Solfeggio Differences

 I never understood the Solfeggio.  They don’t make any kind of playable musical scale – they don’t seem to be harmonics of each other, you can’t create a melody out of them and they seem to have no relation to any other measured resonance.  Then in a video which I can no longer find, although this is pretty cool), I saw the image of two Solfeggio tones being subtracted from each other, and it occurred to me that the point of the tones (as Gregorian chants were supposedly their origin) was to create “difference notes” – a third note created by the unison singing or playing of two other notes.

Difference Tones

 With this idea in mind, I created a “difference table” to subtract every Solfeggio tone from every other, to see what those “difference notes” are:

Solfeggio difference

Down the left-hand two columns, you have the 5 Solfeggio tones and their frequencies – and above them, the same.  The area filled out in columns 4 through 8 are the result of subtracting the frequencies of each combination of Solfeggio frequencies – e.g. FA (at 639 Hz) minus UT at 396 Hz (in line 1) gives a new frequency of 243 Hz.  In the five right-most columns I’ve then compared this “difference note” to anything in the range of frequencies that I documented in the Harmonics of Nature page – based on the two “magic” frequencies of B-flat (7.2 Hz) and F (5.4 Hz) (which I discovered using a tone-generator to seemingly have a harmonic consonance with the background hum of our universe.  Take a look at the home-page, if you haven’t read that yet.)

In the chart above, I was surprised to find that the frequencies for B, F and E that we had generated from our harmonic series for these B-flat and F “still points” (see Harmonics of Nature, section) exactly corresponded to the subtraction of one Solfeggio frequency from another.  These four are highlighted in yellow and red.  And four other frequencies are pretty close (highlighted just in red): G-sharp, A, C, B-flat.

  • MI minus UT = 264 Hz (4.8 Hz deviation from our C at 259.2 Hz)
  • FA minus UT = 243 Hz = (exactly a B, although B is a note I avoid playing) !
  • SOL minus UT = 345 Hz (0.6 Hz deviation from an F at 345.6) !
  • SOL minus RE = 324 Hz (exactly an E) !
  • SOL minus FA = 408 Hz (5.8 Hz from a G-sharp at 403.2)
  • LA minus UT = 456 Hz (4.8 Hz from a B-flat at 460.8 Hz)
  • LA minus RE = 435 Hz (3 Hz from an A at 432 Hz)
  • LA minus MI = 324 Hz (exactly an E) !
  • LA minus FA = 426 Hz (6 Hz from an A at 432 Hz)

Let’s just take a step back to marvel at that coincidence.  The harmonic frequencies based on my tone-generator’s “still-points” described here – a bunch of frequencies that could be just the random imaginings of my fevered brow – exactly  match the results of playing two Solfeggio tones at the same time and capturing the “difference tone” which they generate, in Hz.

The Solfeggio difference-notes which exactly match our harmonic series are:

  • B (FA minus UT): 243 Hz
  • F (Sol minus UT): 345 Hz
  • E (both LA minus MI and SOL minus RE): 324 Hz.

These are not exactly matching frequencies from the Equal Temperament 440 Hz based modern musical spectrum.  Why would they? – that wasn’t invented until the 1930s:

  •  B: 246 Hz
  • F: 349.2 Hz
  • E: 329.6 Hz)

The Solfeggio difference-notes are also not matching frequencies from the Just Intonation 440 Hz based modern musical spectrum:

  • B: 247.5 Hz
  • F: 347.7 Hz
  • E: 330 Hz

They don’t even match a “fifths based” Pythagorean series based on A=432Hz:

  • B: 243 Hz
  • F: 341.3 Hz
  • E: 324 Hz)

So, all you guys going on about A=432 Hz – that’s only half the story.  Yes, A=432 Hz is part of the harmonic series.  But it’s not the foundation of it.  In fact, it’s just the Third of a Fifth of B-flat; and even when a tuner is set to “Pythagorean Just” using A=432 Hz as the foundation, it throws the F off, significantly from 345.6 to 341.3!  (See calibrating your tuner, in the Appendix at the bottom of the Home Page).

In fact, the difference-notes between the Solfeggio are exactly matching the harmonic series based on a B-flat of 7.2 Hz, as I had discovered with my tone-generator and calculated on the home-page:  B: 243 Hz, F: 345.6 Hz, E: 324 Hz

So, looking at the Solfeggio as “difference-notes” reinforces the correctness of the harmonic series I have documented in these pages.  And the harmonic series I had discovered reinforces the notion that the Solfeggio are “difference-notes”.  What are the chances of that?! 

I don’t hear anyone much talking about this on the internet – although obviously I’m not the first to surmise that the Solfeggio are intended to be “difference notes”.  The internet is jam-packed with various services playing these notes with nice production values – but generally, one at a time – which basically does nothing for you, and misses the point that they are supposed to be played – or sung – in combination.

Laying them out in sequence, the difference-notes generated by singing Solfeggio pairs together are:

  • A, B-flat/A-sharp, B, C (four semi-tones, all in a row, in fact
  • E, F, G-sharp (two semi-tones and a minor-third)

In relation to our harmonic series generated from the “magic” frequencies of 5.4 and 7.2 Hz, out of 15 possible Solfeggio “difference combinations”:

  • 4 Solfeggio combinations exactly match ours:  B, F and E (twice)
  • 5 Solfeggio combinations closely match ours: B-flat, A (three times!), and G-sharp
  • 4 Solfeggio combinations produce the same bungled approximation of B-flat (111 or 222 Hz)
  • There are no combinations of Solfeggio notes which create complete random noise, disparate from our harmonically generated keys based on still-points.

The natural frequency that is missed by the widest margin is our still-point note of B-flat.  The difference-frequencies show up by four different methods – but all giving either 111 or 222 Hz as the difference frequency.  That in itself is evidence of some heavy-duty encoding going on in the Solfeggio:

  • MI minus RE = 111,
  • FA minus RE = 222,
  • FA minus MI gives 111,
  • LA minus SOL gives 111.

Someone went to a lot of trouble to have 5 different Solfeggio frequencies (MI, RE, FA, LA, SOL)  which when played or sung together exactly produce the same difference-frequencies of 111 or 222.  These two frequencies are octaves of each other, but are not an actual note – at least not of the Western diatonic scale, falling exactly mid-point between an A and a B-flat in our harmonic scale.

To me, this rather simplistic number – 111 or 222 – looks like the work either of a simpleton trying to retrofit his/her idea of “symmetry” to the proceedings; or of a more intelligent person who has tampered with the frequencies in a way that would be obvious to people like ourselves – because we can see which notes are being exactly matched – and can surmise that B-flat at 460.8 (or octaves thereof) is the underlying frequency which is generating all of those harmonically related notes.  We can piece back together the correct Solfeggio note so that like the others, it falls within the harmonic scales generated from F and B-flat.  Because the other notes fit our harmonic series, and the most important note – our foundational B-flat note – is so obviously out of kilter with the harmonics generated from it, it’s easy to infer the correct frequency for B-flat and put the Solfeggio back together properly.

(Although there is one B-flat that seems to have survived largely unscathed, LA/UT – giving 456 Hz, which is pretty close to 460.8 Hz for our “still point” B-flat.)

It’s not clear to me how the Solfeggio frequencies were supposedly handed down through the centuries (or whether they originate from a much more ancient civilization), but perhaps our Gregorian monk ancestors (ok, not ancestors, as I guess they didn’t have children) didn’t have precise science, but were still trying to produce the same harmonic notes as difference-notes, held in secret and only made apparent through the act of actually singing the notes together – and now being found to be close to our discovered, “magic” resonances of B-flat and F, at 7.2 and 5.4 Hz.


But we’re not done yet.  Let’s examine the “secret” aspect of all this.  I think it’s fascinating that F and B are almost exact hits.  345 Hz vs 345.6 Hz for an F, and 243 Hz for a B.  And, F and B are a tri-tone apart.

Yes folks, the “tri-tone” interval – the augmented 4th – the geometric mid-point measured along an octave – the very interval that the Christian church condemned as the “Devil’s interval” – is readily (and EXACTLY) accessible by having three Gregorian monks – two of them singing FA and UT (to make difference tone of a B), and one of them singing SOL (which combines with UT to give an F) – standing about looking innocent, singing tones that aren’t even a musical scale – but causing the tri-tone between F and B to be generated  from the frequencies they actually are singing.  Stick them in a nice, resonant church building and, voila – you’re in tri-tone heaven! (or perhaps, “Devil’s interval hell” ha ha).

Similarly, assuming that the Solfeggio were indeed “altered” when it came to B-flat – we would get a B-flat generated by two monks singing combinations of LA/UT, MI/RE, FA/RE, FA/MI, LA/SOL; and we get an E from SOL/RE, LA/MI and RE/UT.  Put the B-flat and the E together, and we get another tri-tone.

For a bunch of Gregorian monks protecting the harmonies of the sacred, there’s an awful lot of “Devil’s interval” in there.  In fact, that’s 8 of 15 combinations which generate the B-flat/E tri-tone, and 2/15 combinations that give us a F/B tri-tone.  That’s 10 out of 15 of the Solfeggio difference combinations produces tri-tones – and the two notes that are being consistently “tri-toned” are our B-flat and F notes!

Come on – this is not coincidence any more.  We are clearly on to something significant in terms of the power of harmonics – and why this kind of knowledge would have been encoded and passed down to us over the millennia!  We have discovered:

  1. When two Solfeggio frequencies are played simultaneously, they produce difference notes
  2. When the original pair of Solfeggio tones are combined with a third Solfeggio (or with another pair) – a tri-tone (augmented 4th, the “devil’s interval”) is generated – in 10 out of the 15 possible combinations
  3. And these turn out to be the tri-tone of B-flat (E), or the tri-tone of F (B)
  4. And B-flat and F just happen to be the two “magic” frequencies we discovered as having a harmonic, non-“beating” relationship to apparent sub-sonic, universal frequencies – as documented on the home-page

We are told that during the Medieval period, monks went to great lengths not to sing or play tri-tone intervals because to do so was a punishable offence.  The music of the day had great volumes of books on how to write to music that would avoid tri-tones specifically.  And yet, here are a group of medieval monks doing everything possible to sing almost ENTIRELY in tri-tones, without ever actually singing a tri-tone – because the tones themselves are generated as the difference between the notes they are actually singing.  Clever stuff.

When two sets of evidence triangulate to confirm each other, that’s a pretty exciting and significant thing.  In this case, my own casual discovery of B-flat and F as fundamental frequencies has a direct relationship to a body of knowledge that has been passed down secretly through the ages in the form of the Solfeggio; still thought by many to be a musical scale – but instead, apparently, a system of “difference notes” used to conceal and encode not just the frequencies that should be foundational to music, but also the tri-tones to these frequencies – which presumably have some kind of power if the monks saw fit to conceal them, and the Church saw fit to persecute anyone found to use them.

Sum Tones

And there’s more.  Similarly, instead of hearing the difference between notes, we can generate  “combination notes” through the summing of two frequencies to create a third note – which is heard but not sung.  When we add two Solfeggio frequencies, we get exact matches to our harmonic-series notes on B-flat, C, D, F (highlighted in red and yellow), and close matches on G-sharp (twice) and D (highlighted just in red).  And the remaining 7 “sum-notes” are not far off – as shown below:

Solfeggio sum

Playing or singing so as to produce sum notes with one pair of Solfeggio, and additional sum notes by playing or singing another pair of Solfeggio – we get the following tri-tones:

  • B-flat : E (e.g. UT/MI plus SOL)
  • D : G-sharp (e.g. SOL/LA plus RE)
  • C : F-sharp (e.g. UT/FA plus LA)

Again – our magic tone of B-flat figures in these tri-tones.

And considering that both difference-tones and sum-tones are all being generated at the same time – we would also be able to combine the F notes generated from the sum-notes above, with the B-notes generated from the difference-notes, further above.  So, the whole thing is tri-tone city, as far as I can tell.

So, were these Gregorian monks just secret anarchists getting off on generating the forbidden intervals, or were they the guardians of some sacred knowledge which they felt was worth protecting – and which held some power which was worth generating – all day and night?

9. Cancer and tri-tones

So, here’s a fascinating thing.  A group of researchers just discovered that by playing two hyper-frequencies (between 100,000 and 300,000 Hz), they can destroy up to 60% of cancer cells, so long as “the high frequency [is] exactly eleven times higher than the low”.

A frequency eleven times higher is, guess what?  The tri-tone.

To put this into the context, if my low note was 7.2 Hz (a B-flat), 11 x 7.2 Hz = 79.2 Hz.  An E happens to be 81 Hz.  That’s pretty close.  And an E is the tri-tone of a B-flat.  In other words, these scientists have discovered that, in the hyper audio range of 100,000 to 300,000 Hz, you can kill cancer cells by blasting them with tri-tones.

So, what exactly was the church protecting us from in the Medieval period?  The “devil” or something that can be used for health and well-being?  A lot of jazz, and the work of Richard Merrick is centered on the notion of the tri-tone.  Perhaps there is a power in them there tri-tones!

13 thoughts on “Solfeggio Differences

    1. Interesting p’sea. 11.666666 x 3.33333 = 388.8888, and 388.8 Hz is a G in my world. How did you come up with those two numbers? You might be on to something here.


      1. I agree. It is very interesting that speed of records used to be 33 1/3 and 72 RPM. Sacred numbers in plain sight.


  1. Rife Royal was working on frequencies to cure cancer in the 1930’s his work is documented and with the success rate you have quoted in your findings.

    Liked by 1 person

  2. 1) It is my understanding that the Solfeggio Frequencies are harmonics of the Schumann resonance. I divided them by 8 and they are very close to multiples of 8 with SR=7.83-8 Hz. (“…have no relation to any other measured resonance.”)
    2) Gregorian chants are monophonic which means sung in unison.(“…a third note created by the unison singing or playing of two other notes.”)
    3) The origin is believed to be Sanskrit per my reading. (“…as Gregorian chants were supposedly their origin.”)
    4) The difference between Solfeggio Frequencies is 111 Hz three times, otherwise 102 and 21. Did you account for this not being a pattern? The Hz of 110 – 111 is the “sacred” frequency used in archaeoacoustics. My theory is that the intentional sustain of the echo in the temple/cathedral creates the “difference notes” of 111, except that it’s not always 111. Can you figure this out if you think it useful?


    1. Hi and thanks. I haven’t come across 111 hz in my resonance exploration except as a difference-tone from the solfeggio. It is the 37th harmonic of 3 hz.

      And 3 hz is a sub-octave of G at 384 hz (derived as the 5th harmonic of Eb as 0.3 hz (0.3 hz x 5 = 1.5 hz x 2 x 2 etc = 384 hz)).

      37 is a prime number but the 37th harmonic is going to be very faint, and G as a frequency for me is one of the “upper”, derived frequencies rather than being foundational like E-flat which is a harmonic of the Earth’s daily rotation.

      I don’t hold much stock in the Schumann resonance – it apparently being a measurable range of frequencies caused by friction between the atmosphere and the rotating earth. To me, it’s a red herring just because there are three frequencies i’m sure of and it doesn’t seem to correspond to them: B-flat at 7.2 hz and F at 5.4 and 10.8 hz (because i experienced the interactive stillness these frequencies had against an unheard background vibration). And E-flat at 9.6 or 0.3 hz (because it’s a third harmonic below that B-flat and corresponds to the time it takes the Earth to rotate 1/72nd of a degree and is also corresponds to the length of time known by the babylonians as a “helek” (3.3333 recurring of our modern seconds)).

      The closest point of reference with the Schumann resonance is at 8 hz which, if we make our C 256 hz, (as derived as the 5th harmonic of A-flat at 0.1 hz), gives 0.5 hz which is a low octave of 8 hz.

      The thing with the the Schumann is that it’s variable: it’s not connected to the geometry which drives the rotation of our planet. The rate of Earth’s rotation doesn’t vary by 20 percent from day to day, but the Schumann does. It’s a symptom of the earth’s rotation, a side effect, but not a “driver” as I see it.

      All that said, the number 1111111 recurring did show up when i looked for the root of all frequencies here So, i think 111 is a sacred number and from the table in the link above you can see that 0.0111111 recurring Hz is a very low F-sharp.
      And when you take the 5th harmonic of that you can essentially multiply it by 10, which yields 0.11111 recurring and would be a B-flat.
      And another 5th harmonic of that would be 1.1111 recurring hz, a D.
      11.1111 recurring Hz would be F-sharp again.
      And 111.1111 recurring Hz would be a B-flat again. But this doesn’t align with my B-flat which is 115.2 hz at that octave. So the difference is 4.08888 recurring hz (111.111 minus 115.2 hz), which i’ve no doubt is itself comprised of harmonic components (

      So, 111 hz may well be sacred, but if it is it seems to be coming as a harmonic of an extremely low frequency F-sharp. It’s also possible that as a sacred number it refers to vibrations per helek or degrees of the earth’s rotation as explored in the first link above.


  3. Im wondering if you did that experiment again now if it would be the same? What is telling you this 5.4 and 10.8 is a natural phenomena and not a created sonic wave undetectable to the human ear for possibly the control of human consciousness? if you went into a complete far far place away from human civilization do you think you would still get that reading? or if you travel to a new destination. How about local power interference? electrical or mechanical? I think this test needs multiple readings to remove potential variables to solidify your conclusion. I for one really want to know hahaha I know we are a seeded race and that ET civilizations exist here on earth and across the universe and it’s obvious through ancient cultures that they understood frequency and vibration accurately. If the theory about the moon being a projector of the 3d matrix on earth you could also be intercepting the inner workings of this. frequency and vibration governing everything in creation these theories that may seem far out must be considered. ET races and earth presence is undeniable nowadays. We literally have spliced DNA which is proof of unatural evolution and genetic manipulation for the creation of the human being. We are open about our knowledge, relations and history with these races. It’s just a lot to base off of with one reading one time from your house. We know 440 equal temperament was implemented after cymatic research in ww2 with the nazi’s which is obviously destructive so you can’t rule out an undetectable reading to be created for intention. we also know hitler claimed he was influenced by an ET civilization to build a super soldier race to eventually eradicate the reptilian presence on earth… were like babies in the universe so we have to bounce a theory and test it across many theories to rule things out to come to conclusions, especially when dealing with the something at the root of all creation, frequency, energy and vibration.


    1. Hi JP – I have tried it in several countries, indoors and outdoors. However I only experienced it with that version of the Tuning app and those bluetooth headphones. That said, the web-site is dedicated to the fact that these frequencies turn out to have a direct relationship to the length of the day on the Earth ( ) and also, as numbers (54, 72, 108) these are numbers that occur often in Hindu Vedas, in Revelations, and other sources. such as John Michell – where they turn up as distances for the size of the earth, moon and sun. I’ll do a write-up of that soon. And as sound-waves, seem to be the frequencies being generated with the distances provided in ancient temples such as Gobekli Tepe and the way that Tibetan’s moved rocks So, I believe there is something in all this, which I’ve stumbled across. I don’t know about the moon being a projector and all that – but there must be some trick to space and time in order for quantum entanglement to allow two photons at different ends of the universe to interact with each other.


      1. Very cool!

        I love your research regardless of human unknowns. My pianos been tuned to 432 Pythagorean for a couple years I’m going to try your tuning out and make my next native flute in your Bb scale.



      2. Thanks for the reply. Your research is awesome! I’ve been looking for info around these topics for a long time and you’ve presented so much very well. I’ve watched everything Gaia has on sound, internet and its multiple theories and research on sound healing, different beliefs on what the chakra frequencies are, etc. I make Native American flutes and play various instruments. Funny my uncle told me he tunes to A in his band but the orchestra he plays in tunes to Bb. He’s trombone so he tunes anything. I’m going to make a flute in Bb to your scale and tune my piano to it as well. Been 432 pythag for a couple years. It may tune me up just right I’ll let you know if I have cracked levitation with it 🙂 cheers

        Liked by 1 person

      3. The book of 528 presents some interesting conclusions around 528hz and the solfeggios. The math in relation to the planets and such is beyond my comprehension. Just throwing it your way in case you still have the itch and run out of others research to entertain against yours.

        Liked by 1 person

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