The Frequencies of Creation: Part 2

In Part 1, the frequencies of creation concept was introduced. Please be sure to read that post before continuing with this one. Why? It sets the foundation for everything in this series where patterns are established from the beginning. Understanding how to discover the patterns is crucial. Part 1 sets the precedent in how I've come to conclusions about the sounds within the frequencies of creation.

As stated in part 1, there's a special musical note that was evident at the time of creation. Scientists call it the "Big Bang." Here's a quick recap of how that was discovered along with other key points from the first article... 

  1. Mark Whittle spoke of the sound waves present at the big bang during the Science of Sound conference. His presentation begins at about the one-hour-twenty-three-minute mark. 
  2. Sound waves are still evident from the beginning of time in the atmosphere and can be measured.
  3. The musical harmonic series is important in the creative process. I give greater details on how that works in part 1. If the musical harmonics series is new to you, please be sure to read part 1. There's also a great YouTube video by a musician who can explain it in less than five minutes! CLICK HERE to watch that video. CLICK HERE for another video on the musical harmonic series by Leonard Bernstein. 
  4. Mark Whittle speaks of specific partials in the harmonic series that "came out of" the original sound.
  5. Musical intervals (the distance between two notes) are important in a creative process because it often takes two notes to create the energy needed to make a thing happen. We'll delve more into this topic in a later article. 
  6. Specific Hz will adjust depending on where a note fits within the interval structure. There's an example of that in the first article. Therefore, we can't look at specific frequencies as being right or wrong because nature causes things to adjust as needed. This includes differences in concert pitch (A=432, A=440, etc.). It's a balancing act!

These are the six main points addressed in the first frequencies of creation article. Understanding that the harmonic series is part of nature is a key factor in how everything in nature functions. It's what leads to everything else I speak of from this point forward.

Introduction to Part 2

Here are the key points addressed in this part 2...

  • The note that began it all
  • Introduction to the musical frequencies of the Hebrew letters
  • The "God" interval
  • How the "God" interval fits within creation

The Note that Began it All

In Mark Whittle's video at the Science of Sound conference, he plays the note evident at the beginning of time using a flute in a hearable range. That note is F-sharp (F#). How does Whittle know that it was an F#? He says that the sound waves are still in the cosmos today. For cosmologists, all it takes is understanding the mathematical equation to find that frequency. Hmmm... I guess that's why some of us are musicians and not math specialists. Moving on...

The next key point Whittle mentions is the HARMONICS that came out of the original sound. Notice in all of the harmonic series videos, there's an order that the harmonics appear in strength and order (partial 1 followed by partial 2 followed by partial 3, etc.) In this case, the FIRST partial that came out of the original sound was a minor 3rd (m3). That m3 then morphed into a Major 3rd (M3). In looking at the partial order, the m3 isn't heard until partial 6. The M3 is first heard in partial 5. However, at the beginning of time, the harmonics were different. Why? We'll ponder that possibility further into this article.  

Here are the first six harmonics in the series with F# as the fundamental frequency:

  1. Harmonic #1: F#fundamental frequency or main note - this is the note you'll hear. Out of this note, the other harmonics sound "sympathetically" in various strengths depending on the voice/instrument. The upper harmonics provide an individual and spicy "flavor" for each voice/instrument.
  2. Harmonic #2: F#, an octave higher than the lower F# of Partial #1
  3. Harmonic #3: C#, a Perfect 5th higher than Harmonic #2
  4. Harmonic #4: F#, a Perfect 4th higher than Harmonic #3 and two octaves higher than harmonic #1
  5. Harmonic #5: A#, a Major 3rd higher than Harmonic #4
  6. Harmonic #6: C#, a minor 3rd higher than Harmonic #5

NOTE: in music theory, Major, Perfect and Augmented intervals are capitalized (M3, P5, P4, A4, etc.). Minor and diminished intervals are small case (m3, m6, d5, etc.) 

Musical Frequencies of the Hebrew Letters

Now, we look at how the musical frequencies of the Hebrew letters fit into this picture. When I first heard Mark Whittle speak about the first note in creation, I thought it was cool but had no other frame of reference for it. However, by my second listen (several years later), I had one of those "Aha!" moments. By then, I'd discovered the musical frequencies of the Hebrew letters. If you want to read more about how that came about, please check out the following articles:

  1. Musical Frequencies of the Hebrew Letters: Part 1 This article is about how the frequencies of the Hebrew letters fit within the musical harmonic series. There are three separate harmonic series at play within these letters. 
  2. Musical Frequencies of the Hebrew Letters: Part 2 This article explains tuning as it relates to the musical frequencies of the Hebrew letters.
  3. Musical Frequencies of the Hebrew Letters: Part 3 This article explains what gematria is and how it was used in my discovery of the musical "key" for each letter. 
  4. Musical Frequencies of the Hebrew Letters: Teaching (audio and PDF). This is a purchasable item! If you want just the charts without the how-to-do-it information, it's $10. 

I'm not going into the nitty gritty details here about the musical frequencies of the Hebrew letters since that information is in other blog posts. What is NOT in those articles, we go over here.

Each letter of the Hebrew alphabet has a musical note that's really it's "key signature." A key signature includes specific notes that are based on a string of intervals to create a scale in that key. In modern western music, we have 12 major keys, 12 minor keys, and a whole bunch of modes and alternate scales. Eastern music utilizes different variations in pitches between the octave but all music still plays by the rules of natural harmonic laws. It's these natural laws that actually create the scales we know and love today. 

Here are two examples of how to build a Major scale using a formula of placing half (m2) and whole steps (M2) in a specific order:

  • Key of C with no sharps or flats: C - D - E - F - G - A - B - C
  • Key of F# with six sharps: F# - G# - A# - B - C# - D# - E# - F#

NOTE: In music theory, we "spell" scales and notes correctly just like in English. We spell words depending on their context (to, too, two). Music is the same - it's all based on context when it comes to note spelling of scales. In the F# scale, you'll see E# is the 6th note. Well, E# is really F but to spell the scale correctly, we must call it E#. Yeah... for some, that's a "why the heck does it matter?" question. For those who want to know, now you know. 

The musical frequencies within each Hebrew letter will have variations of Major, minor, pentatonic, whole-tone, alternative, and/or modal scales depending on the performer. Basically, there are no wrong notes! It's all about the creativity of the performer in how he/she wishes to make those frequencies come alive. Here's a pointer though... if you're a guitar player, I'd suggest learning how to play in the original keys rather than using a capo. Why? Because you'll miss the full harmonics of the lowest notes available to you. Lower harmonics are very important in making notes have a fuller sound. 
Tuning a guitar

The Name of God

Now, let's look at the name of God in Hebrew - Yod, Heh, Vav, Heh (Yahweh)The keys represented in that name are E and G. Yod = E, Heh = E, and Vav = G. That's an interval of a m3 between the notes E - G.

In exploring the name of Yeshua (the Christ), those letters are Yod, Heh, Shin, Vav, Heh. Shin is put in the middle and represents D#/Eb. Yod = E, Heh = E, Shin = Eb, Vav = G, and Heh = E. NOTE: Since there really is no key of D#, we'll call it Eb from here on out.

  • Yod, Heh (Unison on the note, E) down to Shin on the note, Eb (m2 or half step lower than E) 
  • Then from Shin (Eb) up to Vav (G)  where Vav (G) is a M3 higher than Shin (Eb)
  • Back down from Vav (G) to the final Heh (E) which is an interval of a m3 
  • There are two main intervals present in the name of Yahweh and Yeshua: m3 and M3. The m2 is "transitionary" as a step-up point from one interval to the next. 

Although they are different notes/musical keys in the names of Yahweh and Yeshua than at the beginning of time, I don't think this difference is as important as the intervals (distance between notes). Why is that? Because we can transpose from key to key and the music sounds the same as long as the intervals, words, and rhythm match the original version of a song. How many of you realize your favorite music by a variety of artists is often sung in more than one key? Singers choose keys that fit within their voice type. Instrumentalists choose keys based on what they're able to play. This isn't to say that specific musical notes aren't important because they are. But, they function in a different musical "dimension." Maybe in the cosmos, too? We'll explore that further in later articles. 

Now, let's compare this new information to what Mark Whittle says about the sound at the beginning. He said the beginning note was an F#. The first harmonic out of F# was a m3 (F# - A). From that m3, the interval morphed into the M3 (F# - A#). That requires moving the A up at half step to A# making the interval now a M3 (F# to A#). That being said, we can propose based on the intervals of the m3 and M3 coming out of the F# that... at the beginning was a sound. Out of that sound, the voice of Yahweh was heard, which then morphed into the voice of Yeshua. Together, they began the creative process. 

Remember how I said that the harmonics present at the beginning of time don't stick with the natural laws of harmonics? Is it possible that just like the universe, creation had to first be established "in the beginning?" Therefore, the voice of Yahweh "came out of" the original sound through the interval of a m3. That doesn't mean God was "created" because his voice "came out of." To me, that's like saying, "I'm here! Listen to and entrain with My frequency." Also remember that the easiest interval to sing is a m3, so it would only seem natural that when we sing the m3, we can imagine we're joining with the voice of Yahweh in our creative process. The importance of the M3 is then spelled out through the voice of Yeshua, which sets the opposites in place (m3 and M3). In eastern religions, they call this the yin and yang. It has a balancing effect that's required for the universe to function properly. Each is equally important with a part to play. 

There's a video that compliments Part 2 of this series. It will premiere on November 6, 2022! If you're seeing this prior to that date, please subscribe to the Healing Frequencies Music YouTube channel to be notified of when new videos are made public. 

Where Do We Go From Here?

Because this is only an introduction to the concept of "at the beginning" and how the voice of Yahweh and Yeshua were presented even before the laws of natural harmonics were set into place, I propose that's because there's an order to any creative process, which hadn't yet occurred "in the beginning." This is my hypothesis. We'll see how it sticks in future articles.

In Part 3 of the frequencies of creation series, we'll explore how F# is connected to human DNA. By the time the human body was physically created, we see the natural harmonic series fully functional. But, we're not done with the Hebrew letter theme! There is more specialness that comes up in future articles that relate to the musical "keys" of the Hebrew letters. We'll go down many rabbit holes in the process as we discover the interlocking and often multi-dimensional properties of the note, F#. 

Please remember that as I present my research, I stick to the key points outlined in Part 1 of the musical frequencies of creation series. First off, when patterns are found, there's something to it. Upon discovering various connections, there are more puzzle pieces to collect so that a full picture can be developed. From my research so far, I'm discovering that it's possible to see how the universe works through the natural laws of music and music theory. 

In the next article, I'll delve deeper into the specialness of human DNA and how that fits into the picture of the cosmos. 

Until the next installment, happy exploring!

Del Hungerford, October 2022