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

 by

Al Leone

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:

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 replica rolex gmt master ii 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:

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 replica armani sunglasses 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:

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,aaaaa replica watches 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):

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:

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(b7), 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(b7)? 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:

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!