Polytope Press Research Group

As evidenced by two of the bestselling books of all time, namely, the Bible and The Origin of Species, interest in the origins of life forms and their diversity has captivated humanity as almost no other topic. These two books posit two differing versions of animate manifestation: creationism and evolution. The purpose of this paper is to make the case for a third theory: conformation.

However much emotion has been attached to both creationism and evolution, the evidence best supports conformation, so let us offer an introduction to conformation theory and an exposition of the evidence supporting it.

Biblical creationism suggests the world was created at about 4000BC, with all animals formed at the same time, and none changing over time. Even allowing for rather gross errors in calculating geological time, the dating of the Earth forming a mere 6000 ago years fails on multiple fronts: astronomical, geological and genetic. As Hidden History of Humanity vividly shows, the Book of Genesis concerns the creation not of the world, but of a reptilian Sumerian civilization, dedicated to devil worship and human sacrifice, such as "scriptured" at the outset in the cannibalistic story of Cain and Abel, where a "deity" defends Cain's murder instead of punishing it. See the website for the true Sumerian origins of the Bible if you doubt the Bible is but twisting of Sumerian tales. There are certainly noble creators beyond cold reptilian ones, such as those founding the Atlantian civilization and the Great Pyramid network we shall glimpse later in this paper. Those Atlantian beings had a far nobler sense of the divine than devil worshipping Sumerians, as their works prove, and this paper explores. As for plants and animals not changing over time, the basic evidence for this was presented in Hidden History of Humanity, and may also be reviewed there.

Plants and animals can and do change over time.

Evolution, both in the demonstrable microevolutionary process wherein bacteria are seen to rapidly modify their species in a changing environment, and macroevolution, wherein the larger living hosts of bacteria change at a rate roughly matching such bacterial changes, with host species survival based on environmental pressures urging life forms to assimilate new food sources as described in the Wallace version of evolution, is a much closer match to the evidence regarding the progression of species, but when Darwin was unable to show clear mechanisms for speciation, later theorists attempted to fill in the gaps with genetics, and then made reference to errors in genetic transcription somehow miraculously occurring in such a way as to manifest some marvelous new species.

Yet paleontologists have been unable to find what must be the considerable number of genetic mutants that were the result of sheer random accidents.

All are urged to consider the idea such evidence may never be found.

While it is certainly true genetic experimentation has led limbs to appear in anomalous places on the bodies of animals, one cannot equate crimes against nature with nature itself.

Nature does not err.

But to understand nature specifically regarding the origins of species will require a whole new discipline, one presently incipient but nevertheless inevitable: patternology, or the study of patterns.

We may confidently trust the current cultlike scientists of the present, far more taken with dogma than actual science, will not pursue patternology for the foreseeable future, so this article is designed for the rebel underground, that they may build on the foundation of nature, for as Da Vinci observed: “If you do not rest on the good foundation of nature, you will labor with little honor and less profit.”

So to what pioneers may one look to see the foundations of patternology and the new theory of conformation?

They are these: Bucky Fuller, Synergetics; Hans Jenny, Cymatics; Viktor Schauberger, (collected writings), Peter Stevens, Patterns in Nature; Philip Ball, The Self Made Tapestry; D’Arcy Wentworth Thompson, On Growth and Form; John Ott (collected works); Donald Ingber, “The Architecture of Life”; Matthias Brack, “Metal Clusters and Magic Numbers”; and to a lesser extent, Stefan Hildebrandt and Anthony Tromba, Mathematics and Optimal Form. Within these texts are all the needed seeds for patternology and conformation theory.

Any arrangement of matter, whether inorganic or organic, cannot be arbitrary, as nature forbids arbitrary arrays of subatomic particles, atoms, molecules, crystals--or life form elements. Instead, as Peter Stevens notes, matter is limited by the constraints of space, which apply equally to atoms as well as skyscrapers. As the prior paper of the Polytope Press Research Group, “Proof of Synergetics in the Atom” shows, cuboctahedral atomic nuclei heed spatial constraints as do icosahedral electron shells. Further, the fundamental forces of nature, including electromagnetism and gravity, work either by attracting or repulsing from a given point. Matter is thus forced into patterns of symmetry. Harvard professor Arthur Loeb, in his Synergetics supplement, carries the ascendant spatial orders beyond in scale to atoms in crystal lattices using his vector equilibrium postulate (VEP):

"Crystal structures tend to assume configurations in which a maximum number of identical atoms or ions are equidistant from each other. If more than one type of atom or ion is present, then each atom or ion tends to be equidistant from as many as possible of each type of atoms or ions."

And Fuller, aptly named, offers the synergetic grid, which is the only grid on which one may hope to precisely map structures such as micas, amphiboles, feldspars, gold, lead and anything involving mineral structure.

Next, as previously noted in the same paper, in January of 1998, scientist Donald Ingber published proof of Synergetics structuring in the biological structures of cells, the building blocks of life itself. He went on to reinforce Bucky's earlier ideas by noting that viruses, many cell vesicles, and forms of undersea life such as radiolarians all show Synergetics in their structuring. Synergetics relies at its core on a six axis, sixty degree grid that is the epitome of even spacing.

Do larger life forms such as plants and animals really showcase the same design themes as the atoms do when, at first glance, they appear so different?

They do indeed.

First consider the study of phyllotaxis, or the ordering of leaves on a plant stem in regular spirals. The leaves arise from buds called primordia at a regular time interval called a plastochrone.

From Philip Ball, in The Self Made Tapestry:

“The regularity of these spiral patterns has long been seen as the expression of mechanical laws that govern phyllotaxis. W Hofmeister proposed in 1868 that each new primordium appears periodically on the apex boundary at an interval equal to the plastochrone, and in a position corresponding to the largest gap left by the preceding primordia. In other words, the primordia are simply trying to pack efficiently, just like atoms in a crystal.”

So once we get to larger multicellular life forms, the imposed patterns change form in some ways, yet retain the underlying themes.

While the forms of matter at the small scale retain their conformity to both spatial constraints and the VEP even when composing a larger being, the aggregate animated forms as wholes, whether of plants or animals consisting of large numbers of cells collected in forms orders of magnitude beyond atoms, alter shape to conform to the special requirements of life. It is at this moment the arena shifts to confront new realities, such as those of scale, stress, and distribution. We see the character of Nature in the grace exemplified in every solution she presents to problems posed to her. All solutions exemplify what we may call the Principle of Art: the most is done with the least.

First we have scale. Readers who want greater detail on the following material are urged to read the opening chapters of Patterns in Nature by Peter Stevens. As Galileo himself noted, one of the primary effects of scaling objects up is that volume increases faster than surface area. This quickly becomes a problem. As Stevens generalizes, as an object grows, surface area increases at a rate involving the second power, while volume increases at the third power. As surface area diminishes in relation to volume, special problems arise for life forms, which rely on every scrap of surface area to gain vital resources like sunlight, water, and nutrients, plus areas to radiate heat so the organism does not suffer from extreme temperature effects. Volume means weight. Thus scaling something up means its volume and weight increase disproportionately to surface area, and if the life form expects to move to gain resources, seek shelter from adverse conditions, or escape enemies, solutions to the weight problem must avail.

But nature abounds with such clever solutions. They are near infinite.

Writes Stevens regarding solving the diminishing surface area problem: “If the large organism is to function like its small cousin, it must compensate for its preponderance of volume by selectively increasing its critical surfaces. The general method of increasing surface area is to introduce complications: to flatten, grow hairs, branch, wrinkle, elongate, and hollow out. We see examples of those adaptations all around us.”

Indeed we do. Nature abounds with solutions. So what does she do when facing the challenge of increased weight as size increases? Stevens again:

“The two stratagems used by both nature and man to overcome the effects of increasing size are either to use a stronger material or to make the structure hollow and reduce its weight. A free hanging chain of pure silica glass or steel, for example, can be longer than one of aluminum, and longer still can be a free hanging length of boron— some 189.4 miles. But each material has its upper limit of size, and at some magnitude it will be unable to support itself.

“The other way to overcome the effects of scale is to arrange material in a more effective configuration, to cut it away where it is not needed, and to add where it is required…The vertebra of the fish and the corrugated pith of the grass…display hollowness, lightness, and ribbed strength.”

Thus does nature tackle the problems of scale. What of stress? Scaling up creates the increased weight stresses of compression, tension and shear. While Stevens shows strategies of resisting stress via tougher materials and weight reduction tactics, he also shares that nature offers yet another strategy to stress: yielding and growing with it. Some may assume all bones and muscles are the result of genetics, but in many cases these structures are like frozen images of adaptations to stress.

Stevens: “Examination of the top of the femur confirms the fact that new bone actually grows along the stress trajectories… D’Arcy Thompson relates that when Karl Culmann, the great German engineer, was busy designing a crane, he happened to see a similar bone in Herman Meyer’s dissecting room and

‘saw in a moment that the arrangement of the bony trabeculae was nothing more nor less than a diagram of the lines of stress, or directions of tension and compression, in the loaded structure; in short, that Nature was strengthening the bone in precisely the manner and direction in which strength was required; and he was said to have cried out, “That’s my crane!”’

Donald Ingber, as noted in his “Architecture of Life” article, shows the cellular tensegrity infrastructure framework that allows cells to divide and conform to the lines of stress. The evidence reinforces itself at all steps.

For more on this, see this link:

"The Architecture of Life" by Donald Ingber

The muscles of the bodybuilder, gymnast or athlete are hardly solely due to genetics, but owe their proliferation to repeated stresses and the attendant rebuilding during rest in which appropriate nutrient resources are provided.

What is of special importance to those obsessed by genetics is to see that there are considerations of growth and form transcending genetics, ones primary in determining the body plans in the origins of species. To be more emphatic, teleport a fertilized egg from Earth to another planet, not only might the creature not survive, but if it did, it could look radically different from the form we know. Genes are but a recipe, the ingredients of which are handled by many a cook with quite the array of energetic input. After scale and stress, distribution systems furnish our next example of factors more important than genes influencing growth.

So what of such distribution systems? Why are they so important? Animate life, by definition, seeks to live, and the cells that make up life have two requirements as priorities above all: they must gain the nutrition they need, and have their waste removed. For the microscopic, starting the voyage of life, enclosing the most volume with the least surface area predominates, as the cell wants to enclose as much vital equipment in its confines as possible using the least matter to do so. To maximize volume, microscopic single celled organisms favor spheres. Why? They enclose the most volume with the least material of all shapes, and offer the fastest distribution paths at the small scale, thus bringing the most efficiency to routing resources.

But once organisms aggregate cells, the cells deep inside are at a disadvantage. They require nutrients and to have their waste removed, too, but have lost direct contact with the outside world. Therefore, a distribution system of some kind is called for to bring them nutrients and remove their waste. Stevens tackles the mathematics of the path patterns that could solve this problem, by showing a limited array of concentric points and path patterns of lines connecting them all in a distribution system. Examples include the explosion, spiral, meander and various branching patterns. His analysis is again brilliant, but at the heart of it, two considerations are most important: one, the total amount of distance covered in reaching each point using a given pattern, and two, the average distance to be travelled to each point using a given pattern. In animate life, this translates into the urgency of how each cell can be nourished by using the minimum resources to build the pipes to bring resources and remove waste, and how much force is needed to send resources along the pipes—the greater the distance, the more energy required.

As Stevens shows, branching patterns, especially those using 120 degree junctions, showcase the ultimate solution, and as it happens, nature adores 120 degree junctions, and features them prominently, in tree branches, blood vessels, lung passages, and so much more. They attain an admirable compromise of minimal resources to build and short distances to their targets.

Summarizing the growth process of bodies in The Self Made Tapestry, Ball notes on the body plans of life forms:

”Within this picture, the characteristic pattern of limb formation seen in many diverse large animals…is posited as an inevitable outcome of the physical forces that are acting, not a structure arbitrarily determined by genetics. The model…can also account for the polygonal patterning of feathers in birds and scales in fish and reptiles…

“…These processes suggest that there are certain ‘fundamental’ structures of organisms that are not at all determined by the arbitrary experimentation and weeding out that evolution is thought to evolve. Instead, these structures have an inevitability about them, being driven by the basic physics and chemistry of growth. If life were started from scratch a thousand times over, it would every time alight on these fundamental structures eventually."

One begins to see why Nature is the ultimate ally. Most men complain endlessly of their problems—Nature abounds with endless solutions. Any attempt to egregiously deviate from harmony is ultimately doomed. You may seek to fight the cosmos itself, but you will lose every time. Cosmic design made you, and if you seek to override it, it will inevitably defeat you using forces beyond your imagination.

So thus far, we learn bodies change shape from the small to the large as they must to conform to imperative considerations of scale, stress and distribution.

While Darwin made extensive notations on the forms of bodies, he was much less meticulous on how exactly these forms take shape. He may have done better to review his Galileo, who observed not only the crucial nature of surface area versus volume in scaling, but of symmetric patterns made by sounds vibrating particles on brass plates. How the future was foreshadowed in that moment we shall elucidate in the paragraphs ahead...

When one considers the data collected by Dr. Hulda Clark, in her book, The Cure For All Diseases, from page 562 on, one sees not only body forms changing with scale, but frequencies associated with those bodies, as if a music of life is slowly building. At the beginning one sees the bandwidths of the lowest life forms: slime molds, mycotoxins, bacteria and viruses, protozoa, tapeworms and mites, and these may be combined in a chart showing increasing bandwidths and operating frequencies of life forms.

A music of existence is revealed, wherein lifeforms manifest and shape themselves in direct correlation to ambient frequencies. The following documentaries build this case beyond all shadow of a doubt:

John Ott Documentary, Exploring the Spectrum:

Resonance: Beings of Frequency Documentary:

The onset of larger lifeforms involves many changes beyond the material realm as one transcends the smaller lifeforms. The frequencies associated with larger lifeforms increase beyond those of the smaller, and the energy field dynamics change to further the idea of individuation. In simple terms, at the small scale the dynamics of attraction and pulling prevail; at the larger scale the dynamics of repulsion and pushing prevail--living individual plants and animals are distinguishing themselves from the inanimate structures around them. They do so by growth which predominantly pushes outward repulsively, whether as plant seeds in the core of a sunflower or the expanding shell of the chambered nautilus. The growth patterns in nearly all cases introduce us to the main theme of the animate: the golden ratio: 1 to about 1.6. Also called phi, it is derived by dividing a line segment in two such that the ratio of the short segment to the long is equal to the long segment to the whole. It generates many more golden relatives: the golden rectangle, whose sides use the ratio; the golden spiral, used by sunflower cores and seashells; the golden angle of 137.5 dividing the arcs of a circle in the golden ratio; the golden rhombus; and the golden series, or Fibonacci series, where the next number in the sequence is derived by adding the previous two: 0,1,1,2,3,5,8,13, etc..

One writer tries to explain the golden spiral in sunflowers in this way: "These spirals pack sunflower florets as tightly as possible to maximize their ability to capture sunlight for the plant." But strictly speaking, this is not correct. If tightest packing was the goal, one would see one seed surrounded by six, with hexagons of ever larger size surrounding one seed, like closest packed wires in one casing. The spiral is instead indicative of a repulsive force--whether of physical pushing or magnetism. The work of Douady and Couder placed magnetic droplets in a repulsive field--and only then did they conform to the spiral shape. Thus the physical growth of the individual involves patterned pushing, not pulling, as the individual first establishes its own borders and integrity. Once the individual identity is attained, there may still be some pushing in maintaining its growth against opposition--until such time as the environment provides adequate resources for thriving--not just without but within. As we will see, there is a very musical undertone to all of this, based on what we may call the golden scale: the notes of nature conform to the golden ratio and build all life forms via music, a music we shall ever more deeply appreciate as this paper advances.

And as the scale rises, vibrations of one life form after another producing vibrations to amplify richer life forms, the depth of the music increases. Only in harmony with nature do souls ascend in vibration.

Stevens explains the fundamentals: “Small creatures breathe faster than large creatures. Their hearts beat faster, their voices are higher, and their wings or limbs move more rapidly. They consume more food in relation to their body weight, reproduce faster, and have shorter lifetimes.

“As D’Arcy Thompson pointed out, the reason for those variations is that the small muscle, be it heart, lung, wing or vocal cord, oscillates faster than the large muscle, just as a short thin string, when it is plucked, vibrates more rapidly than a long, thick one.

“Since respiration is coupled with heartbeat—usually one breath is taken for every four heartbeats—the rate of breathing also decreases with size. And so do wingbeats and the movements of limbs.

“Apparently, the small creature lives on a shorter time scale than the large. Its life passes more quickly. With twenty five million heartbeats per life as the rule of thumb, we find that the rat lives for only three years, the rabbit seven, and the elephant and the whale even longer.”

Already we begin to sense music taking center stage at the heart of the origin of species. As sizes rise, heartbeats slow, brainwaves quicken, and souls intensify, music guiding all. The many vibrations of life, in underlying energy and overt matter, are apparently the result of music more than anything.

Let us build the case further.

Currently, the fad is to say that DNA contains the blueprints for all our physical traits. But as noted in Hidden History of Humanity, while DNA may explain the process of synthesizing differentiated cells, it does little to explain their precise, integrated, and systematic placement in three dimensional space.

To accomplish that task, one must observe the significance of the aura, a three dimensional energetic template to which matter conforms. It is this process of matter conforming to musical energy templates capable of generating their own DNA—henceforward called conformation—that leads to the origins of species. In a moment we propose to suggest that these auras are indeed musically summoned into being, but let us first reveal the history of aura research:

To review the work on the aura:

The following information is extracted largely from Vibrational Medicine by Richard Gerber, chapter one.

In the 1940s at Yale University, scientist Harold Burr identified what could be referred to as an aura, or etheric template. This living energy field apparently helped to shape life forms.

Working with salamanders, he found there was an electromagnetic field polarized positive to negative from the head along the spine to the tail, present in the unfertilized egg. While the transcription of DNA helps to explain how proteins are formed to build animals, it does not so easily explain how cells that begin as stem cells, undifferentiated, can all spread out to specific spots and then become specialized cells like muscle, bone and nerve cells in adult animals.

The work in the aura helped to clarify this. What was discovered was that plants and animals have underlying etheric templates showing the finished product in an energy form. Cells do not randomly disperse, but spread out to conform to this underlying higher frequency energy template.

In short, an underlying energy shapes matter.

Can this energy be seen?


Also in the 1940s, Russian Semyon Kirlian developed a special form of photography, where objects were captured in the presence of a high frequency, high voltage, low amperage field, and so Kirlian photography was developed. With this special equipment, auras can indeed be seen.

So what we propose is that the process of forming animate life is less genetically than musically or vibrationally motivated.

To better appreciate this, we should first note the structure of DNA and its relationship to music.

What we find is that DNA does indeed derive from waveforms—music.

We begin our adventure, fittingly, with the father of music—Pythagoras. He invented a musical instrument called a monochord. If you take a string of a given length and pluck it, it offers a musical note. Cut that string in half, and you get a note twice as high. Cut it in thirds and you get a note three times as high, and so on. Each string fraction may be placed on a surface to be sounded as a xylophone would. To graph these relations mathematically, if we map string length on an x axis, and sound frequency on the y axis, we place a first dot at x1, y1, and the next dot at x.5, y2, and so on. Connect the dots and you have a hyperbolic curve. Spin the curve on a three dimensional grid about the y axis, you get a hyperbolic shape Schauberger called a tonal tower. Turn the tower upside down and you have a funnel—a tunnel with a vortex that naturally forms a double helix at its base.

Not only that, when this helix is cut along its diagonal, one obtains a natural egg shape.

To see this imagery for yourself, please watch Viktor Schauberger: Comprehend and Copy Nature, from the 1hr., 57second mark to about 1hr., 3mins and 40secs mark.


What suggests itself is somewhat astonishing. Could the tonal tower not merely represent DNA as music, but a gateway between octaves of existence—the harmonic bonds between thought and reality? The tunnel gateways could conduct the thoughts of those who have mastered all previous considerations. Their ideas of life forms as energetic templates can then be translated musically by DNA into life forms which manifest as a result of collective consciousness on octaves to which a soul attunes in its voyage of growth, as it moves either higher or lower in vibration.

But some may argue we get ahead of ourselves. Now that we see the abstract basis for connecting music waves to a double helix, is there reinforcing evidence of DNA as a waveform? There is.


It’s All In The Wave – Scientists Say DNA Begins As a Waveform ON JANUARY 26, 2017 BY ANUHAZIIN CHALLENGING SCIENTISM, SCIENCE & NEWS, SECRETS OF MAGNETISM Lance Schuttler The Mind Unleashed Wed, 18 Jan 2017 22:26 UTC

One strand of DNA from one single cell contains enough information to clone an entire organism. Obviously, understanding DNA allows us to understand much about life and the universe around us. A deeper understanding of the new science tell us that DNA begins not as a molecule, but as a waveform. Even more interestingly, this waveform exists as a pattern within time and space and is coded throughout the entire universe.

We are surrounded by pulsating waves of invisible genetic information, whose waves create microscopic gravitational forces that pull in atoms and molecules from their surrounding environment to construct DNA.

One scientist who caught these microgravitational forces in their action is Dr. Sergey Leikin. In 2008, Leikin put different types of DNA in regular salt water and marked each type with a different fluorescent color and the DNA molecules were then scattered throughout the water. In the experiment’s major surprise, matching DNA molecules were found pairing together. After a short time, entire clusters of the same colored DNA molecules had formed. Leikin believes some sort of electromagnetic charge allowed the same colored molecules to cluster. However, other experiments show that this is not the case. That it is most likely to be gravity. Let us explain.

In 2011, Nobel Prize winner Dr. Luc Montagnier demonstrated that DNA can be spontaneously formed out of merely hydrogen and oxygen. He started out with a hermetically sealed tube of pure sterilized water and then placed another sealed tube next to it, which had small amounts of DNA floating in water. Montagnier then electrified both tubes with a weak, 7 hertz electromagnetic field and waited. 18 hours later, little pieces of DNA had grown in the original tube, which consisted of only pure sterilized water.

This new science tells us that the universe is constantly conspiring to make biological life, whenever and wherever it can. In any given area of the universe, these hidden microgravitational waves will begin gathering atoms and molecules together to create DNA, and thus, life.

Another phenomenal discovery was made when Dr. Fritz-Albert Popp caught DNA in the act of pulling in photons (tiny packets of energy that make up visible light). The new science reveals that photons are essential to the basic health and function of DNA and are apparently used to send and receive information throughout the body. He found that each DNA molecule stores up to 1,000 photons within itself, similar to that of a tiny fiber-optic cable. The photons shoot back and forth at the speed of light inside the molecule and are stored until they need to be used.

In 1984, Russian scientist Dr. Peter Gariaev discovered that when a DNA molecule was placed inside a small quartz container, it naturally absorbed every photon in the room. A stunning analogy of this would be that of a single person standing in a large sports stadium and having every photon in the stadium somehow bending directly to that person, leaving that person’s body literally glowing with light, while the rest of the stadium goes completely dark.

In conventional science, the only force that can bend light is gravity and it is done only around a black hole. Thus, it appears DNA is generating a microgravitational effect that attracts and captures light. Looking back to the first experiment mentioned in this article by Dr. Leikin, we see that it is indeed likely not an electrical charge that forced or allowed the same DNA molecules to attract to one other, but is likely due to gravity, as electrical charges have never been able to bend light as it moves through space.

The most incredible part of Dr. Gariaev’s experiment came when he thought it was over. He had pulled out the DNA from the quartz container and looked back into the container only to find that photons were still spiraling in the exact same place where the DNA had been. Apparently, some sort of gravitational influence was holding photons right where the DNA had been. This later became called the “DNA phantom effect". Thus, DNA is creating an energetic force that absorbs photons and pulls them right into the molecule, but the DNA itself isn’t even needed. It is some invisible force, or some wave, that attracts and holds the light (photons) there all by itself.

Dr. Gariaev found that he could “blast” the phantom with supercold liquid nitrogen gas and the photons would all escape from the force field. Within 5 to 8 minutes though, new photons would be captured and the entire phantom would reappear. He could keep doing this as much as he wanted, but new photons would keep appearing. In fact, it was only after doing this for 30 days straight that the photons finally did not reappear.

Certainly, this last experiment was done over 30 years ago, and yet, the significance of it has yet to be truly felt. The first two experiments are still relatively young and have also yet to be fully appreciated. Clearly though, our view of the universe and life itself is changing as these concepts are understood by more people each day.


Next, we may explore the ramifications of DNA as music even further, as this article shows:

CREATING UNUSUAL SYMPHONIES: One of the pioneers in the DNA music field is David Deamer, professor of Chemistry and Biochemistry at the University of California, Santa Cruz. In 1988 he collaborated with Susan Alexjander, composer and music theorist, on a science/art project to collect frequencies from the bases of DNA with a spectrophotometer. The spectrophotometer is an analytical instrument that measures the intensity of light as a function of its wavelength. Deamer passed infrared light through a base molecule of DNA, and when the light was absorbed at specific frequencies, the instrument plotted the absorption bands as a spectrum with a wavenumber (number of waves per centimeter).

Once the wavenumber was determined, it was converted to hertz (Hz). In order to get frequencies within hearing range, the authors translated the patterns of ratios in light into a sound medium,in order to “hear’ the information. The data was programmed into a Yamaha DX7 IID synthesizer, which created sound banks from the hertz numbers. The resulting music was microtonal (microtones are smaller than half-tones on a piano).

This collaboration was a result of Susan Alexjander’s bid to answer the questions she had posed to David Deamer – “Is our biology harmonically ordered in any way? If we could hear the body, delve into its rhythms and frequencies, what might it sound like?”


This project was unique in that instead of assigning arbitrary pitches to bases, amino acids, or proteins, the actual vibrational frequencies were collected directly from the molecules. These frequencies were used as the basis for the musical composition –“Sequencia”, performed by voice, violin, cello, tabla, and synthesizer.

In 1986, Susumu Ohno, a geneticist and molecular biologist, known for his work in genetic sex determination and evolution through gene duplication, also turned DNA sequences into musical pieces. He notated more than fifteen songs based on the DNA of a variety of living organisms. Ohno assigned musical notes to the four bases - *do* to cytosine, *re* and *mi* to adenine, *fa* and *so* to guanine, and *la* and *ti* to thymine. He also chose a particular duration for each note and ordered the nucleotides according to their molecular weight. His design was based on the principle of repetition recurrence found in nature and in genome duplication.

Ohno and his wife, Midori, a musician, used their coding assignment to reverse the process. They translated the Chopin Nocturne Op.55 No1 into a DNA sequence and what they found was astounding - the resulting DNA was similar to the large subunit of the mouse DNA polymerase II, differing only by one nucleotide (someone should try to convert the musical portraits of the animals from the *Carnival of the Animals* by Saint-Saëns into a DNA sequence to see if there are any similarities).

When you listen to DNA music, you wonder - how can these compositions be faithful to a precise genetic sequence and at the same time sound like real music? Not all conversions of DNA sequences into sounds can be called music. Some are just the acoustic signatures of different species of organisms. Nevertheless, they are fascinating to listen to not only because they share with us a secret of the organism’s hidden life at a cellular level, but also because we are able to hear the dynamic force of life itself.


There are so many creative ways in which DNA sequences can be translated into music. Twenty amino acids can be grouped according to their hydrophobicity, acidity, and polarity - according to John Dunn, a computer programmer and a creator of Algorithmic Arts. Together with K.W. Bridges, a botanist, Dunn created software that converts protein sequences into music. They adjusted the instrumentation and tempo to match the biological characteristics of the protein of different organisms, such as starfish and sea urchins.

If you are interested in delving deeper into this and creating DNA music yourself, check out John Dunn’s website. His program allows composers to map nucleotides and amino acids in a musical grid. Composers can assign pitches, rhythms, and instruments to the amino acids or nucleotides and hear the DNA sequence played back through the computer’s MIDI player.

Converting DNA into music can be done by many different computer programs. One of them is ProteinMusic (PM) developed by Ross King, a biologist from the University of Wales in Aberystwyth (U.K), and Colin Angus, a musician. They hope that when using the program, “users could feed in their own DNA sequences and develop their own anthems.”

Scientists have been fascinated by music since the time of Pythagoras, who, in the sixth century BC, declared that “there is music in the spacings of the spheres.” Many scientists are accomplished musicians – William Herschel, Albert Einstein, Ilya Prigogine, Saul Perlmutter, and Brian Cox are few examples. But the real question is – apart from the pleasure derived from listening to one’s own DNA, what scientific value has all this? Could any scientific truths be revealed by hearing DNA patterns?


It’s hard to tell at this stage if scientists, who research the connections between musical and DNA patterns, will make new discoveries. But one thing comes to mind: if (or when) we encounter intelligent life from other planets, could we play the symphonies of our DNA to communicate with them? This way, we might be able to transcend the interstellar language barrier.

Even if this whole exercise proves to be unproductive from the scientific point of view, there is always poetic and philosophical value in listening to one’s own “body music.” The Scottish philosopher Thomas Carlyle reminded us long before DNA was discovered “See deep enough and you see musically.”


We entirely agree.

Indeed, all of existence derives from vibration. Matter conforms to vibration as Hans Jenny showed. What follows is a summary of his work, and to see images you may use the linked source and return here when done, or you may read the text only by staying on this page:

link to page with images and video:

This is not unregulated chaos; it is a dynamic but ordered pattern.

Hans Jenny (16 August 1904, Basel – 23 June 1972) was a natural scientist and physician who coined the term cymatics to explain the acoustic impacts of sound wave phenomena. To this field have contributed a number of scholars, that believed sound plays a major role in human life.

The concept of underlying vibrational patterns in the natural world dates back centuries, with Galileo Galilei being cited as an early witness to the phenomenon in his 1632 writings in his Dialogue Concerning the Two Chief World Systems. He describes his experiences while scraping a brass plate with a chisel in an attempt to clean it. Galileo saw a high whistling sound as well as parallel streaks of brass particles that only appeared in unison with the sound.

In 1680, physicist and musician Robert Hooke observed nodal patterns formed by vibrating glass. He made repeating designs with a violin bow on a flour-covered glass plate.

In the 18th century, Ernst Chladni invented a technique to show the various modes of vibration of a rigid surface. First published in 1787 in his book Entdeckungen über die Theorie des Klanges, the technique consists of drawing a bow over a (circular, square, or rectangular) plate or membrane whose surface is lightly covered with sand. When stroked, a given plate will resonate at one of its natural frequencies. The sand bounces about on the plate until settling at nodal points (areas of zero movements) thereby producing intricate patterns. These patterns are now called Chladni figures.

Table from Entdeckungen über die Theorie des Klanges, 1787

Another example of how sound generates geometric patterns are the result of H. Irwine Whitty, who studied the connection between music and geometry with the aid of the harmonograph, a mechanical machine that uses pendulums to create geometric figures and drawings. He concludes that “the facts that musical notes are due to regular air-pulses, and that the pitch of the note depends on the frequency with which these pulses succeed each other, are too well known to require any extended notice”, referring to the already established works of Chladni.

Plate VIII, Harmonograph, H. Irwine Whitty, 1893

Hans Jenny took these studies further and defined a new science, Cymatics, developing devices and machines that generated frequencies on different types of mediums. In Cymatics: A Study of Wave Phenomena and Vibration he concluded that these frequencies are not part of unregulated chaos, but rather from a dynamic and balanced system.

If you spare a little of your imagination, as you watch this film as it runs, you will see many things that answers many questions, you will see living forms, living amoeba, almost animal like creatures. You will see continents being formed, the Earth itself coming to existence, explosions, erruptions, atomic explosions and bombs. You can see all this and watch it before your eyes. Everything owes it existence solely and completely to sound.

During one of his ornithological excursions, the 14-year-old Hans was biking in the hills overlooking the Birs Valley near Dornach when his eyes were drawn to the first Goetheanum, a unique and spectacular wooden edifice erected under the inspiration and guidance of Rudolf Steiner. The youngster was captivated by the twin-lobed structure, and as fate would have it, a short time later he joined his parents and a small group of educators and public officials on a guided tour of what was to become the center of Anthroposophical teaching — a tour led by none other than Rudolf Steiner.

Thus started his exploration of Anthroposophy, a spiritual science with which he had a special connection. As with his previous religious experiences, he didn’t always get along with “Anthroposophists,” but he respected Steiner and devoured his voluminous books. Steiner, with his focus on the super-sensible spiritual component of existence, was to have the most significant impact on Jenny, offering direction for his voracious inquiry as well as a framework for his own inner strivings.

Hans Jenny published the first volume of Cymatics: The Study of Wave Phenomena in 1967, after completing a doctorate at the Rudolph Steiner School in Zürich.

In his research of the soundwave phenomena, Jenny made use of crystal oscillators and his so-called tonoscope to set plates and membranes vibrating. He spread quartz sand onto a black drum membrane 60 cm in diameter. The membrane was caused to vibrate by singing loudly through a cardboard pipe, and the sand produced symmetrical Chladni patterns. Low tones resulted in rather simple and clear pictures, while higher tones formed more complex structures.

A sonorous figure produced by piezoelectric excitation. Square steel plate 23×23 cm, thickness 1 mm. Frequency 6700 cps. In such experiments as these, the formation of nodal lines of sand can be accurately observed. They often pile up like dunes. © Hans Jenny

A layer of glycerin has been made to vibrate by a tone acting upon a diaphragm. The result is a continuous formal pattern. © Hans Jenny

Numerous varieties of “woven” patterns are found in various materials, particularly liquids. These forms may have a cellular, honeycomb, or imbricated appearance and are produced in the liquid by vibration. © Hans Jenny

Jenny created the tonoscope in order to observe the action of the human voice on various materials in diverse mediums. This is a basic device into which the experimenter can talk without the need for any intermediary electroacoustic equipment. Vibrations are therefore transferred to a diaphragm on which sand, powder, or liquid are put as indicators. Speaking generates figures on the diaphragm that correspond to the sound spectrum of a vowel. The pattern is distinctive not just of the sound, but also of the pitch of the speech or song.

Figures 67-69 show the vibrational patterns produced by vowels, reflecting the sound spectra and pitch of each particular sound. The material of which the diaphragm is made and the indicators used (powder, sand, liquid, etc,) are also important factors: the pattern also changes according to the quality of the individual voice. But the form remains the same as long as there is no change in the conditions of the experiment. © Hans Jenny Because the diverse features of these phenomena are caused by vibration, we are presented with a spectrum that displays a patterned, figurative construction at one pole and kinetic-dynamic processes at the other, with the entire thing being created and perpetuated by its intrinsic periodicity. These characteristics, however, are not distinct entities; rather, they are generated from the vibrational phenomena in which they exist in their “unitariness.”

The three fields — the periodic as the basic field, with two poles of figure and dynamics — always appear as one. They are incomprehensible without one another.

If a film of liquid is irradiated by sound, patterns of the kind shown here can be revealed by the schlieren method. A complicated lattice appears comprising squares, diagonals, and perpendiculars. Curves, circles, and radiating patterns result. © Hans Jenny

It will be seen from the selection shown in these pages that in every case there are formations, textures, and forms, we can see movements, currents, circulations, rotations, etc. and yet all these display throughout a rhythmic, serial, vibrational character.

Jenny argues that the triadic nature of vibration is found in the complex organizations of movement, of rhythmic systems (circulation and respiration), and of nerve physiology that becomes evident to us as frequencies and modulations including amplitude modulations. These systems have patterns of a serial nature and a dynamic of rhythmic impulses, that can be found in neurology, or the functioning of organs of which processes are of a chemical, thermal, energetic, kinetic, and structural kind – all defined by rhythm and vibration.

The same may be said about breathing, the flow of breath, and the production of sound. The creation of rhythmic activities based on physiological fields of rhythmicity elevates nature’s physiological periodicity to a higher plane. The development of biological periodicity into speech is an example of this elevation to a higher plane.

John Beaulieu mentions about Jenny that he always sought to observe the whole and to understand the behavior of parts in relationship to the whole.

“What is the status of the parts, the details, the single pieces, the fragments? In the vibrational field, it can be shown that every part is, in the true sense, implicated in the whole.”

A fundamental system law states that the whole is greater than the sum of its parts. A team of scientists examining an elephant is a popular metaphor used to explain this systems law. The difficulty is that the scientists are completely unaware that they are operating on an elephant. One scientist is examining the chemical makeup of one toenail, another is monitoring the behavior of the foot, and still another is observing the pace with which the tail wags. These points of view are disjointed. Each is one who publishes separate papers in prominent scientific publications in different areas, with no knowledge that their work is even somewhat connected.

One day, a scientist passes by and unintentionally “sees” the entire thing. She refers to the entire situation as an “elephant.” She can see how the components fit together and how they move together. Everyone thinks she’s insane, and the professionals start bickering over her concept of an “elephant.” More and more individuals start to see “the elephant,” until one day “there is an elephant” and many discrete fields of research are explained in a broader perspective.

Again and again, and in ever new forms, the cymatic method reveals the basic triadic phenomenon which man can feel and conceive himself to be. If this method can fertilize the relationship between those who create and observe, between artists and scientists, and thus between everyone and the world in which they live, and inspire them to undertake their own cymatic research and creation, it will have fulfilled its purpose.

Hans Jenny, Cymatics, A Study of Wave Phenomena and Vibration


For still more cymatic imagery: see this link:

It then follows that the body shapes of a being in energy--their aura--could result from the combination of tones until a given form of concentric or bilateral symmetry manifests, as the figures that can be generated cymatically are abundant, and their combinations even moreso.

We may next note the chakras, aligning along the spine, are seven in number, as, too, are the unique notes in an octave. Each chakra may vibrate at its own frequency, thus attuning a scale to which matter conforms.

For a glimpse of links between chakras and music, see this link:

The matter of DNA has even more elegance than most have realized. In so shamefully disdaining the work of Fuller in Synergetics, vital work on the nature of DNA matter and shape was abandoned. We have only to equate a wavelength to a line segment, and unite line segments to form the simplest of perfect solids, the tetrahedron, and face bond triangular faces of tetrahedra in series to form what Fuller calls a tetrahelix—a spiral matching the DNA spiral.

We quote Fuller in Synergetics, who used his own verse notation like the Bible:

932.01 The four chemical compounds guanine, cytosine, thymine, and adenine, whose first letters are GCTA, and of which DNA always consists in various paired code pattern sequences, such as GC, GC, CG, AT, TA, GC, in which A and T are always paired as are G and C. The pattern controls effected by DNA in all biological structures can be demonstrated by equivalent variations of the four individually unique spherical radii of two unique pairs of spheres which may be centered in any variation of series that will result in the viral steerability of the shaping of the DNA tetrahelix prototypes. (See Sec. 1050.00 et. seq.)

932.02 One of the main characteristics of DNA is that we have in its helix a structural patterning instruction, all four-dimensional patterning being controlled only by frequency and angle modulatability. The coding of the four principal chemical compounds, GCTA, contains all the instructions for the designing of all the patterns known to biological life. These four letters govern the coding of the life structures. With new life, there is a parent-child code controls unzipping. There is a dichotomy and the new life breaks off from the old with a perfect imprint and control, wherewith in turn to produce and design others.

933.00 Tetrahelix

933.01 The tetrahelix is a helical array of triple-bonded tetrahedra. (See Illus. 933.01) We have a column of tetrahedra with straight edges, but when face-bonded to one another, and the tetrahedra's edges are interconnected, they altogether form a hyperbolic-parabolic, helical column. The column spirals around to make the helix, and it takes just ten tetrahedra to complete one cycle of the helix.

933.02 This tetrahelix column can be equiangle-triangular, triple-ribbon-wave produced as in the methodology of Secs. 930.10 and 930.20 by taking a ribbon three- panels wide instead of one-panel wide as in Sec. 930.10. With this triple panel folded along both of its interior lines running parallel to the three-band-wide ribbon's outer edges, and with each of the three bands interiorly scribed and folded on the lines of the equiangle-triangular wave pattern, it will be found that what might at first seem to promise to be a straight, prismatic, three-edged, triangular-based column__upon matching the next-nearest above, wave interval, outer edges of the three panels together (and taping them together)__will form the same tetrahelix column as that which is produced by taking separate equiedged tetrahedra and face-bonding them together. There is no distinguishable difference, as shown in the illustration.

933.03 The tetrahelix column may be made positive (like the right-hand-threaded screw) or negative (like the left-hand-threaded screw) by matching the next-nearest-below wave interval of the triple-band, triangular wave's outer edges together, or by starting the triple-bonding of separate tetrahedra by bonding in the only alternate manner provided by the two possible triangular faces of the first tetrahedron furthest away from the starting edge; for such columns always start and end with a tetrahedron's edge and not with its face.

933.04 Such tetrahelical columns may be made with regular or irregular tetrahedral components because the sum of the angles of a tetrahedron's face will always be 720 degrees, whether regular or asymmetric. If we employed asymmetric tetrahedra they would have six different edge lengths, as would be the case if we had four different diametric balls__G, C, T, A__and we paired them tangentially, G with C, and T with A, and we then nested them together (as in Sec. 623.12), and by continuing the columns in any different combinations of these pairs we would be able to modulate the rate of angular changes to design approximately any form.

933.05 This synergetics' tetrahelix is capable of demonstrating the molecular- compounding characteristic of the Watson-Crick model of the DNA, that of the deoxyribonucleic acid. When Drs. Watson, Wilkins, and Crick made their famous model of the DNA, they made a chemist's reconstruct from the information they were receiving, but not as a microscopic photograph taken through a camera. It was simply a schematic reconstruction of the data they were receiving regarding the relevant chemical associating and the disassociating. They found that a helix was developing.

933.06 They found there were 36 rotational degrees of arc accomplished by each increment of the helix and the 36 degrees aggregated as 10 arc increments in every complete helical cycle of 360 degrees. Although there has been no identification of the tetrahelix column of synergetics with the Watson-Crick model, the numbers of the increments are the same. Other molecular biologists also have found a correspondence of the tetrahelix with the structure used by some of the humans' muscle fibers.

933.07 When we address two or more positive or two or more negative tetrahelixes together, the positives nestle their angling forms into one another, as the negatives nestle likewise into one another's forms.

933.08 Closest Packing of Different-sized Balls: It could be that the CCTA tetrahelix derives from the closest packing of different-sized balls. The Mites and Sytes (see Sec. 953) could be the tetrahedra of the GCTA because they are both positive- negative and allspace filling.


The Polytope Press Research Group finds Fuller’s fourth dimensioning vocabulary careless in this case, but the key point, pardon the pun, remains valid:

In effect, music and matter are made one.

Actually, because of the shape of DNA as conceived more accurately, we can see how pentagonal dodecahedra can match the math as well as reinforcing many golden realities.

This fantastic link explains:

This excellent article and accompanying videos show the role of the golden mean and the music of nature in shaping life.

Matter may be considered standing waves.

The earliest life forms were symmetric: spheres, rods and cones.

As we approach the grander multicellular life forms—plants, insects, humans—the body conforms to a musical/mathematical combination of soul decisions and golden mean geometry.

First, observe the following (use the link to see the images):,each%20of%20the%20new%20stems.

The author writes:

The famous Fibonacci sequence has captivated mathematicians, artists, designers, and scientists for centuries. Also known as the Golden Ratio, its ubiquity and astounding functionality in nature suggests its importance as a fundamental characteristic of the Universe.

We've talked about the Fibonacci series and the Golden ratio before, but it's worth a quick review. The Fibonacci sequence starts like this: 0, 1, 1, 2, 3, 5, 8, 13, 21, 34, 55 and so on forever. Each number is the sum of the two numbers that precede it. It's a simple pattern, but it appears to be a kind of built-in numbering system to the cosmos. Here are 14 astounding examples of phi in nature.

Leonardo Fibonacci came up with the sequence when calculating the ideal expansion pairs of rabbits over the course of one year. Today, its emergent patterns and ratios (phi = 1.61803...) can be seen from the microscale to the macroscale, and right through to biological systems and inanimate objects. While the Golden Ratio doesn't account for every structure or pattern in the universe, it's certainly a major player. Here are some examples.

1. Flower petals

The number of petals in a flower consistently follows the Fibonacci sequence. Famous examples include the lily, which has three petals, buttercups, which have five (pictured at left), the chicory's 21, the daisy's 34, and so on. Phi appears in petals on account of the ideal packing arrangement as selected by Darwinian processes; each petal is placed at 0.618034 per turn (out of a 360° circle) allowing for the best possible exposure to sunlight and other factors.

2. Seed heads

The head of a flower is also subject to Fibonaccian processes. Typically, seeds are produced at the center, and then migrate towards the outside to fill all the space. Sunflowers provide a great example of these spiraling patterns.

In some cases, the seed heads are so tightly packed that total number can get quite high — as many as 144 or more. And when counting these spirals, the total tends to match a Fibonacci number. Interestingly, a highly irrational number is required to optimize filling (namely one that will not be well represented by a fraction). Phi fits the bill rather nicely.

3. Pinecones

Similarly, the seed pods on a pinecone are arranged in a spiral pattern. Each cone consists of a pair of spirals, each one spiraling upwards in opposing directions. The number of steps will almost always match a pair of consecutive Fibonacci numbers. For example, a 3-5 cone is a cone which meets at the back after three steps along the left spiral, and five steps along the right.

4. Fruits and Vegetables

Likewise, similar spiraling patterns can be found on pineapples and cauliflower.

5. Tree branches

The Fibonacci sequence can also be seen in the way tree branches form or split. A main trunk will grow until it produces a branch, which creates two growth points. Then, one of the new stems branches into two, while the other one lies dormant. This pattern of branching is repeated for each of the new stems. A good example is the sneezewort. Root systems and even algae exhibit this pattern.

6. Shells

The unique properties of the Golden Rectangle provides another example. This shape, a rectangle in which the ratio of the sides a/b is equal to the golden mean (phi), can result in a nesting process that can be repeated into infinity — and which takes on the form of a spiral. It's called the logarithmic spiral, and it abounds in nature.

Snail shells and nautilus shells follow the logarithmic spiral, as does the cochlea of the inner ear. It can also be seen in the horns of certain goats, and the shape of certain spider's webs.

7. Spiral Galaxies

Not surprisingly, spiral galaxies also follow the familiar Fibonacci pattern. The Milky Way has several spiral arms, each of them a logarithmic spiral of about 12 degrees. As an interesting aside, spiral galaxies appear to defy Newtonian physics. As early as 1925, astronomers realized that, since the angular speed of rotation of the galactic disk varies with distance from the center, the radial arms should become curved as galaxies rotate. Subsequently, after a few rotations, spiral arms should start to wind around a galaxy. But they don't — hence the so-called winding problem. The stars on the outside, it would seem, move at a velocity higher than expected — a unique trait of the cosmos that helps preserve its shape.

8. Hurricanes

9. Faces

Faces, both human and nonhuman, abound with examples of the Golden Ratio. The mouth and nose are each positioned at golden sections of the distance between the eyes and the bottom of the chin. Similar proportions can been seen from the side, and even the eye and ear itself (which follows along a spiral).

It's worth noting that every person's body is different, but that averages across populations tend towards phi. It has also been said that the more closely our proportions adhere to phi, the more "attractive" those traits are perceived. As an example, the most "beautiful" smiles are those in which central incisors are 1.618 wider than the lateral incisors, which are 1.618 wider than canines, and so on. It's quite possible that, from an evo-psych perspective, that we are primed to like physical forms that adhere to the golden ratio — a potential indicator of reproductive fitness and health.

10. Fingers

Looking at the length of our fingers, each section — from the tip of the base to the wrist — is larger than the preceding one by roughly the ratio of phi.

11. Animal bodies

Even our bodies exhibit proportions that are consistent with Fibonacci numbers. For example, the measurement from the navel to the floor and the top of the head to the navel is the golden ratio. Animal bodies exhibit similar tendencies, including dolphins (the eye, fins and tail all fall at Golden Sections), starfish, sand dollars, sea urchins, ants, and honey bees.

12. Reproductive dynamics

Speaking of honey bees, they follow Fibonacci in other interesting ways. The most profound example is by dividing the number of females in a colony by the number of males (females always outnumber males). The answer is typically something very close to 1.618. In addition, the family tree of honey bees also follows the familiar pattern. Males have one parent (a female), whereas females have two (a female and male). Thus, when it comes to the family tree, males have 2, 3, 5, and 8 grandparents, great-grandparents, gr-gr-grandparents, and gr-gr-gr-grandparents respectively. Following the same pattern, females have 2, 3, 5, 8, 13, and so on. And as noted, bee physiology also follows along the Golden Curve rather nicely.

13. Animal fight patterns

When a hawk approaches its prey, its sharpest view is at an angle to their direction of flight — an angle that's the same as the spiral's pitch.

14. DNA molecules Even the microscopic realm is not immune to Fibonacci. The DNA molecule measures 34 angstroms long by 21 angstroms wide for each full cycle of its double helix spiral. These numbers, 34 and 21, are numbers in the Fibonacci series, and their ratio 1.6190476 closely approximates Phi, 1.6180339.


Can the golden ratio translate to music? And what music does nature play exactly? Does it use the Western scale of notes with the very same frequency values? Does it use even tempering? The golden ratio?

Let us understand the origins of music in nature as never before.

First we note the accepted frequencies in hertz, or cycles per second, for notes in the modern Western scale:

C 262

C# 277

D 294

D# 311

E 330

F 349

F# 370

G 392

G# 415

A 440

A# 466

B 494

Now let us see if we can derive these very frequencies using the Fibonacci series of 0,1,1,2,3,5,8,13

Whenever any note is played, we hear its frequency, but unperceived by most are secondary, very faint frequencies that stem from the tone. These secondary tones one could hear can be identified and turned into other notes in a musical scale. So if we play the note of A as a fundamental note, it generates a scale.

We have only to use the Fibonacci numbers in ratios to show how these harmonic frequencies are generated.

To get C, the first note, we use the Fibonacci numbers 3 and 5, as 3/5 the frequency of 440 is 262.

To get C#, we use 5 and 8, as 5/8 of 440 is 277.

D is 2/3 of 440, 293

D# is about 1 and 2/5 of 440, yielding 616--which has an octave at 308, close to 311.

E is 3/4 of 440, to get 330, which seems off when you use a four, but its octave, 660, is 3/2 of 440.

F is 8/5 of 440 at 704, tempered to 698.46—an octave of 349.

F# is 5/3 of 440, yielding 740, the octave of 370

G is 3/2 of C, yielding 392

G# is close to 5/3 of C at 415

A is arbitrary as a start point.

A# is close to 5/3 of C# at 466

B is close to 5/3 of D at 494

For more on this math, see this article:

That D#, G#, A#, and B are merely close and not exact may be indicative either that their frequencies were poorly chosen, or that they should perhaps be abandoned altogether....

In any case, we now see that in the Western scale, the frequencies are indeed derived from the golden ratio. And if, around the planet, there are some 3000 variations of scales used, might that be because so many attune to a different drummer?

As for the note of A being an arbitrary value, should it be?

Evidently, cymatics suggests it should not. When A is instead chosen as 432 hertz, one sees a more radiant waveform in water.

See this for yourself here:

Was the selection of A as 440 hertz truly arbitrary?

Evidently not.


Most of the music around the world has been tuned to 440 hertz since ISO or International Standards Organization endorsed it in 1953.

The recent discoveries of vibratory or oscillatory nature of the universe that happened recently show that this contemporary international pitch standard may actually generate an unhealthy effect or anti-social behavior in the consciousness of humans.

A=432 Hz, which is known as Verdi's ‘A', is actually an alternative tuning which is mathematically consistent with the universe. The music which is actually based on 432 Hz transmits some beneficial healing energy, as it is a pure tone of math fundamental to nature.

There is also a theory which says that the change from 432 Hz to 440 Hz was actually dictated by Nazi propaganda minister, named Joseph Goebbels. He used it in order to make people think and feel a certain manner, as well as to make them a prisoner of a certain consciousness. Then, somewhere around the year 1940, the United States introduced 440 Hz around the world, and finally, in 1953 it became the ISO 16-standard.


440 Hz is, in fact, the unnatural standard tuning frequency, which is removed from the symmetry of sacred vibrations, as well as overtones which also has declared war on the subconscious mind of Western Man.

In one paper which is entitled ‘Musical Cult Control’, Dr. Leonard Horowitz wrote:

The music industry features this imposing frequency which is ‘herding’ populations into some greater aggression, psycho social agitation, as well as emotional distress predisposing people to some physical illness.


Further, from we get:

The Schumann Resonance – The Earth's Heartbeat

To understand the popularity behind 432 Hz, we need to first learn about the Schumann Resonance. This will ultimately explain the number’s importance.

A German physicist, Winfried Otto Schumann, documented the Schumann Resonance in 1952.

He understood that global electromagnetic resonances exist within the cavity between the Earth’s surface and the inner edge of the ionosphere.

He determined that the frequency of these electromagnetic waves is very low, ranging from 7.83 Hz to 8 Hz.

The Earth used to resonate at a steady average of 7.83 Hz, but in recent years we've seen a shift more towards an average of 8 Hz.

This frequency range is referred to as the Earth’s heartbeat, or vibration.

The Link Between 432 Hz and 8 Hz

So what's 432 Hz got to do with the Schumann Resonance of 7.83 – 8 Hz?

Well, musically speaking, the two resonate with each other.

Here's a fairly simplified explanation of how this came about, without too much math.

In 1713, a French physicist named Joseph Sauveur came upon a new concept:

Rather than tuning music at 440 Hz or other variations, he noted that by placing middle C at 256 Hz, you could create a system where each octave (or factor) of C lands on an even integer (whole number), instead of containing awkward decimals.

It is those awkward decimals he alluded to that make conventional music tuning (440 Hz) not sound as nice as music played at 432 Hz.

So, when we tune an instrument to 432 Hz, we get a C note at 256 Hz, which, due to the sympathetic resonance of the note overtones, will produce another C at exactly 8 Hz.

This frequency of 8 Hz – which is at the top end of the Theta brainwave state – is the brainwave state that makes us feel relaxed but conscious and open to intuitive learning.

So 432 Hz and 8 Hz are intrinsically linked in this way.

Scientific pitch, also known as Sauveur pitch or Verdi tuning, is an absolute concert pitch standard which is based on middle C (C4) being set to 256 Hz rather than 261.62 Hz, making it approximately 37.6 cents lower than the common A440 pitch standard.

Why 432 Hz Resonates with Humans

The next question is: okay, so the musical theory makes sense, but why bother tuning to 432 Hz in the first place?

Well, firstly because it actually makes more sense, from a music theory stand point. You tune to nice whole numbers and not decimals – which are awkward.

But on a more primitive and spiritual level, one would presume it optimal to play music in alignment with our planet, with nature.

We know that prolonged exposure to certain frequencies can cause us to feel adverse physical effects.

Think for a moment about all the frequencies that travel through your brain on any given day: from cell phones, Wi-Fi, 5G, radio, and microwaves.

All these devices transmit at different frequencies. These manmade inventions are constantly penetrating our brains with different frequencies.

It is no wonder that devices that emit artificial electromagnetic radiation have been linked to cancer, depression, insomnia, and even miscarriage (2, 3, 4).

Also consider the repelling frequencies of car alarms, speaker or microphone feedback and the dental drill.

Then consider natural frequencies, such as birds singing, leaves rustling, rain, an ocean breeze. Do these things bother you, or comfort you?

These everyday vibrations made by Mother Nature resonant with our being.

They have, over the centuries, inspired the creation of instruments: think of the wind whistling through a hollow tree, and then consider the creation of the flute.

It makes sense that listening to music tuned to 432 Hz (8 Hz) would make us feel more calm and balanced; because it's in our DNA. We come from the Earth. We are part of the Earth.

432 Hz: Healing Through History

Dating back a couple of centuries, there is fair evidence of instruments being tuned to the 432 Hz frequency.

The Stradivarius violins, which were built throughout the late 17th and early 18th centuries, were tuned at 432 Hz and renowned for their superior construction and sound.

Using a Korg Tuner, researcher Jamie Buturff looked into the recordings of Tibetan singing bowls and found that they were tuned to 432 Hz.

The purpose of this is undoubtedly to promote a meditative state and subsequent healing.

Additionally, According to international researcher and musician Ananda Bosman, the majority of instruments unearthed from ancient Egyptian and Greek sites are tuned to A=432 Hz.

Indeed, sacred sites all over the world are encoded with the geometry and number of 432.


Please see the full article for even more insights.

Is it a coincidence the Queen’s chamber in the Great Pyramid resonates at 432 hertz? Not to readers of Hidden History of Humanity. The Atlantians encoded the harmony of nature in their greatest constructs, intending humanity, their Atlantian creations, would one day grow to value the splendor of harmony with nature. We can regain such a paradise if we learn to exist in harmony with nature as the book details. After reading it, the path ahead awaits us in exploring music to ever greater depths.

As the previous narrowgate link shows wondrously, the Verdi natural scale attunes one to DNA, as a whole and in parts that lead one to the chromatic scale, plus elegant waveforms in water, and the resonance of the planet itself.

If there is indeed a scale of nature, this may be its best candidate.

Thus inevitably we find ourselves led back to the proposed scale of Verdi, with A as 432 Hz. For the musicians who want all those note values, they are these:



A#=458.2 (*456+24)

B=486 (*480 =432+48)



D= 288*



F=(341.3) (cymatics 345) 345.6

F#=362 (360*)


G#=407.3 (408*)

*=special 369 values. One can can use the golden series in the following way: 2x3x5x8=240, which doubles to 480. One may then remove ninths and sixths to get interesting numbers!

Note there may be some small flexibility in the cycles per second for some of these values. Experiment and learn!

Nor is this scale the only one of note. There is an ancient scale said to have almost mystical properties: the solfeggio scale.


The monks used these original six Solfeggio notes – 396 Hz, 417 Hz, 528 Hz, 639 Hz, 741Hz, and 852 Hz – in their Gregorian chants.

“Music gives a soul to the universe, wings to the mind, flight to the imagination and life to everything.” ― Plato

The Ancient Solfeggio Scale

Way back in the 11th century, a Benedictine monk named Guido d’Arezzo introduced the musical scale that we now know as the Solfeggio frequencies – though some argue they’re even older than that.

The monks used these original six Solfeggio notes – 396 Hz, 417 Hz, 528 Hz, 639 Hz, 741Hz, and 852 Hz – in their Gregorian chants. The ancient space the Monks used to sing at was built with unique acoustic to resonate the solfeggio frequencies into a higher Volume. The most known Gregorian chants are TANTUM ERGO SACRAMENTUM, AVE MARIA, and MISSA DI ANGELIS. By the 16th century, the scale was lost, though the exact cause is unknown.

Some say the Solfeggio was simply abandoned for a new music scale, others argue that it disappeared among the political and religious turmoil of Western Europe’s Middle Ages, and there are even some who posit some more, well, conspiratorial theories, from Biblical secrets to plots by the Roman Catholic Church, but we won't get into it here.

Whatever the cause, the six-tone Solfeggio, also known as “Just Intonation”, was replaced by the “Twelve-Tone Equal Temperament”, which is what we still use today.

Why the Ancient Scale Is Important

But why exactly is this important? Why should you care how musicians tune their work?

The Solfeggio frequencies are mathematically consistent with the patterns of our universe and, as we’ll explain below, have been shown to have significant healing abilities.

“If you only knew the magnificence of the 3, 6 and 9, then you would have the key to the universe.” ― Nikola Tesla

Imagine 2 planes of existence, Frequency is a vibration in the lowest plane, and the Body in the highest plane (even though there are many more planes of existence), The frequency we hear, start manifesting as geometrical patterns (Kymatics), then those geometrical patterns become our Atoms, Molecules, Cells, Organs and the Body itself. That means that the frequency we hear can affect the processes of different organs in our body.

From repairing emotional trauma and opening up our consciousness to deepening our relationships and even altering our very DNA, this ancient scale has far-reaching potential.

The good news is, the Solfeggio frequencies are lost no more. In the 1970s, a man named Dr. Joseph Puleo was inspired to use Pythagorean math to examine the Book of Numbers in the Old Testament Bible. In Chapter 7, verses 12 through 83, he uncovered a pattern.

And this pattern just so happened to coincide with the original six Solfeggio notes. Puleo published his work in the book, Healing Codes for the Biological Apocalypse, in partnership with Dr. Leonard Horowitz.

The Original Solfeggio Tones:

396 Hz (UT): Turning Grief into Joy, Liberating Guilt & Fear The first or lowest frequency, 396 Hz, is associated with the tone ‘Ut’. This frequency is important because of its ability to ease and remove the feelings of guilt and fear we’ve accumulated throughout our life.

These negative emotions are often holding us back from our goals, so clearing them from our conscious and subconscious mind enables us to make new progress in both the material and spiritual world. With 396 Hz, we spend less time racked with grief and worry – and more time experiencing the joys and endless possibilities of life.

417 Hz (RE): Undoing Situations & Facilitating Change The next frequency in the scale, 417 Hz, is associated with the tone ‘Re’. It is the frequency of change and renewal. Just as guilt and fear can be an obstacle along with the path to growth, so too can the traumatic experiences we’ve had in life that remain impressed or weighed upon our consciousness.

Like the waves washing the beach, 417 Hz clears the debris of negative memories and influences from our mind and soul, helping us change our perspective and face the present and future with fresh eyes and a fresh spirit.

528 Hz (MI): Transformation, Miracles & DNA Repair As we continue to work our way down the scale, we come to 528 Hz, which is also known as ‘Mi’. Mi is said to come from the Latin word Mira gestorum, or “miracle”. Which is fitting for this note that brings what might be called miraculous transformation, not only in our consciousness – but in our very DNA.

528 Hz is used in DNA repair, which brings with it increased energy, clarity, and peace of mind and spirit, along with enhanced creativity. 528 Hz’s effects have also earned it the name the “Love frequency”.

639 Hz (FA): Re-Connecting & Balancing Relationships The fourth frequency on the scale is 639 Hz or ‘Fa’. It’s a tone of connection and relationships, creating peace and harmony in our relations with the people around us. Whether friends, family, or strangers, it can smooth over any rockiness or resentment between us and our loved ones.

Fa is a social frequency, one of understanding, sympathy, tolerance, and mutual respect.

741 Hz (SOL): Solving Problems, Expressions & Solutions At the fifth frequency, we come to 741 Hz, otherwise known as ‘Sol’. This is the tone of problem-solving, more specific problems relating to our ability to express ourselves freely and openly.

741 Hz frees us of the emotional restrictions, but it also removes toxins and electromagnetic radiation from our cells. It promotes a healthier and more stable life, both emotionally and physically.

852 Hz (LA): Awakening Intuition, Returning to Spiritual Order As we’ve climbed the scale from the lowest to the highest frequencies, we find ourselves dealing with higher planes of consciousness. 852 Hz or ‘La’, the last of the original Solfeggio frequencies, enables us to connect with a higher power, the ever-present spirit of the universe, and gives us a glimpse of the spiritual order, while also bringing us more in tune with our own higher self.“Music produces a "kind of pleasure which human nature cannot do without.” ― Confucius

Additional Solfeggio Tones:

While the ancient Solfeggio frequencies detailed above are the most notable and enduring, having been used for hundreds if not thousands of years, Dr. Leonard Horowitz has applied the same patterns used to recover the original six tones to reveal three more frequencies.

174 Hz The lowest tone, 174 Hz, also affects us on the lowest plane, namely that of our physical body and energy. It’s a natural anesthetic, relieving pain both physically and energetically while giving our internal organs a greater sense of security and comfort.

285 Hz The next frequency, 285 Hz, goes even further in its treatment of the body, healing our skin and muscle tissue to remove burns, lacerations, and other damage. It improves our health and overall well-being by rejuvenating our body, mind, and energy levels.

963 Hz Again we see that higher frequencies affect higher planes, as we come to 963 Hz, which takes us yet a step further than 852 Hz. This note connects us with the perfection of the universe, allowing us to tap into the Oneness that permeates everything that is and will be.

How Solfeggio Frequencies Can Help You:

Our universe, from the sun to the stars to the device that you’re reading this on are made up of energy and vibrations. And what is a musical frequency? It’s yet another form of vibration.

We know that music affects the mind and body. Indeed, that is why music has always been a fundamental part of human existence. From early drumming to complex orchestral compositions, music resonates with life.

It is no coincidence that certain tuning, certain frequencies have specific effects. After all, why did those Benedictine monks of the 11th century tune their chants, which were essentially their prayers to a higher power, to the Solfeggio?

These frequencies have the power to transform your life, alleviate your emotional and physical ills, and connect you with the universe. And it’s as simple as listening to music.

As you saw above, we are made of Vibration (as Quantum physics says), with the current knowledge science has, we don't understand the effect of specific frequencies on the human body, as science in the cosmic time has just emerged a second ago, but if we check the ancient traditions that are on this planet for a very long time and survived many years, we can find the same patterns all around the globe, from Tibetan monks chant to Hindu mantras to gregorian chants and even the Siberian shamans, all used music and frequencies as a tool to Heal, Balance and take the Body and Mind into different kind of journies.

Now it is your time to be the modern Shaman or Monk, to be your a leader, and Heal, Balance, and go into those journeys by yourself for yourself!


It is noteworthy that some say these tones, when sung together as many monks once did, generate difference tones, or sum tones (tones made by the subtraction or addition of these frequencies) and these can be dangerous, some going so far as to say they are of the devil, and expelling monks from the church who sang them together. The tones appear to work best in sequence, as background tones, and even then, it appears their true origin is mainly the 528 tone.

From:, we get:

The conversion between sound and light is partly speculative, and largely not. NASA scientists recorded the sound of the sun, that can be heard to waffle around 528Hz, and we know 528nm is the heart of the rainbow, that is, sunshine moving through water. 528 “LOVE Hertz,” Dr. Horowitz explains, “vibrates chlorophyll—explaining why grass is green–and oxygen broadcasts the ‘HA’–pure ‘LOVE energy,’ like ‘ALOHA’–to heal what ails you!”


So in other words, the Verdi just chromatic scale attunes us to the Earth, and the solfeggio with 528 attunes us to the sun.

For those who wish to see the cymatic imagery of these special tones, they may do so here:

From the same website, on a different page, we have:

In his newest book, Just Six Numbers, Rees argues that six numbers underlie the fundamental physical properties of the universe, and that each is the precise value needed to permit life to flourish. In laying out this premise, he joins a long, intellectually daring line of cosmologists and astrophysicists (not to mention philosophers, theologians, and logicians) stretching all the way back to Galileo, who presume to ask: Why are we here? As Rees puts it, "These six numbers constitute a recipe for the universe." He adds that if any one of the numbers were different "even to the tiniest degree, there would be no stars, no complex elements, no life." (From Discovery Magazine). As some authors have speculated, could these tones have played a role in the miraculous shattering of Jericho’s great wall in six days before falling on the seventh day? Some scientists are now stating that if we have been created, we most likely would have been sung into existence. Is it possible that the six days of creation mentioned in Genesis represent six fundamental frequencies that underlie the universe? Religious scholars believe both events occurred as a result of sounds being spoken or played.

Other scientists, including the geniuses Nikola Tesla, Raymond Rife, as well as Mozart, Haydn, Beethoven, and Chladni, all must have known about, and used the concept of, the inherent power of threes, sixes, and nines. So we are dealing with three powerful numbers: 3-6-9. Everyone of the six Solfeggio Tuning Forks all add up, individually to the Pythagorean scheme of 3-6-9. In fact, because there are two sets of 3-6-9 (anagrams) in the solfeggio, they are even more powerful as these combinations serve as "portals" to other dimensions!



So now we see how musical creation can occur. But what exactly generates such music?

While sacs called vesicles can form from simple electrical forces, as well as RNA and DNA, especially when aided by clays, when the first living cell was created, it showed remarkable innovations not explicable by simple forces. These included the ribosome systems for protein synthesis, the lavishly complex cellular engine for ATP synthase, and intricate cell membrane gates.

The work of Bechamp, Rife, Reich and Naessens appears to answer the question of their origin, especially that of Naessens. Naessens found tiny pleomorphic bodies he called somatids which he proved were more fundamental than DNA. In other words, he could transplant somatids from one rabbit to another, not DNA, and the rabbit would change characteristics. This suggests that these bodies, whether called microzymas, bions or somatids, are playing the etheric music resulting in DNA strands, which in turn code for complex structures in matter.

Sharry Edwards shows that a healthy human is balanced on all frequencies. It is logical to believe this applies to all life forms.

Once the first cell was made, species advanced driven by bions and their eternal quest to balance the frequencies in a host organism. The reason why, in geological time, simple species began alone, was that the music of life was slowly built by the choices of the living. Each significant change in the life music summoned new forms of being that always conform to the sum of ambient forces: the origin of species. Afterwards, genes could indeed be shuffled by husbandry and voluntary mating.

As the bodies advance to greater stages of interdependent specialized cells, with more complex organs, it is but the musical amplification of frequencies that encode new forms of standing wave matter in body systems.

As D’Arcy Wentworth Thompson concluded long ago, life forms are but diagrams of forces.

One of those forces is etheric.

Artists understand this instinctually. Lower frequency creatures are competitive predators, and are drawn with horns, claws and fangs. All souls must confront the apparent scarcity scenario, where they must make the choices among competing, sharing or transcending. The more one chooses to compete, the greater the lower frequency forces. These affect the physical body much as internal geological pressures affect a planetary crust. The plates of the crust are akin to patches in tissue, which under pressure are forced against one another. On a planet, this can lead to subsidence and the formation of valleys, or projections, like those of mountains. In animate bodies, this can result in pores, or in horns, claws and fangs at nodes of matter patches.

Think of a desert. Devoid of most life, lower frequency forces prevail. And thus we see plant life of spikes, needles, barbs, and so on, overseen by horned toads, molochs with spiked skins, snakes with venomed fangs, and tactics like those of the trapdoor spider.

We learn from nature the nature of existence itself: all is being summoned into being by conscious thought.

When pathology arises in a human, Bechamp observed the early stages. Choices were made, leading to acidity. In those conditions a red blood cell transformed into a bacterium. Pathology was thereby summoned into being. And once threatened, the system then summoned macrophages into being to counter the threat, macrophages that did not exist until a signal was sent for other structures called monocytes to combine and form macrophages, thereby summoning those into being.

Louis Kervran, in seeking truth, may have inadvertently added one of the most vital clues of all. In his unexpected book, Biological Transmutations, he proposes that bacteria can transmute elements at room temperature. Should this be possible, a new paradigm emerges.

All life forms are bacterial colonies. When a lifeform is in harmony with its environment, its template easily shapes its matter. But when in discord, its cells begin to regress back to their original bacterial forms. Conditions like clean water, favorable minerals, and optimal pH attract friendly microbes. But vibrational conditions are paramount. When conditions are right, a given bacterial colony can create a new life form template—a new species—to improve its possibilities inside a new host. This would help explain why LL Larison Cudmore’s book, The Center of Life: A Natural History of the Cell, suggests strongly that bacteria lie at the heart of evolution as she understood it.

At the heart of all life is the soul, which drives the aura into being as the sum of prior soul decisions. The most basic soul, with seven chakras attached, makes decisions in its experiences. Each decision attunes the soul higher or lower in frequency, and each chakra to a different frequency, until the soul attunes to a specific energy body, whose wavebased music is translated into DNA.

All of these ideas reinforce the concepts offered in Natural Healing Self Empowerment at this website: nutrients have frequencies, and even when matter is lacking, the human form may be distorted or enhanced by frequencies of sound and light.

All life is a harmony of sound and light.

All sapient life can choose concord or discord.

Therefore, ultimately, all traces back to the decisions of conscious beings.

As life advances, the brains intensify, and thus the frequency and the amplitude of the waves that can create. Consciousness gains new octaves.

The soul in effect, is slowly gaining the frequency of creating its own energy templates, as we all do when dreaming, summoning different forms of reality into being.

So many complain of their existences, and the threats against them.

But reality is in all our hands. If we dislike our current reality, we have only to summon a new one into being by changing the waveforms of our thoughts to higher frequency ones in accordance with the wisdom of Schauberger:

Comprehend and imitate nature.

The military is never the only way.

The distinction between conformation and evolution is clear. Evolution should occur if animals simply reproduce enough over time. But if conditions are the same, conformation predicts no change of species where evolution predicts inevitable change.

The reason there has been so much change in species forms in recorded history is because there have been so many cascades from conscious decisions that drastically altered the environment of the solar system.

These changes will continue to occur chaotically as conscious beings remain ignorant of the rules of nature, especially in lacking educational systems that hide the work of the valiant pioneers as mentioned in the beginning of this paper.

This paper could easily be turned into a book simply by including the work of all those pioneers sequentially, and at one point that may be done.

But for now, a new paradigm of being is presented, one which it is hoped others may build upon.

We hope you have enjoyed this introduction to conformation theory. A primitive soul could, as Spencer did, choose to view the world as being a malicious one of competition, promoting the survival of the fittest, but a more advanced soul sees this world as being a musical one of composition, where every lifeform plays its part in a grand symphony, promoting the thrival of the harmoniest. Our octave of reality seems exactly between the lower realms of competition and the higher realms of composition. If you are curious what best enables you to access the higher realms of composition, to look beyond biblical creationism and random evolution, the example set by the aforementioned Schauberger shows the way with his two primary pieces of advice.

The first you have already seen in this paper: Comprehend and imitate Nature.

But the second is perhaps the more essential:

Think an octave higher.

Fire in!

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