root as
the home from which it was born. And how
that relates to my original theory
surrounding the origin of the Four
Pathways to Light and Truth should be
very clear!]
Finally, the authors note that the
frequencies in DNA bases are most certainly
ordered, and within the 60 pitches can be
found the precise ratios in the first 16
harmonics of the overtone series. As they
say, the mathematical odds of this
happening at random are almost
nonexistent. They also explain that all bases
contain what they describe as a shadow
gap. While they are not sure what the
function of it might be, they feel it is
important because both upper and lower
edges are balanced in a way that reflects
almost perfect symmetry.
We have likewise maintained that there
are no accidents in a perfect Universe .
But to resolve the issue of a shadow gap
deserves more attention than a few
bracketed comments would provide. When I
first read of the shadow gap, I made an
assumption that it was a repeating
phenomenon, and thus drew a conclusion
based on it. Without the original
illustrations to guide me, which were
unavailable on the web site, my own
imagination had led me astray. This is
understandable. I didn’t even know if the
2½ octave spans containing the four bases’
harmonics were tangential or concentric, or
perhaps overlapped in some way. So, I
emailed Ms. Alexjander about getting them,
and she was kind enough to send me a
copy of the original magazine article. It was
a revelation.
Two illustrations were particularly riveting.
Fig. 2 in her article included all the
harmonic data for the four bases – the
wave numbers for their infrared spectra
with corresponding frequencies and pitches.
This showed how often particular pitches
appeared. Fig. 3 placed those pitches onto
a keyboard diagram so the note clusters, or
lack of them, were obvious. The four spans
lined up concentrically, and with
remarkable precision. The shadow gap was
striking, but more importantly to me was
seeing the long grouping of frequencies
below it. Beginning at the low end, with an
average pitch of D#, was a peppering of
microtonal frequencies covering more than
an octave, ending at an average pitch of F#.
Within that range, only A# on the
keyboard’s tempered scale wasn’t hit dead
on, a curious phenomenon we’ll address in
a moment. Still, with the abundance of
pitches in that span, it was very clear that
the Great Pyramid’s four fundamental
frequencies had been microtonally
reflected. This is what one would expect as
energy evolves from general to specific.
Plus, it allows the Universe to adjust
resonant frequencies away from natural
frequencies – precisely fine-tuning itself to
accomplish growth through Dynamic
Stability while avoiding Tacoma-like
conditions. Thus, it makes sense when
frequency clusters average slightly flat or
sharp of a fundamental. And when you
think about it, the extent to which these
frequencies were covered is actually quite
remarkable. After all, the bases of DNA,
though essential to life, are only a few
soldiers in the army of existence that the
Universe has to keep in balance.
The next thing that grabbed me, though,
was what appeared above the shadow gap.
There were two tight clusters of notes. At
the very top was a cluster with an average
pitch that looked slightly flat from F#.
Below that was a second cluster with an
average pitch approximating D#! There it
was, the note that just pages ago I had
derived as the fourth note of the Pyramid!
Its appearance at the bottom of the main
cluster had been no accident, just as
neither had been the F# at its top. In fact,
D# had been so strongly represented
overall in the data that it would almost give
the appearance of another root. I actually
think it is, and that's why D# and F# are
harmonically powerful enough to be alone
in the octave above the gap.
So, what does this tell us about the truth
we’ve been so ardently searching? A lot!
Consider first how the gap at the top of
that large region, before the D# and F#
concentration at the highest end, focuses
on the nature of the fundamentals involved,
literally drawing your attention to the two
above it. Also recall how we derived the
four notes. F# is given as the root in the
Great Pyramid, as well as in the DNA bases.
A is in the Pyramid’s coffer, and is tonally
represented in three bases. Ms. Alexjander
noted the significance of C# in DNA, and
while I can't say for sure it is one of the
missing Pyramid frequencies, I'm strongly
inclined to believe it is and expressed my
reasons for it earlier. The only note truly in
question then was the fourth, about which
my intuition now has clearly been
confirmed.
Thus, I think that the four frequencies in
the Great Pyramid are indeed F#, A, C#,
and D#. Since my theory sees all human
consciousness as being rooted in four
fundamental frequencies, it makes sense
that all four would be in DNA. But, now
consider the chord: F#m6 if F# is the root,
a musically minor chord that would be
considered consonant, but barely so on its
side of the balance between Consonance
and Dissonance. Next, take those same
notes and apply D# as the root: D#dim( b 7)
, a half-diminished chord that is still
musical though it would be considered
dissonant, but barely so on its side of the
same balance between Consonance and
Dissonance! Talk about symmetry. Differing
only in note order, you would have a
difficult time distinguishing them by ear
except through an emphasis placed on their
root-tone or the arrangements that
accompany them. But even more significant
is the fact that with the same four
fundamental tones, the Universe would
have all it would need to balance
Consonance with Dissonance, the musical
reflection of Order and Chaos! Neither
would be so overbearing in either direction
as to throw the two out of balance.
The relevance of this to the Universe's
creation, from the perspective of Harmonic
Creation , is powerful enough. Now, let’s
take it even further. We’ve established how
C# serves as the means for the F# octave,
and thus as the balancing center for the F#
m6 chord. But, what about the D#dim( b 7)?
The only note we’ve yet to use from the
Pyramid is A, and A happens to be the
tritone, or algebraic mean for the D#
octave! So, A serves as the balancing center
for the D#dim( b7). Now we have two
chords comprised of the same four notes,
where two of those notes, the roots, serve
as the extremes of their octave, and the
other two, the balancing centers, serve as
their means. The Universe needs both
chords, and both balancing centers. After
all, there are two extremes that must be
kept in balance, and two means where that
occurs – a perfect Quadrality. To do so, it
makes no value judgements about
Consonance and Dissonance. To the
Universe, it's all energy, and it's all good.
Consonance and Dissonance, just like Order
and Chaos, both serve a purpose.
While all this doesn’t directly address the
reason for the existence of the shadow gap,
or the smaller one between the two clusters
above it, I won’t let it go unanswered. To
begin, I don’t think it is a result of an
antimatter phenomenon, as antiparticles
have the same mass as their corresponding
particles but with opposite electric charges
or other properties related to
electromagnetism. Thus, the phase reversal
of a given frequency of matter should be
involved – reflecting the reversal of
magnetic moment even in a charge-less
neutron. But since frequency is mass
related, and the mass of antimatter is the
same as the matter it’s in opposition to,
you wouldn’t find a range of frequencies
specifically reserved for it. Phase reversal in
the same direction would cause complete
destructive interference in the resultant.
But in opposite directions it would provide
for the tangible standing waves that guide
and power manifestation through
Harmonic Alignment, and their mass
interaction would provide for the new
particles with new frequencies needed for
Dynamic Stability .
I feel these gaps are more a result of a
comment I made moments ago, that the
Universe has a whole army of existence to
keep in balance. Admittedly, without
corroboration this is obviously conjecture;
but I’d say there are other things in the
Universe with frequencies residing there
that, if DNA were to have the same natural
frequencies, would cause its structure to be
in jeopardy. Remember, the organic has to
coexist with the inorganic. This, I believe, is
why the gaps appear. Of course, you might
then wonder how the F# and D# clusters
above the shadow gap would not also be in
conflict. As the roots of the two chords,
they serve as harmonic anchors for all
Tangibility and must harmonically align with
whatever else may be in residence, in such
a way as to afford their peaceful
coexistence. But this is one mystery of the
Universe whose answer may never be fully
revealed. You would have to account for
everything that is! And with all the tightly
packed microtones in DNA alone, one can
only imagine the diversity of beats that are
being generated.
Speaking of gaps, there is a subtle one that
appears in the main grouping of frequencies
from D# to F#. Since you don’t have the
benefit of the illustrations in front of you,
I’ll do my best to describe them. If you add
up all the microtones in Fig. 2 within that
span, there are 57. (73 total frequencies
are in Fig. 2. All don’t appear to be included
in Fig. 3., though the omissions may be for
clarity in illustration.) Since there are 16
tempered pitches in the span, that averages
just over 3½ microtones per pitch. And yet,
as I earlier said, none hit A# exactly. It’s
not even listed as a pitch in Fig. 2. What I
find particularly curious about this, though,
is that the algebraic mean between the D#
and F# extremes of the large cluster is
midway between A# and B. And if you take
the time to average out the 57 microtones,
the harmonic mean is just sharp of that
midpoint, at B. Yet, only seven microtones
are found in the three tempered pitches
from A# to C, where, based on the average,
you’d expect 10½! What does this mean?
Again, I can only speculate, but there seems
to be a paucity of frequencies that would
indicate the node, or balancing center, for
the Spiritual and Physical Realms
symbolized by the portions of the main
cluster on either side. And that node is
nestled between the mean of A below it and
the C# mean above it. Moreover, that node
is reflected in the gap between the two
clusters above the shadow gap, as if to
even more clearly differentiate the Spiritual
and Physical Realms as a Root Duality. Now,
I realize it may seem like I’m going out of
my way to make things fit. But that is only
because there is no description I could give,
considering the odds of any of this
occurring at all, that would adequately
describe the perfection that leaps out at
you when you see it, as well as the obvious
truths it reveals. As the frequencies of DNA
have shown, the Soul of the Universe – its
Wisdom – is musical. And their respect for
the truth of separation in structure is
likewise clear. Yet, there is another truth in
DNA, the truth of interaction , that the
inhabitants of Ancient Egypt obviously
understood as they aligned the corners of
their Great Pyramid with the Planetary
Energy Fields. Only by uniting the four
forces through a common higher purpose
can the true power in the Universe be
revealed – the Heart of the Universe – its
Love. That’s what makes the mathematics in
music beautiful to listen to. This is the core
lesson the inhabitants of Earth desperately
need to learn today. And it is the essence
of Meishu-sama’s Izunome Principle.
With the Earth’s four fundamental
frequencies apparently revealed, a question
immediately comes to mind re the original
appearance of the Principle of Harmonic
Alignment – the derivation of the Four
Pathways to Light and Truth. How might
we now assign those notes to the four
paths? That’s a great question, and one I’m
quite frankly unprepared to answer for
sure, though not because I wouldn’t like to.
I simply don’t know. Still, as you recall, I
don’t avoid an issue. So, this is how I see it.
My inclination is to associate the previous
chord roots with separate Root Planes. And
given that they reflect the balance of Order
and Chaos, I’d tend to place F# on the
Horizontal, Spiritual Plane, and D# on the
Vertical, Physical Plane. But to arrive at the
placement of paths on each plane requires
a bit more spiritual insight. Realize what F#
and D# are. Not only are they separately
the extremes for their own octaves, but
together they’re the extremes of a universal
range of values. This is clearly evidenced by
their placement at each end of the large
span of DNA frequencies. Thus, I’m inclined
to associate F# with the Spiritual path on
the Spiritual Plane, and D# with the
Physical path on the Physical Plane. Placed
this way as energetic extremes, what then
happens to their means: the C# in balance
to F# as its fifth, and the A in balance to
D# as its tritone? Rather than the same
plane, I’d place them on the other! For, it is
only through the interaction of its two
Models that the Universe can exist. And this
alignment, when referenced to the Physical
Order of Energies , would place F#, C#, A
and D# exactly as they are in the Universe’s
physical span of frequencies, high to low!
This feels right to me, but like I said, I can’t
positively say. Still, there is something
inherently musical in this arrangement that
would seem to give the Universe the ability
to handle both harmonic and non-harmonic
conditions, with the first being the focus of
the Spiritual Realm, and the second, the
focus of the Physical Realm. And this is
much like the chords themselves, a
consonant fifth and a dissonant tritone.
But there is one additional, and quite
intriguing, musical association I can speak
of with confidence. We’re dealing with two
chords derived from the same four notes,
one chord being a minor, and the other,
diminished. But both are in harmony to
their absolute frame of reference, the F#
major scale. However, the roots themselves
have a special relative relationship in that
context. We’ve considered the notes in the
F# major scale, and from them drew
conclusions as to the four fundamental
tones in the Great Pyramid. We then found
a powerful corroboration in the harmonics
of DNA. We also then came to realize that
these four tones had a dual-chordal
relationship, one based on F# as its root,
the other on D#. But specific notes aside,
there is a fundamental key relationship in
all major scales. Every major key has its
relative minor key. It contains the same
notes as the major key and is identified by
the same key signature. Only the root
changes. The root of the relative minor key
is found at the interval of a sixth above the
major. For the key of F#, the relative minor
is D#! Can there be any doubt now about
the physical perfection that exists
throughout the Universe, or the Spiritual
Perfection that created it? Not for me.
Ms. Alexjander comments how the music of
DNA may help us to find our place in the
"Great Tone," an expression she credits to
Dr. Larry Dossey. We’ve referred to it as
many things: Unity, the First Harmonic,
AUM. Now we can add "The Great Tone" to
the multitude of ways Humanity has found
to describe God. And her thought that the
body is perhaps recognizing itself,
expresses the profound connection all
Tangibility has to the Body of God that the
Universe is. Still, what is perhaps most
revealing for me in the article, aside from
the science and how it applies to the
Theory of Harmonic Creation , are Susan’s
reasons for doing it at all:
Pythagorus (6 th C BC), who is credited
with explaining musical harmonics to the
Western world, is reputed to have
described a stone as frozen music. He
knew nothing of physics but intuited that
the mathematics of frequency which
occur in processes such as planetary
rotations, cycles of the seasons, right
down to the atomic world of elemental
matter, are not just lifeless pieces of data
but reveal movements, rhythms,
relationships and meanings which may
be loosely translated as ‘stories.’ Stories
in turn generate meanings and artistic
expression. The word 'mathema' comes
from the Old French ‘mathein,’ "to be
aware; to awaken."
The art, then, assists in 'telling the story'
of the data. It is mythic as well as
‘mathic.’ There is a reasonable degree of
certainty that deep within our molecular
beings, beauty will show up as a central
issue. It can be found in all other stellar,
planetary and natural processes, in the
growth of a flower or wanderings of a
river; why not DNA? At another level, if
the body recognized itself in sound,
might this mean something in terms of
health, or at the very least, inspire the
imagination, and help to understand our
adaptation to the environment, or to
persistent stimuli. . . .
The story that presents itself as one
works with the spectral tones of DNA is
one of underlying beauty and order – an
order suggesting freedom to express and
improvise within the matrix. The fact that
perfect harmonic ratios exist within its
frequency data could, and should, lead
to further stories of interconnectedness
with the rest of life and the universe,
since so much of our world is so
ordered. We express creatively through
harmonic proportions and their
variations in our music, our architecture,
paintings, dance – in virtually all that we
are and do down to the design of a pack
of cards, using the Golden Rectangle
(whose sides have a phi relationship).
Certainly the freedom to express and
improvise has been our salvation as a
species for thousands of years. Our
music has always reflected these two
things: a love for order and spontaneity.
DNA, the chemistry of life, seems
naturally at home in a musical venue.
For in our inner beings and in our
listening there has always been a deep
yearning; a knowingness that music is
who we are.
I could not agree more.
The association of frequencies with the
microcosmic base components of DNA
points to a fertile area of research the
frequencies of macrocosmic genetic
structure. Since the frequencies of all
species’ microcosmic genetic components
are the same, it’s in the genetic macrocosm
that the frequencies of different species
would become manifest. This is the context
in which the extreme evolutionary changes
we spoke of much earlier could appear. It is
clear the frequencies of the Earth and the
bases of DNA are harmonically connected.
And it should be self-evident that those
frequencies have remained unchanged. But
all earthly life, and the great planet it
evolves on, exists in the context of the
Universe’s own energy. And it is likewise
clear that the macrocosmically
homogeneous energy of the Universe,
subject to universal laws, varies in its exact
frequency content as you travel through the
specific regions of it. It is this variation in
vibration that actually provides the
Universe with the information it needs to
maintain Dynamic Stability through
Harmonic Alignment.
So consider, then, how vibratory changes
might affect any of the myriad life forms
capable of responding and aligning to them
through harmonics. Given the previous
paragraph’s disclosure, it is obvious that
our planet, along with the solar system,
galaxy, and supercluster it’s a part of, has
been exposed to vibratory changes
throughout its existence. Yet, certain
aspects of organic structure, the base
components, have remained unchanged.
These are the ones apparently connected to
the fixed frequencies of the Earth (fixed at
least as long as life has been on it).
However, the macrocosmic structures of
DNA, as they relate to species, certainly
have changed; though, as we earlier
learned, those changes are not as extreme
as one would expect considering the
immense variations in life. These are the
changes connected to the variable
frequencies of the Universe the Earth
travels through.
And I think it is reasonable to draw a
conclusion regarding the appearance of a
large-scale genetic change, which seems to
fall beyond the possibility of small-scale
mutations, and a change in the resident
vibrational environment. What makes this
particularly relevant today is that there are
some people, with a professed ability to
intuit or perceive such things, who feel our
solar system is beginning to enter a region
of the Universe with a higher vibration.
While this is admittedly speculative, as I’ve
heard of confirming research but have yet
to see published concrete evidence, the
thought of how it might affect life on Earth
is intriguing. Could such an event 50,000 or
so years ago have been responsible for the
evolutionary leap in consciousness as
evidenced by the sudden appearance of a
mind with creative capability? After several
million years, with the birth of an
imagination Homo Erectus had become
human. Imagine what such a comparable
leap might involve today!
Now consider why it is happening. In
discussing the connection between Soul and
DNA, on p. 268 I said: "With Science and
Religion seen less and less in conflict, the
quantum leap from whatever came before
Humanity as we know it, to what it is now,
is within evolutionary possibility. Minute
genetic changes, often called mutations,
have been recognized and studied.
However, the Universe, in its effort to seek
balance, must provide the other side to
those and contain the extreme genetic
variations that follow from its quantum
spiritual leaps, as well." I called it a
spiritually foreshadowed genetic event. You
may recall, if you can think back to the very
beginning of this book, that Meishu-sama,
designer of the Izunome Cross , believed
Humanity was presently moving from the
Age of Darkness into the Age of Light.
We’ll discuss this increase in Light further
along on our present journey. But this, as
well, is a spiritually foreshadowed event,
what Meishu-sama said was a physical
reflection of a change that had occurred in
the Spiritual Realm. And for the past two
millennia, the Bible has taught a
tremendous change was going to occur
before Christ would return to the Earth. I
won’t speculate on the exact form of such
change, and whether this involves a
theologically invoked "Last Judgement." But
from what we now know of the nature of
energy as a range of spiritual and physical
manifestations, could the movement of
Earth into a higher vibration in the Universe
be the physical mechanism for this
occurrence? I’ll let you be the judge. And
why should it be any different there? For
that matter, is the change specific to where
we’re moving, or an energy transformation
occurring everywhere? Regardless, whether
it is to fulfill Divine Prophecy or achieve
Dynamic Stability , God and the Universe
need it to be that way!
OF UNIVERSAL OSCILLATION
and their harmonic connection to the
resonant tones
of the Great Pyramid of Giza
and the bases of DNA
An excerpt from
THE TOTALITY OF GOD
AND THE IZUNOME CROSS
Unlocking the Secret to the Riddle of the
Ages
With so much to consider, rather than get
into the specifics of all the forces and
particles involved in the course of evolution
as I have envisioned it, I’ve preferred to
keep to the general principles so that the
process is as easy to visualize as possible.
And the one thing I’ve needed to emphasize
is the role that Harmonic Alignment and
Dynamic Stability play in the process. But
the reason Harmonic Alignment works at
all is because there are certain frequencies
for which the Universe seems to have been
pre-designed. And these frequencies are
harmonics of four fundamental
frequencies of universal oscillation. They
are the frequencies responsible for the
Four Pathways to Light and Truth, and are
the guiding forces for everything we’ve
studied in this work. Whether they’ve
manifested in the Physical Realm as the
four forces in nature, the four seasons, the
four energy fields and ancient elements, the
four philosophical functions, the four noble
truths, or the four whatever, they all have
their origin in the Four Frequencies of God.
And whenever I’ve made a claim to the
existence of any Spiritual Law, I’ve tried to
substantiate it with its tangible reflection.
The fact that the Universe seems to be
tuned to four fundamental frequencies is
one that the Ancient Egyptians apparently
understood. A fascinating book was written
by Christopher Dunn on his research into
the technologies of Ancient Egypt hidden
among the mysteries of the Great Pyramid.
Called The Giza Power Plant, it includes
Chris’ own discoveries, as well as some
earlier research. A quote from Boris Said, a
member of Tom Danley’s team, which did
acoustic analysis within the King’s chamber,
is illuminating:
Subsequent experiments conducted by
Tom Danley in the King's Chamber of the
Great Pyramid and in Chambers above
the King's Chamber suggest that the
pyramid was constructed with a sonic
purpose. Danley identifies four resident
frequencies, or notes, that are enhanced
by the structure of the pyramid, and by
the materials used in its construction.
The notes from [sic] an F Sharp chord,
which according to ancient Egyptian texts
were the harmonic of our planet.
Moreover, Danley's tests show that these
frequencies are present in the King's
Chamber even when no sounds are
being produced. They are there in
frequencies that range from 16 Hertz
down to 1/2 Hertz, well below the range
of human hearing. According to Danley,
these vibrations are caused by the wind
blowing across the ends of the so-called
shafts – in the same way as sounds are
created when one blows across the top
of a bottle.
[This quote is footnoted as having being
from Said’s web site: http://www.lauralee/.
com/said.htm]
So, the Great Pyramid of Giza was built with
the Principle of Harmonic Alignment in
mind! And its frequencies are sub-sonic, all
the way down to ½ hertz. There is no doubt
in my mind how that could serve to
harmonically couple the pyramid to the
Universe’s, and the Earth’s, sonic glue. Now,
I don’t mean to imply that every celestial
body in the Universe is tuned to F#.
Specific frequencies are relative to the body
involved. Only the Principle of Harmonic
Alignment is absolute throughout the
Universe. But F# is the resonant chord for
the Earth, a fact apparently intrinsic to
ancient wisdom in a diversity of cultures.
Mr. Said produced a documentary video on
the Giza Plateau, and the web site also
notes:
Included in the program is a meeting
with a Native American maker of sacred
flutes from Oregon. His flutes, which are
made to serenade Mother Earth, are
tuned to the key of F Sharp! [Ibid.]
Of course, the exact notes in the chord
would be significant, especially when one
considers how the four frequencies would
need to maintain the balance between
Order and Chaos for both harmonic and
non-harmonic conditions, as we earlier
explored. But, as Said’s web site points out,
the information Danley may have on the
matter is currently tied up in a legal battle.
However, Chris Dunn’s own research can
afford us a clue to narrow it down:
Without confirmation that the granite
beams were carefully tuned to respond
to a precise frequency, I will infer that
such a condition exists in light of what is
found in the area. While I have not
found any specific record of anyone
striking the beams above the King's
Chamber and measuring their resonant
frequencies, there has been quite a lot
written about the resonating qualities of
the coffer inside the chamber itself. The
coffer is said to resonate at 438 hertz
and is at resonance with the resonant
frequency of the chamber. This is easily
tested and has been noted by numerous
visitors to the Great Pyramid, including
myself. [http://www.gizapyramid.com/
chrisdunn.htm]
438 hertz is within the tuning range for A
natural. Chris himself measured 439 and
440 for different samples of sound he
recorded in the pyramid, 440 being the
most common tuning for A. In the context
of F#, this would produce an F# minor
chord, assuming the third note is a
consonant perfect fifth, and not a dissonant
diminished – or flatted – fifth. Given the
Universe’s need to seek Order over Chaos,
I’d go with this assumption and call the
third note C#. The key to resolving how the
Universe would accomplish Dynamic
Stability through Harmonic Alignment lies
in the fourth note. Briefly, here’s why. Let’s
assume we only have to account for the 12
tones between octaves of the tempered
scale, and not the 70 of the chromatic, as
was pointed out in Footnote 149 , p. 368!
The tempered scale is sufficient to create
beats. Actually, as we learned in the section
devoted to it, all it takes is a few cycles
difference between two notes. These
produce slow beats. But even in a
tempered scale, faster beats will occur
between adjacent, half-step tones. Now,
realize that while the F# chord being
considered has four tones with a harmonic
relationship to each other – with F# as the
fundamental, or First Harmonic – each
note in the chord is its own First Harmonic
in the Theory of Harmonic Creation. Thus,
each fundamental can, through harmonics,
manifest its own seven tone major scale
(the eighth is the octave):
A key is a family of seven related tones.
These tones are all derived from one
tone, the head of the family, called the
Key-tone . If a vibrating string gives the
pitch C, and we wish to find a tone most
nearly related in vibration, but differing
in pitch, we would first divide the string
into halves and set either half in
vibration. Either segment vibrates twice
as fast and gives the pitch C, one octave
higher. Next try dividing the string C into
thirds, and set the two-thirds or longer
segment into vibration. This gives the
pitch G, or the fifth tone above C. This
fifth tone is the most nearly related tone,
differing in pitch, to the fundamental. In
the same way the next nearest related
tone will be two-thirds of G, or a fifth
above G, which is D; the next, a fifth
above D, which is A; the next, a fifth
above E, or B.
Conversely, if D is two-thirds of G, and G
two-thirds of C, C must be two-thirds of
a tone a fifth below, or the tone F. We
now have seven different pitches all
derived from C, and therefore related to
C. These pitches constitute the Key of C.
C is the Key-tone.
When the seven pitches are arranged in
a progressive order, C D E F G A B C,
they form a Major Scale .
[George A. Wedge, Ear-Training And Sight-
Singing , 4 th ed. (New York: G. Schirmer,
Inc., 1921), pp. 17-18.]
Interesting how dividing a string by two will
produce its higher octave, but dividing it by
three will produce a relative pitch. To get
back to our chord, when you account for
the notes in the major scales the first three
tones can generate, you can cover all but
one note in the 12 tone tempered scale.
Now, whether the triad is F# major or
minor will change which that lonely note is;
but for an F# minor, that note is G. How
can we generate it from the seven-tone
major scale in the key of F#? Let’s look at
the notes we’ve yet to use. G# will do it. G
is its major seventh. But G# in an F# minor
chord is dissonant to A, the minor third. A#
, the major third, will do it, too. But we’ve
already ascertained this to be a minor
chord, and playing the major third with the
minor third is likewise dissonant. Of the
remaining three, B, the fourth to F#,
doesn’t have G in its major scale. The only
ones that will generate G in its own major
scale when applied as the fundamental are
D# and F. F is a major seventh to F#, which
is quite beautiful against a major triad, but
not nearly so against a minor one.
However, D# is the sixth to F#, and against
a minor chord you’d have an F# minor
sixth. That’s musical. And it would provide
all the notes the Universe would need to
create beats in a tempered scale
customized for Earth. So, that’s where I’d
put my bet. I hope some day to learn if it’s
win, place, or show!
Now, in case you think I’m implying the
Universe needs only twelve tones to satisfy
Dynamic Stability for the diverse number
of particles and forces it contains, guess
again. I only mentioned this phenomenon
re the Giza Pyramid to show how its ancient
wisdom reflects the Theory of Harmonic
Creation , and how four fundamental
frequencies can generate harmonics to
accomplish Harmonic Alignment. The 12
tone tempered scale is easily visualized as
an evolutionary step from the initial four
frequencies, and we already know how
powerful the number 12 is in the Big
Picture . But, the Universe would certainly
need the diversity of tones available in the
chromatic scale, if not many more, to
accomplish Dynamic Stability with the
particles and forces manifested at the Big
Bang, and ever since.
Before I continue, Watson, I realize you are
probably tired of hearing me tell you how
some person or thing appeared in my life
just in the nick of time. But I wish to share
with you amazing information that came to
me literally within days of completing the
rewrites to the Second Digital Edition of
this book. I didn’t ask for it. It was sent to
me by Chris Dunn as a result of an email
correspondence relating to his research. He
suggested I do a web search for Susan
Alexjander. I did.
Ms. Alexjander is an internationally known
musical artist who, in collaboration with Dr.
David W. Deamer, professor of Chemistry
and Biochemistry at the University of
California, Santa Cruz, recorded something
quite remarkable. The music of DNA! Rather
than explain what they did, it is best to let
their words speak for themselves; and I’m
grateful for the opportunity to present
them. The following are excerpts from her
article, The Infrared Frequencies of
DNA Bases, as Science and Art:
In 1988 the author and biologist Dr.
David Deamer collaborated on a science/
art project which consisted of measuring
the vibrational frequencies of the four
DNA base molecules, translating them
into ‘sound,’ programming them into a
Yamaha synthesizer and using this tuning
system as the basis for original
compositions entitled Sequencia (1990
and '94 CD). The realization of biological,
infrared frequencies into sound has
resulted in unusual insights into the
harmonic fabric of DNA, and reactions
from listeners suggest that our bodies
may have a way of recognizing their own
electromagnetic patterns through the
resonance of tone. . . .
One significant constraint with this
project required that, rather than
‘mapping,’ or assigning arbitrary pitches
to ‘hear’ patterns, the actual vibrational
frequencies were to be collected directly
from the molecular realm. These
frequencies would then be arranged as
‘scales’ of tones, and used as the basis
for musical composition. . . .
There are about three billion base pairs
in the DNA of each human cell. If they
were strung out they would measure
about three feet long. Yet each of these
bases remains absolutely consistent in its
chemical makeup. The four DNA bases,
adenine, cytosine, guanine and thymine,
consist each of carbon, hydrogen, oxygen
and nitrogen. There exists a variety of
chemical structures, including C=O, N-H,
C-H, O-H, and C-O whose bonds bend,
stretch, and rock upon absorbing
infrared light with a specific frequency
related to the energy and strength of the
bond and the mass of the nucleus of the
atom. . . . The tuning system for
Sequencia was derived directly from the
laboratory chemistry of the four bases,
and had nothing to do with a particular
gene, or configuration of bases along a
helix. . . .
. . . The bases of DNA and RNA have
certain resonance frequencies related to
the absorption of infrared light. This is a
common property of all organic
molecules, and in fact infrared spectra
are used as a primary diagnostic
characteristic in analytical procedures.
As the light is passed through the
sample, it is absorbed by the sample at
specific frequencies and the instrument
plots the absorption bands as a
spectrum. . . .
The problem of getting the frequencies
within hearing range can be solved by
recognizing that any hertz number
divided in half or doubled will produce
its corresponding lower or upper octave,
respectively, whether it be sound or
light. Thus, 8.7 x 1013 Hz can be divided
in half, again and again, to create lower
and lower octaves. Finally we derive,
after dividing 36 times, a workable
frequency which, if it were sound, would
fall within the range of hearing. Thus we
would have for the example above 1266,
which is a very comfortable frequency
for the ear, corresponding to a (slightly
sharp) D#.
The question of ‘translating’ light into
sound is more a philosophical one.
Sound sped up can of course never be
light, since the former depends upon
molecules to push around while the
second derives from electromagnetic
radiation. One could argue that what is
important here is not so much the
medium but the ratios involved; the
relationships between frequencies. . . .
By discovering patterns of ratios in light,
we are simply translating into a sound
medium to "hear" what information they
might contain and how they relate to
each other. It could also be argued that
both light and sound refer back to a
common archetype which, as yet, is
unknown to us, not unlike cousins who
relate back to a common relative.
Again, four base molecules were
measured: adenine, cytosine, guanine
and thymine. Each base molecule after
being subjected to light yielded about 15
or 18 frequencies; 60 in all. Once this
data was collected, it was iterized down
into a hearing range and programmed
into a Yamaha DX7 IID synthesizer which
would create sound banks from any
hertz numbers provided as input. A
special electronic keyboard was needed
because the tunings that were derived
were almost all microtones, or tones
smaller than a normal half-step (for
instance any c to c#) on a piano. . . .
The four individual bases – adenine,
cytosine, guanine and thymine – are very
similar in terms of the ratio relationships,
or the distances between the separate
‘pitches’ within each base. If they are
configured like a musical scale, arranged
from lowest frequency to the highest,
there is about a 2 and l/2 octave span
for all four with a noticeable gap, or
distance, of a Major 6th/minor 7th in all
bases. Intervals on the keyboard are
named major and minor seconds, thirds,
sixths, and sevenths, depending on how
many steps they are away from the
beginning note, or tonic. . . .
In addition to difficulty of tone
production, microtones play havoc with
the idea of ‘key,’ or tonality. What one is
working with is a clump of 'random'
sounds with no seeming tone order or
organization at all. However, something
very interesting began to happen. After
weeks and weeks of experimenting with
different sound combinations on the
synthesizer, a tonal center began to
emerge. One pitch seemed to draw other
pitches to it – to lend coherency to the
mass. This pitch turned out to be a kind
of a C#, common to all the bases. . . .
. . . If one looks at the pitch chart [Fig. 2
in the original article, unavailable at the
below referenced source] one can see
that this C# is found in all four bases
almost exactly in the middle of each
column. Also, it is positioned almost
exactly in the center of the absorbency
rates, and shows up as the average. This
C# seems to act as a balancer for the
entire spectrum of frequencies.
The pitch which shows up the most
frequently and ought to have asserted
itself as a tonic, or tonal center, is F#. It
is found no less than three times in each
base collection. But instead it is its fifth,
the C#, which acts as the organizing
force. . . .
Are The Frequencies in DNA Bases
Harmonically Ordered? They most
certainly are. By comparing all 60 pitches
one can find all of the precise ratios
found in the first 16 harmonics of the
overtone series: octaves, P5th, P4ths,
Major and minor thirds, Major and
minor 2nds and 7ths; even a ‘flat’
seventh. Mathematically, the odds of this
happening at random are almost non-
existent.
It is not known what information is
encoded in these ratios, but one
particular pattern appears striking.
Figure #3 [again, only in the original
article] shows a curious leap in all four
bases from the pitch F# up to the D#
above, roughly a Major 6th/minor 7th.
The interval in-between, G to D, contains
no measurable frequencies at all. Its
mirror, the G to D an octave below,
contains a tightly packed cluster of 22
frequencies, over a third of the total
frequencies measured.
What is the function of this ‘shadow’ gap?
Is it just a coincidence, or are we looking
into some kind of anti-matter, fourth
dimension? More and more we are
finding that things contain their
complements; their opposites. It is
almost a given ‘law’ of the universe. This
‘gap’ could be important, especially
because both are balanced on their
lower and upper edges by D#-F#
intervals: nine pitches in the lower
cluster and 10 pitches in the upper
cluster. Almost perfect symmetry.
Again, MATH makes processes visible. It
decodes meanings. We can see the self-
organizing power of the universe, and
because the universe is a community it is
constantly communicating. Are the
sounds of DNA communicating anything
to us?
Sequencia first begins to communicate
through its concept, that we can hear the
hidden beauty of life. This helps to give
us a perspective – to find our place in
the "Great Tone." . . .
. . . These particular DNA ratios,
originating in light, are profoundly
arresting to the ear. This first wakes up
the nervous system, puts it on alert.
What follows in sound is then allowed to
enter our psyches on a deep level.
People report feelings of connectedness,
familiarity. "I feel right at home," they
say. It is tempting to speculate that the
body is recognizing itself, and is
communicating this to the psyche.
[http://www.healingmusic.org/SusanA/
infraredfreq.html]
I had been quite excited when I learned of
the four fundamental frequencies in the
Great Pyramid, but this blew me away. I
inherently understood the structural nature
of DNA as it applied to the Quadralitic
Grids , but was unaware of its harmonic
nature. I should have intuitively realized
this, since all structure has resonant
characteristics, and when those aren’t
properly accounted for, either in nature or
by us, destruction is the result. A little later
we’ll talk of the Tacoma Narrows Bridge
disaster, a benchmark example of such. Yet,
this information took me by surprise. I had
allowed myself to be blinded by the very
law I spoke of in the "Spiritual Appendix" of
the THIRD VERSE, where I commented that
you won’t find what you’re not looking
for because your Mind’s eye won’t see it .
I had seen what I needed to see and didn’t
look to see if there was any more to see!
Well, I saw it now, and more than I would
have seen then because my own knowledge
had since grown. Let’s cover the article’s
key points (double entendre intended), and
add our own in brackets.
Ms. Alexjander and Dr. Deamer set out to
create music from DNA, not through
arbitrary assignments, but from the actual
molecular frequencies. As light was passed
through the various samples, frequency
spectra were generated that related to the
energy and strength of the bonds and the
mass of the nucleus of the atoms. This is a
common property of all organic molecules.
[It was established in the Theory of
Harmonic Creation that the frequencies
inherent in the forces and masses
generated after the Big Bang would allow
Dynamic Stability to occur through
Harmonic Alignment.]
By using the property of frequency division,
the very high frequencies associated with
light absorption spectra could be resolved
to the lowest frequencies of sound. It was
not a direct equating of light to sound, but
more a translation of information based on
the understanding that all waves are
related to a common archetype through the
phenomenon of frequencies. [It’s been
clearly established that the information
needed for the Law of Universal Use was
frequency related. And the ability to gather
and respond to that information can be
found in our paradigm for creation, which
from Moment One established relationships
between all waveforms, no matter what
their frequency range or means of
transmission – the Quadralitic Cube .]
Each base yielded about 15 frequencies, 60
in all, over a 2½ octave span, and all are
very similar in terms of ratio relationships.
Moreover, all manifested a tonal center
around C#, which seemed to act as a
balancer [sic] for the entire spectrum of
frequencies. This was in spite of the fact
that the most frequent pitch was F#, to
which C# is the fifth. [So, the Universe
apparently does need frequency
specialization on the order of the
microtonal (less than half-step) scale used
in Sequencia, to accomplish Dynamic
Stability . But even more significantly, the
frequencies of DNA have a balancing center
that acts as its organizing force. And the
note she discovered to be such is the third
one we assigned within the Pyramid. If we
now allow the F# at each end of an octave
to represent tonal extremes, C# serves as
their means, especially with the C# average
being a 1/4 tone flat, as pointed out in the
article. And this seems to reflect the
phenomenon science has yet to be able to
account for, why the Universe appears to
be so precisely tuned between Order and
Chaos. Naturally, all this is in accord with
the Principle of Balance and the Law of
Order . C# is not exactly midway between
octaves. C, the tritone, is. But C# is
harmonically consonant; and having it as
the organizing force would indicate that
while the Universe has to account for both
Order and Chaos, it obviously favors the
former. Moreover, it must not be missed
that regardless of which frequencies DNA
on some other planet may resonate to, on
this one it resonates to the same root as
the home from which it was born. And how
that relates to my original theory
surrounding the origin of the Four
Pathways to Light and Truth should be
very clear!]
Finally, the authors note that the
frequencies in DNA bases are most certainly
ordered, and within the 60 pitches can be
found the precise ratios in the first 16
harmonics of the overtone series. As they
say, the mathematical odds of this
happening at random are almost
nonexistent. They also explain that all bases
contain what they describe as a shadow
gap. While they are not sure what the
function of it might be, they feel it is
important because both upper and lower
edges are balanced in a way that reflects
almost perfect symmetry.
We have likewise maintained that there
are no accidents in a perfect Universe .
But to resolve the issue of a shadow gap
deserves more attention than a few
bracketed comments would provide. When I
first read of the shadow gap, I made an
assumption that it was a repeating
phenomenon, and thus drew a conclusion
based on it. Without the original
illustrations to guide me, which were
unavailable on the web site, my own
imagination had led me astray. This is
understandable. I didn’t even know if the
2½ octave spans containing the four bases’
harmonics were tangential or concentric, or
perhaps overlapped in some way. So, I
emailed Ms. Alexjander about getting them,
and she was kind enough to send me a
copy of the original magazine article. It was
a revelation.
Two illustrations were particularly riveting.
Fig. 2 in her article included all the
harmonic data for the four bases – the
wave numbers for their infrared spectra
with corresponding frequencies and pitches.
This showed how often particular pitches
appeared. Fig. 3 placed those pitches onto
a keyboard diagram so the note clusters, or
lack of them, were obvious. The four spans
lined up concentrically, and with
remarkable precision. The shadow gap was
striking, but more importantly to me was
seeing the long grouping of frequencies
below it. Beginning at the low end, with an
average pitch of D#, was a peppering of
microtonal frequencies covering more than
an octave, ending at an average pitch of F#.
Within that range, only A# on the
keyboard’s tempered scale wasn’t hit dead
on, a curious phenomenon we’ll address in
a moment. Still, with the abundance of
pitches in that span, it was very clear that
the Great Pyramid’s four fundamental
frequencies had been microtonally
reflected. This is what one would expect as
energy evolves from general to specific.
Plus, it allows the Universe to adjust
resonant frequencies away from natural
frequencies – precisely fine-tuning itself to
accomplish growth through Dynamic
Stability while avoiding Tacoma-like
conditions. Thus, it makes sense when
frequency clusters average slightly flat or
sharp of a fundamental. And when you
think about it, the extent to which these
frequencies were covered is actually quite
remarkable. After all, the bases of DNA,
though essential to life, are only a few
soldiers in the army of existence that the
Universe has to keep in balance.
The next thing that grabbed me, though,
was what appeared above the shadow gap.
There were two tight clusters of notes. At
the very top was a cluster with an average
pitch that looked slightly flat from F#.
Below that was a second cluster with an
average pitch approximating D#! There it
was, the note that just pages ago I had
derived as the fourth note of the Pyramid!
Its appearance at the bottom of the main
cluster had been no accident, just as
neither had been the F# at its top. In fact,
D# had been so strongly represented
overall in the data that it would almost give
the appearance of another root. I actually
think it is, and that's why D# and F# are
harmonically powerful enough to be alone
in the octave above the gap.
So, what does this tell us about the truth
we’ve been so ardently searching? A lot!
Consider first how the gap at the top of
that large region, before the D# and F#
concentration at the highest end, focuses
on the nature of the fundamentals involved,
literally drawing your attention to the two
above it. Also recall how we derived the
four notes. F# is given as the root in the
Great Pyramid, as well as in the DNA bases.
A is in the Pyramid’s coffer, and is tonally
represented in three bases. Ms. Alexjander
noted the significance of C# in DNA, and
while I can't say for sure it is one of the
missing Pyramid frequencies, I'm strongly
inclined to believe it is and expressed my
reasons for it earlier. The only note truly in
question then was the fourth, about which
my intuition now has clearly been
confirmed.
Thus, I think that the four frequencies in
the Great Pyramid are indeed F#, A, C#,
and D#. Since my theory sees all human
consciousness as being rooted in four
fundamental frequencies, it makes sense
that all four would be in DNA. But, now
consider the chord: F#m6 if F# is the root,
a musically minor chord that would be
considered consonant, but barely so on its
side of the balance between Consonance
and Dissonance. Next, take those same
notes and apply D# as the root: D#dim( b 7)
, a half-diminished chord that is still
musical though it would be considered
dissonant, but barely so on its side of the
same balance between Consonance and
Dissonance! Talk about symmetry. Differing
only in note order, you would have a
difficult time distinguishing them by ear
except through an emphasis placed on their
root-tone or the arrangements that
accompany them. But even more significant
is the fact that with the same four
fundamental tones, the Universe would
have all it would need to balance
Consonance with Dissonance, the musical
reflection of Order and Chaos! Neither
would be so overbearing in either direction
as to throw the two out of balance.
The relevance of this to the Universe's
creation, from the perspective of Harmonic
Creation , is powerful enough. Now, let’s
take it even further. We’ve established how
C# serves as the means for the F# octave,
and thus as the balancing center for the F#
m6 chord. But, what about the D#dim( b 7)?
The only note we’ve yet to use from the
Pyramid is A, and A happens to be the
tritone, or algebraic mean for the D#
octave! So, A serves as the balancing center
for the D#dim( b7). Now we have two
chords comprised of the same four notes,
where two of those notes, the roots, serve
as the extremes of their octave, and the
other two, the balancing centers, serve as
their means. The Universe needs both
chords, and both balancing centers. After
all, there are two extremes that must be
kept in balance, and two means where that
occurs – a perfect Quadrality. To do so, it
makes no value judgements about
Consonance and Dissonance. To the
Universe, it's all energy, and it's all good.
Consonance and Dissonance, just like Order
and Chaos, both serve a purpose.
While all this doesn’t directly address the
reason for the existence of the shadow gap,
or the smaller one between the two clusters
above it, I won’t let it go unanswered. To
begin, I don’t think it is a result of an
antimatter phenomenon, as antiparticles
have the same mass as their corresponding
particles but with opposite electric charges
or other properties related to
electromagnetism. Thus, the phase reversal
of a given frequency of matter should be
involved – reflecting the reversal of
magnetic moment even in a charge-less
neutron. But since frequency is mass
related, and the mass of antimatter is the
same as the matter it’s in opposition to,
you wouldn’t find a range of frequencies
specifically reserved for it. Phase reversal in
the same direction would cause complete
destructive interference in the resultant.
But in opposite directions it would provide
for the tangible standing waves that guide
and power manifestation through
Harmonic Alignment, and their mass
interaction would provide for the new
particles with new frequencies needed for
Dynamic Stability .
I feel these gaps are more a result of a
comment I made moments ago, that the
Universe has a whole army of existence to
keep in balance. Admittedly, without
corroboration this is obviously conjecture;
but I’d say there are other things in the
Universe with frequencies residing there
that, if DNA were to have the same natural
frequencies, would cause its structure to be
in jeopardy. Remember, the organic has to
coexist with the inorganic. This, I believe, is
why the gaps appear. Of course, you might
then wonder how the F# and D# clusters
above the shadow gap would not also be in
conflict. As the roots of the two chords,
they serve as harmonic anchors for all
Tangibility and must harmonically align with
whatever else may be in residence, in such
a way as to afford their peaceful
coexistence. But this is one mystery of the
Universe whose answer may never be fully
revealed. You would have to account for
everything that is! And with all the tightly
packed microtones in DNA alone, one can
only imagine the diversity of beats that are
being generated.
Speaking of gaps, there is a subtle one that
appears in the main grouping of frequencies
from D# to F#. Since you don’t have the
benefit of the illustrations in front of you,
I’ll do my best to describe them. If you add
up all the microtones in Fig. 2 within that
span, there are 57. (73 total frequencies
are in Fig. 2. All don’t appear to be included
in Fig. 3., though the omissions may be for
clarity in illustration.) Since there are 16
tempered pitches in the span, that averages
just over 3½ microtones per pitch. And yet,
as I earlier said, none hit A# exactly. It’s
not even listed as a pitch in Fig. 2. What I
find particularly curious about this, though,
is that the algebraic mean between the D#
and F# extremes of the large cluster is
midway between A# and B. And if you take
the time to average out the 57 microtones,
the harmonic mean is just sharp of that
midpoint, at B. Yet, only seven microtones
are found in the three tempered pitches
from A# to C, where, based on the average,
you’d expect 10½! What does this mean?
Again, I can only speculate, but there seems
to be a paucity of frequencies that would
indicate the node, or balancing center, for
the Spiritual and Physical Realms
symbolized by the portions of the main
cluster on either side. And that node is
nestled between the mean of A below it and
the C# mean above it. Moreover, that node
is reflected in the gap between the two
clusters above the shadow gap, as if to
even more clearly differentiate the Spiritual
and Physical Realms as a Root Duality. Now,
I realize it may seem like I’m going out of
my way to make things fit. But that is only
because there is no description I could give,
considering the odds of any of this
occurring at all, that would adequately
describe the perfection that leaps out at
you when you see it, as well as the obvious
truths it reveals. As the frequencies of DNA
have shown, the Soul of the Universe – its
Wisdom – is musical. And their respect for
the truth of separation in structure is
likewise clear. Yet, there is another truth in
DNA, the truth of interaction , that the
inhabitants of Ancient Egypt obviously
understood as they aligned the corners of
their Great Pyramid with the Planetary
Energy Fields. Only by uniting the four
forces through a common higher purpose
can the true power in the Universe be
revealed – the Heart of the Universe – its
Love. That’s what makes the mathematics in
music beautiful to listen to. This is the core
lesson the inhabitants of Earth desperately
need to learn today. And it is the essence
of Meishu-sama’s Izunome Principle.
With the Earth’s four fundamental
frequencies apparently revealed, a question
immediately comes to mind re the original
appearance of the Principle of Harmonic
Alignment – the derivation of the Four
Pathways to Light and Truth. How might
we now assign those notes to the four
paths? That’s a great question, and one I’m
quite frankly unprepared to answer for
sure, though not because I wouldn’t like to.
I simply don’t know. Still, as you recall, I
don’t avoid an issue. So, this is how I see it.
My inclination is to associate the previous
chord roots with separate Root Planes. And
given that they reflect the balance of Order
and Chaos, I’d tend to place F# on the
Horizontal, Spiritual Plane, and D# on the
Vertical, Physical Plane. But to arrive at the
placement of paths on each plane requires
a bit more spiritual insight. Realize what F#
and D# are. Not only are they separately
the extremes for their own octaves, but
together they’re the extremes of a universal
range of values. This is clearly evidenced by
their placement at each end of the large
span of DNA frequencies. Thus, I’m inclined
to associate F# with the Spiritual path on
the Spiritual Plane, and D# with the
Physical path on the Physical Plane. Placed
this way as energetic extremes, what then
happens to their means: the C# in balance
to F# as its fifth, and the A in balance to
D# as its tritone? Rather than the same
plane, I’d place them on the other! For, it is
only through the interaction of its two
Models that the Universe can exist. And this
alignment, when referenced to the Physical
Order of Energies , would place F#, C#, A
and D# exactly as they are in the Universe’s
physical span of frequencies, high to low!
This feels right to me, but like I said, I can’t
positively say. Still, there is something
inherently musical in this arrangement that
would seem to give the Universe the ability
to handle both harmonic and non-harmonic
conditions, with the first being the focus of
the Spiritual Realm, and the second, the
focus of the Physical Realm. And this is
much like the chords themselves, a
consonant fifth and a dissonant tritone.
But there is one additional, and quite
intriguing, musical association I can speak
of with confidence. We’re dealing with two
chords derived from the same four notes,
one chord being a minor, and the other,
diminished. But both are in harmony to
their absolute frame of reference, the F#
major scale. However, the roots themselves
have a special relative relationship in that
context. We’ve considered the notes in the
F# major scale, and from them drew
conclusions as to the four fundamental
tones in the Great Pyramid. We then found
a powerful corroboration in the harmonics
of DNA. We also then came to realize that
these four tones had a dual-chordal
relationship, one based on F# as its root,
the other on D#. But specific notes aside,
there is a fundamental key relationship in
all major scales. Every major key has its
relative minor key. It contains the same
notes as the major key and is identified by
the same key signature. Only the root
changes. The root of the relative minor key
is found at the interval of a sixth above the
major. For the key of F#, the relative minor
is D#! Can there be any doubt now about
the physical perfection that exists
throughout the Universe, or the Spiritual
Perfection that created it? Not for me.
Ms. Alexjander comments how the music of
DNA may help us to find our place in the
"Great Tone," an expression she credits to
Dr. Larry Dossey. We’ve referred to it as
many things: Unity, the First Harmonic,
AUM. Now we can add "The Great Tone" to
the multitude of ways Humanity has found
to describe God. And her thought that the
body is perhaps recognizing itself,
expresses the profound connection all
Tangibility has to the Body of God that the
Universe is. Still, what is perhaps most
revealing for me in the article, aside from
the science and how it applies to the
Theory of Harmonic Creation , are Susan’s
reasons for doing it at all:
Pythagorus (6 th C BC), who is credited
with explaining musical harmonics to the
Western world, is reputed to have
described a stone as frozen music. He
knew nothing of physics but intuited that
the mathematics of frequency which
occur in processes such as planetary
rotations, cycles of the seasons, right
down to the atomic world of elemental
matter, are not just lifeless pieces of data
but reveal movements, rhythms,
relationships and meanings which may
be loosely translated as ‘stories.’ Stories
in turn generate meanings and artistic
expression. The word 'mathema' comes
from the Old French ‘mathein,’ "to be
aware; to awaken."
The art, then, assists in 'telling the story'
of the data. It is mythic as well as
‘mathic.’ There is a reasonable degree of
certainty that deep within our molecular
beings, beauty will show up as a central
issue. It can be found in all other stellar,
planetary and natural processes, in the
growth of a flower or wanderings of a
river; why not DNA? At another level, if
the body recognized itself in sound,
might this mean something in terms of
health, or at the very least, inspire the
imagination, and help to understand our
adaptation to the environment, or to
persistent stimuli. . . .
The story that presents itself as one
works with the spectral tones of DNA is
one of underlying beauty and order – an
order suggesting freedom to express and
improvise within the matrix. The fact that
perfect harmonic ratios exist within its
frequency data could, and should, lead
to further stories of interconnectedness
with the rest of life and the universe,
since so much of our world is so
ordered. We express creatively through
harmonic proportions and their
variations in our music, our architecture,
paintings, dance – in virtually all that we
are and do down to the design of a pack
of cards, using the Golden Rectangle
(whose sides have a phi relationship).
Certainly the freedom to express and
improvise has been our salvation as a
species for thousands of years. Our
music has always reflected these two
things: a love for order and spontaneity.
DNA, the chemistry of life, seems
naturally at home in a musical venue.
For in our inner beings and in our
listening there has always been a deep
yearning; a knowingness that music is
who we are.
I could not agree more.
The association of frequencies with the
microcosmic base components of DNA
points to a fertile area of research the
frequencies of macrocosmic genetic
structure. Since the frequencies of all
species’ microcosmic genetic components
are the same, it’s in the genetic macrocosm
that the frequencies of different species
would become manifest. This is the context
in which the extreme evolutionary changes
we spoke of much earlier could appear. It is
clear the frequencies of the Earth and the
bases of DNA are harmonically connected.
And it should be self-evident that those
frequencies have remained unchanged. But
all earthly life, and the great planet it
evolves on, exists in the context of the
Universe’s own energy. And it is likewise
clear that the macrocosmically
homogeneous energy of the Universe,
subject to universal laws, varies in its exact
frequency content as you travel through the
specific regions of it. It is this variation in
vibration that actually provides the
Universe with the information it needs to
maintain Dynamic Stability through
Harmonic Alignment.
So consider, then, how vibratory changes
might affect any of the myriad life forms
capable of responding and aligning to them
through harmonics. Given the previous
paragraph’s disclosure, it is obvious that
our planet, along with the solar system,
galaxy, and supercluster it’s a part of, has
been exposed to vibratory changes
throughout its existence. Yet, certain
aspects of organic structure, the base
components, have remained unchanged.
These are the ones apparently connected to
the fixed frequencies of the Earth (fixed at
least as long as life has been on it).
However, the macrocosmic structures of
DNA, as they relate to species, certainly
have changed; though, as we earlier
learned, those changes are not as extreme
as one would expect considering the
immense variations in life. These are the
changes connected to the variable
frequencies of the Universe the Earth
travels through.
And I think it is reasonable to draw a
conclusion regarding the appearance of a
large-scale genetic change, which seems to
fall beyond the possibility of small-scale
mutations, and a change in the resident
vibrational environment. What makes this
particularly relevant today is that there are
some people, with a professed ability to
intuit or perceive such things, who feel our
solar system is beginning to enter a region
of the Universe with a higher vibration.
While this is admittedly speculative, as I’ve
heard of confirming research but have yet
to see published concrete evidence, the
thought of how it might affect life on Earth
is intriguing. Could such an event 50,000 or
so years ago have been responsible for the
evolutionary leap in consciousness as
evidenced by the sudden appearance of a
mind with creative capability? After several
million years, with the birth of an
imagination Homo Erectus had become
human. Imagine what such a comparable
leap might involve today!
Now consider why it is happening. In
discussing the connection between Soul and
DNA, on p. 268 I said: "With Science and
Religion seen less and less in conflict, the
quantum leap from whatever came before
Humanity as we know it, to what it is now,
is within evolutionary possibility. Minute
genetic changes, often called mutations,
have been recognized and studied.
However, the Universe, in its effort to seek
balance, must provide the other side to
those and contain the extreme genetic
variations that follow from its quantum
spiritual leaps, as well." I called it a
spiritually foreshadowed genetic event. You
may recall, if you can think back to the very
beginning of this book, that Meishu-sama,
designer of the Izunome Cross , believed
Humanity was presently moving from the
Age of Darkness into the Age of Light.
We’ll discuss this increase in Light further
along on our present journey. But this, as
well, is a spiritually foreshadowed event,
what Meishu-sama said was a physical
reflection of a change that had occurred in
the Spiritual Realm. And for the past two
millennia, the Bible has taught a
tremendous change was going to occur
before Christ would return to the Earth. I
won’t speculate on the exact form of such
change, and whether this involves a
theologically invoked "Last Judgement." But
from what we now know of the nature of
energy as a range of spiritual and physical
manifestations, could the movement of
Earth into a higher vibration in the Universe
be the physical mechanism for this
occurrence? I’ll let you be the judge. And
why should it be any different there? For
that matter, is the change specific to where
we’re moving, or an energy transformation
occurring everywhere? Regardless, whether
it is to fulfill Divine Prophecy or achieve
Dynamic Stability , God and the Universe
need it to be that way!
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