Sacred Sonics' geometric tuning systems tap into the natural geometries of nature, chemistry, acoustics, and energy. To create healing tones and music that are most compatible with the manifestation of healing and wellness. Each playable on standard equipment.
Experimenting with any of our tuning systems is as easy as loading a MTS file into your compatible keyboard or VST. Each tuning standard is designed to a twelve-tone octave and provide a wide assortment of harmonicly colorful tone palettes for composition of healing music.
Don't care to take the time building the tuning system files from scratch? We've got you covered. Our downloads area provides .TUN and .MTS files for every tuning system within the Sacred Sonics library. Purchase licenses for single or multi-packaged systems for fast download
Putting History and Research to Work... In Theory
Now we will continue our exploration of ancient contributions to the Sacred Sonics systems by exploring some specific aspects of the ancient Egyptian culture.
Now, let us consider the civilizations of the Egyptian era
Most of us have heard about and possibly even seen and marveled at the unearthed relics of what we call Ancient Egypt, located in the Nile River Valley of northeastern Africa.
Visiting a museum where the King Tutankhamen exhibit was making its Osaka, Japan stopover in 2012, was an especially memorable experience. This exhibition marked the first time that the ‘Tut’ exhibit made the trek to Japan. And, while many of the more recognizable pieces were not on display or were obvious replicas, these facts in no way diminished my enthusiasm for the experience. In fact, the following month, I also made it a point to attend the exhibit in Tokyo.
But, there were some significant things missing from the exhibit that were personally disappointing. The absent items were some bits and pieces related to the musical legacy and illustrations of musical performances from the New Kingdom dynasties of which the ‘Boy King’ is considered to be among fourteen pharaohs to occupy the throne that era.
Music, especially that of religious practice, was incredibly important to the ancient periods preceding Tut’s ascension to the throne. His father, Akhenaten instituted the first (and only) monotheistic religion in ancient Egypt, relegating the old gods to more historical and symbolic roles. This means that a complete revision of spiritual practice took place. And, that would necessarily have included sweeping changes in the arts, including the practice of music.
However, probably out of a healthy survival instinct, the new pharoah, Tutankhamen, reversed his father’s and mother, Nefertiti’s religious reforms. These reforms contributed to the overall decline in morale and production during the reign of Akhenaten and the 'monotheistic' period. And, the 'Boy King' was reportedly responsible for the reinstituting the old ways. The history of the reigns of Akhenaten and Nefertiti were all-but erased from the historical record out of shame, anger, and pure spite originating from the priest-class. Allowing this return to the established religious practices, was likely the only way Tutankhamen could avoid being killed by his vizier or some other court official, as the religion of Atenism was roundly rejected by the very powerful priestly class and… well, just about everyone else it would seem.
The writer's point in bringing this story to your attention is simply to illustrate that for various reasons and to secure a firmer grip on power, many leaders and religious organizations have significanty tampered with our musical foundations over the millenia. Standards, genres, and even the tones and actual compositions that are allowed to be publicly performed, have been incrementally tampered with over time. In this particular case, it seems that the People of Egypt did not at all, take kindly to a wholesale revision of their religious practices and all the associated trappings. It is believed that Akhenaten was murdered. Nefertiti eventually just... disappeared from all but honorable mentions in the histories. Neither mummy was every found. Moral of the story; Don't piss off Egyptian priests. Anyway, music is definitely one of the things, restored to the old ways after Akhenatan and Nefertiti 'departed' the scene. Later in this series of articles, I'll tell you what the Catholic church did to our music. It's just as bad if not worse, believe me.
So... one of the main things we would like to understand is; Why? Yes. Why has music, specifically the tonal standards used in that music, been the subject of so much revisionist attention from powerful religious and political powers? Is it nothing more than that irritating human belief that previous generations were just too ignorant to get it right? Or is there something deeper and even more idiotic, going on? These are all questions, more than worthy of significant contemplation because vast majority of modern music is essentially worthless for uplifting and healing applications. Whereas, the music of the ancient civilizations would have been wpcifically designed, from the roots-up (pun intended) to be just that; healing and uplifting. The conspiratorial among us, such as this author, may take to wondering if the obsession, among so-called religions and politicians, with altering musical standards away from traditional norms, is an intentional act with some dark, underlying agenda.
Tthe whipsaw religious conflicts of the 18th dynasty must have been an incredibly interesting and chaotic time in which to be an artist or musician. The New Kingdom era, prior to its sudden end not long after the (also sudden) death of Tutankhamen, was a generally prosperous time for Egypt overall with the exception of that pesky monotheistic period initiated by Akhenaten. It would be incredibly fascinating to see and experience what must have been relatively rapid changes and even some technological advances in the practice of music.
But alas, like their predecessors of the Mesopotamian civilizations, almost all of the musical knowledge and instrumentation of this period has been obscured by the mists of time and the ravages of mercurial empire. What remains are merely artistic images of instruments being played and some very few examples of traditional instrumentation and musical notation for which, due to their fragility and perceived low priority, scant research has been permitted.
Thus, it is with some disappointment, that our knowledge of Egyptian music is limited to somewhat anecdotal bits of information, and has been woefully conflated with the music of other cultures in the region, such as Sumer-Akkhad, Anatolia, and Persia. The Hebrew period, thought by many to have occurred during this general era, must have had some significant influence as well. However, any such information has not, to the writer's knowledge, been evaluated or made public.
Contained within several historical texts from the Sumerian and Babylonian periods, we see indications that pre-dynastic Egyptian culture was merely a somewhat unique extension of Mesopotamian civilization. One that budded from the many conflicts of the Babylonian (Part I) period of history in which Marduk, unsatisfied with his own little fiefdom there, coveted the rule of the entirety of civilization. Marduk's arrogance and ambition eventually led to the fall of his city-state of Babylon (The first one). The writer can only assume that Enlil and Ninurta were directly responsible for this episode, as it was they who were most directly threatened by Marduk's actions and intentions.
The many cultural correlations between the two civilizations are illustrated in several coincidences and stark similarities existing between the myths of Osiris-Seir of Egypt (Possibly Ninurta, son of Enlil. But, also possibly Enki/Ea himself) and the sons of Enki from the Mesopotamian mythology, as well as the military struggles between Enki’s son, Marduk and his brother, Thoth (Ningishzidda in Sumerian lore). Marduk, according to some accounts, usurped the throne of the Sumerian Empire by subversion, revised the ‘sacred’ histories to favor himself, and established Babylon as his seat of power. He was evidently unseated during the first war of the gods, imprisoned (inside a pyramid of all things), and later returned to cause even more trouble and wars before eventually settling for usurping Egyptian rulership from the deity known as Thoth, (Ningishzidda in Mesopotamia). This Thoth (Ningishzidda) is, by many accounts, also a son of Enki (with Ereshkagil) and therefore, would have been half-brother to Marduk/Ra. Other accounts put him in a different family line, which makes little sense because only the lines of Enki and Enlil would generally be considered for rulership.
In some interpretations of the stories, it is suggested that Thoth was for a time, close to the goddess Hathor. Thoth was a god of science and many of the arts, while Hathor was considered the goddess of music among many other things, mentioned below. Their rumored interludes allegedly bore fruit in the form of a daughter. However, the child's name escapes the many sources of information on Hathor's many children. This is odd because, this child would have been a fairly high-ranking, full-blood in that society. Hathor was the main consort of Ra(Marduk) who as you may recall, was also a son of Enki. This factoid makes the story a little more skeevy in my estimation. But, when you live for thousands of years... Well, perhaps you get my meaning.
Nevertheless, Marduk eventually wrested control of Egypt from its rightful ruler, Thoth who had done a magnificent job bringing the civilization up to speed and, was deeply adored by the people he ruled. The salient point here is that Marduk apparently became the god/pharoah of Egypt and took the name of 'Ra', also appropriating the sacred myths as well as the reputation of Osiris for himself. This would have included all of the liturgy and music of Ra worship. He then made sweeping, revisionst changes to the social order to solidify his power and associate his name with every significant cultural legacy. This is the same thing he did in Babylon by altering the sacred texts and practices to make himself the grand-high god of all creation. In other words, he was a malignant narcissist with delusions of empire. Nothing original of any note apparently resulted from 'Ra' or his reign; except that religious practice were once again, along with all art and music, intentionally altered. And, this time, the changes stuck.
Man! Talk about a Game of Thrones!
Interestly, and because I simply cannot resist yet-another completely unrelated-but-great story; Thoth reportedly took all of his best people from Egypt, and went off to South America where he established a new civilization with a completely different language-base that none of the other 'gods' could understand. Thoth/Ningishzidda thus became Kukulkan of the Olmec and Maya as well as eventually taking the name Quetzcoatl of the Aztec. This stuff is written down on clay tablets, I'm not making it up!
The details are convoluted, disputed, and subject to much debate and alternative interpretation. Thus, we cannot be absolutely positive this was the exact sequence of historical/mytholgical events. However, the intended takeaway here is that; Predynastic Egypt (Zep Teppi through the time of the gods - lower-case 'g') was nothing more than a branching-off of Mesopotamian civilization because, the principle ‘deities’ involved in early Egyptian development were all of Mesopotamian origin. And Thoth is the one who did all the heavy lifting to get Egyptian civilization up and running smoothly... only to lose it all to the aspirations of his own ungrateful half-brother.
Thus, many of the same cultural themes ran through Pre-dynastic Egyptian culture as were to be found in Sumer, Ninevah, Ur, Uruk, Eridu, etc. Many of these themes continued well into the Old Kingdom and Middle Kingdom periods while others were irrevocably altered after the time of the 'Second Pyramid Wars' involving Marduk vs. Isis, Horus, and
There were some cultural high points from which we can definitely glean some information regarding musical artistry in these periods. And, one of the brightest points is a named goddess, who is known by her name derived from the Greek transliteration, 'Hathor.' It should be noted that her animal ‘form’ was the cow. Although that may seem strange to us today, it is actually a very high compliment, as was another appellation of ‘The Crone’. The cow is a source of many beneficial things that sustain life and care for the young while the Crone is the wizened mother of many.
These appellations and other aspects of the goddess, directly link Hathor to Mesopotamia and to the goddess Ninhursag/Ninmah who was also both the cow and the crone in her later manifestations. It is written in cuneiform tablets called the ‘Enuma Elish’ that a younger Ninhursag was responsible for ‘fashioning’ the human race along with Enki. In later times, she became the Crone of wisdom, known as Ninmah or 'Great Mother'. We will note here that the phonic utterance of 'Ma' or 'MaMa', is probably the most universally understood word in human culture. In every cultural instance, the meaning is the same, 'mother.' Even in languages that use a different word for 'mother,' it seems the meaning of these phoenetic sounds, is somehow understood at a mysterious, deep encoded level. Perhaps we all speak just a little Sumerian.
These correlations between the two goddesses make it appear as if they are one in the same. Thus, we see another strong indication that early Egypt was inextricably linked to Mesopotamian civilization and was, in the pre-dynastic to middle-kingdoms, merely an extension of it – although, as in any distinct civilization, many unique attributes drfinitely appeared throughout the history of Egyptian civilization.
In the later dynastic period of the New Kingdom, Hathor was somewhat overshadowed by Isis and to some extent Mut. But, common reverence for Hathor the Great Mother and Crone, survived until the extinction of the Egyptian religion at the end of the BCE era. In the end, more temples and shrines were dedicated to Sacred Hathor than any other Egyptian deity.
Hathor was music, familial love, dance, eroticism, fertility, maternal power and teaching of the women and children (especially the children). Of course, she had a dark side to her personality. But, this aspect was usually manifested in the protection of children as well as her various consorts, such as the entity named Ra. In short, she was the very epitome of the ‘Sacred Feminine’ power breathing life into the culture and excelling in that particular brand of Egyptian mysticism.
Hathor’s most prominent temple complex is located near the modern banks of the Nile River in Dendera (Dandarah/ دندرة), which is down-river and north of Luxor in Upper Egypt. Dendera therefore resides but a stone’s throw away (across the river Nile) from the Mortuary Temple of Hatshepsut in Deir el-Bahari (قسم الواحات الخارجة،), in the so-called Valley of the Kings. This is another significant site that we will later discuss.
That Hathor was deeply venerated far beyond Egypt’s main dynastic period is evidenced by the fact that both the Romans and Greeks performed extensive restoration work on her Dendera complex over the many years they occupied the country. The site of the temple has by some reports, been sacred to the goddess Hathor for as many as 10,000 years and has been renovated many times through the millenia. This number ’10,000 years’ is very interesting because, most mainstream estimates put the building of the Great Pyramid at only 4000-5000 years ago and, the origins of human civilization at 6,000 years. (The writer does not subscribe to the ‘official’ main stream dating prevalent to Egyptian structures or eras.) New evidence is ever-so-slowly shifting the timelines and narratives to more believable dates and events. But, there is still a long way to go before we see the unification of the various timelines of human history.
At any rate, It is this particular Dendera temple we will use to finally begin making our main point, which is that sound and frequency healing techniques go back at LEAST this far into antiquity. Hathor, coincidentally, was the chief deity of this particular artform as well.
One of the annex buildings of the Dendera site has some peculiar properties in its layout. There is a decidedly ‘cellular’ appearance, reminiscent of some medieval monasteries. This cellular design indicates to some… many, that it was designed with some acoustic ‘intent’, although opinions vary with the changing weather.
Whoever gave them such an idea must have been straight-up bonkers! Right?
Well, no. Actually, that is why these sites are so important. They take us back to a time when sound and frequency were commonly used and widely accepted as powerful medicine. Everyone from the most common laborer to the highest levels of society must have carried the knowledge that in the temple of Hathor, music and healing tones were a part of a wellness lifestyle.
The Priestesses of Hathor apparently nurtured this practice. And, Hatshepsut also seems to have provided such a healing space as a ‘parting gift’ to her people, by having a similar facility built on the grounds of her mortuary complex.
In a wall carving in one of Hatshepsut’s structures, there is a carved relief showing Hathor holding a sistrum, her musical instrument of choice. In other paintings Hathor uses a sistrum shaped like the ankh symbol. The presence of the ankh gives us every necessary indication that this is part of a musical healing ceremony.
Hathor, in her musical healing incarnation is often seen holding this ankh-shaped sistrum. Why the tomb carving doesn't is a bit of a mystery to this writer. However, the habitual representation of her with either the actual ankh or the ankh-shaped sistrum strongly indicates her healing skills. The sistrum itself is a shaken instrument that has three strings or wires upon which were threaded various metal disks much like the little disks one might see on a modern tambourine. These disks created a specific sound when shaken or struck in various ways, and thus ‘played’ for the performance or healing intended.
The sistrum was reportedly utilized for sacred music that both entertained and supported the healing process. Again, we do not know if specific tones may have been required upon each metal disk, or if it was simply a tonally agnostic instrument. In recent years however, reconstructions of these instruments have become increasingly popular and frequently utilized in sound and frequency healing applications.
It should also be noted here that chanting of various types was also used in the process of healing music sessions in Ancient Egypt. As in many spiritual and meditative traditions, the energy of the vowel sounds are considered powerful activators of the energies that support and heal the mind, body, and spiritual, tripartite structure of the complete human form.
In the book, ‘Sacred Sonics’, the author discusses and dissects several patterns and modes of ‘humming and chanting’ that are commonly utilized in many traditions around the world – and proposes several personal variations for individuals to tailor their experience to personal preferences.
There is SO much more to see and discuss. Pick up your copy of ‘Sacred Sonics’ today, at popular Paperback and eBook sellers to learn the rest of the story.
Honoring Nature and History To Affect Healing and Wellness
Geometric sound is not a unique concept within the musical realm. From the very beginning, great minds such as Pythagorus, Philalaos and many others have advocated for sounds that complement nature and the human-compatible frequencies
The nature of each tone in our geometric tonal systems can be reverse engineered using simple mathematics and geometry that have existed from time immemorial. One can trace the tone back to its roots in Pythagorean, Platonic, and Euclidean disciplines.
Depending on your choice of tuning system, the practitioner will immediately notice differing but naturally harmonic tonal balance allowing for an extremely wide range of tonal palettes and emotional colors to work from.
Technology is a musician's friend - to a certain limit. The wide range of tools available in the modern market are still capable of working outside the confines of standardized tuning. Geometric tuning systems are designed for this world.
The world of Sacred Sonics is for everyone. The systems are flexible enough to allow modification into non-geometric and microtonal tuning systems. It's all about nature and choice. Now, we can actually have BOTH.
The long story of Sacred sonics, geometric tuning, as well as the full library of tuning tables are fully documented in the book, 'Sacred Sonics' - available in paperback or ebook formats at the more popular book outlets.