Explaining the Six Solfeggio Frequencies

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Solfeggio Frequencies

I have been asked frequently about the other five frequencies that accompany the 528Hz frequency in the total Solfeggio Frequency array. Just last week I was asked by one of my listeners in a comment they made so I promised them I would write a post on that subject to explain in more detail how things come together.

There are six frequencies that have been designated by many as the Solfeggio Frequencies. They are as follows: 396Hz – 417Hz – 528Hz – 639Hz – 741Hz – 852Hz. I will take each one separately to explain in more detail how to work with each one.

Each frequency is the “anchoring” frequency around which a harmonic scale is built. All of the harmonic scales that accompany these frequencies are corresponding to tuning your instrument to the A = 444Hz rather than the 440Hz. You cannot play any music that we would appreciate by just playing the six Solfeggio Frequency together – it would not sound harmonious. You could play something, but it would be very discordant – at least in my opinion.

So lets look at the 396Hz frequency first. The harmonic scale around which you play in this frequency would be tuned as follows: A – Bb – C – D – Eb – F – G   This gives you the key of B flat. Your major chords would be Bb – F – and Eb and your minor chords would be C minor – D minor – and G minor. If you were to play the 396Hz frequency as a droning note throughout a piece you were playing with this key, the note would always be in harmony with whatever chords you were playing.

Next comes the 417Hz frequency. The harmonic scale would be tuned as follows: A# – B – C# – D# – E – F# – G#, which would place you in the key of B natural which would give you the major chords of B – E – and F# and the minor chords would be C# minor – D# minor – and G# minor. Once again, the 417Hz frequency droned would harmonize with all the music played in this key.

The next frequency is the main healing frequency in which I record most of my music. It is the 528Hz frequency and it is tuned in to the F major key which is tuned as follows: A – Bb – C – D – E – F – G. An interesting aspect about this frequency is that you can also tune in the Bb to a B natural giving you the C major key and I find that some of the Psalms sound better in C major and some sound better in F major. In F major, you have the major chords of F – Bb – and C  and the minor chords of G minor – A minor – and D minor. In the key of C major you have the major chords of C – F – and G and the minor chords of D minor – E minor – and A minor.

The frequency of 639Hz brings us back to the key of B natural with the tuning of : A# – B – C# – D# – E – F# – G#. The chords are also the same as we noted above.

The 741Hz frequency gives us a new key for the harmonic scale. It is the key of A natural. It is tuned as follows: A – B – C# – D – E – F# – G#  and it has the major chords of A – E – and D and the minor chords of B minor – C minor – and F minor.

The final frequency of 852Hz brings us back to the harmonic scale tuned as follows: A# – b – C# – D# – E – F# – G#, which brings us back to the key of B natural with the same chords once again as noted above.

I have recorded a CD titled Tabernacle Prayer which has music recorded in each of these frequencies. I recommend that you purchase the book that is suggested to be included with the CD so that you can read for more understanding about where these frequencies come from and how I believe they were designed to impact our lives.

I hope this explanation has shed a little more light on how these frequencies are harmonized with the harmonic scales and chord keys so that you can begin to play with some music of your own creation and experiment with finding how the various frequencies can effect your lives and the lives of others.

Thank you for your continued interest and support – Steve

7 comments on “Explaining the Six Solfeggio Frequencies

  1. Thank you so much for this post. This is just the information that I’ve needed.

    I am also so grateful for your research and development in the playing of the psalms.

  2. PLEASE don’t stop. Your so right on, related to the a4=444Hz tuning. Just over a year ago
    I found the work at wholetones.com by Michael S. Tyrrell and his music recorded in
    396 417 444 528 639 741 and 852. REALLY helped my health. Now when you consider
    as a kid my aunts brother told me you can tune the guitar by ear just listen to it ring out
    and I always was tuned sharp relative to the tuner….. until I read the book that came with
    the CDs and the 444 tuning and its biblical origins. Picked up a guitar tuned by ear and
    when the tuner is set to A4-444Hz ref…. yes you guessed it dead on. I have even found
    some stereo mixes that tune up well via audacity software and have been only listening
    to that in addition to the wholetones mx. My health has improved so much, The only problem
    now is that when I’m in public hearing music or mixing a band tuned to the standard A4-440Hz I can feel the shift to stress response and my physiology actually change back in a negative
    direction. Steve K. H.

  3. Hi, as a musician, what determines what frequency you’re targeting? For instance, above there are 3 of the frequencies that require you to play in the key of B…so if you’re playing in B, are you swimming around all 3 frequencies or is there a way you can target just 1 of them by playing in the key of B? Does it really matter??

    1. What I work with is playing in the key that has the frequency sounding throughout the piece as you frequently strike that note/frequency. The chord progression out of the Psalm transposition helps determine which key works better. For instance the key of C major has the 528 Hz sounding throughout but so does the key of F major, but if the transposition shows a lot of B chords, then that indicates to me the key of F major with the Bb but still the C chord being dominant in the sounding of the 528 Hz throughout the piece. I know this may be hard to follow – hope I helped some. Thanks for your interest!

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