Since Valerie Hunt's work puts the Chakra frequencies within the tonal range of music, I suppose one might see a link between the two. Perhaps one finds music uplifting because it keys in certain Chakra energies. Anyway I thought the matter worth further study, since I had now developed a practical means of pinpointing what these frequencies were. It came as some surprise to find, that in the earlier part of this century there were four tonal scales being used:
• For Physics one had a scale based on Middle C as 256 Hz;
• The English Concert Pitch used a Middle C of 273;
• The Society of Arts, Stutggart used a Middle C of 264;
• The French Standard was a Middle C of 261.
The London International Conference of 1939 brought all these scales, except Physics, together by choosing Treble A to be 440 Hz. Middle C became about 264 Hz. This made it much easier for singers visiting different countries to sing in tune. The interval of the eleven-note scale then became the 12th root of 2 or 1.0595.
The lowest common factors of the Basic, Natural or Diatonic Scale were as follows, with the sharps fitting untidily between:
24 (25.2) 27(28.28) 30 32 (33.6) 36 (37.7) 40 (42.4) 45 48
The rationale of the new scale was to multiply this basic scale by 11, which was the number of the notes it contained. The interval may seem untidy, but it results in the following harmonies between the white notes on the keyboard:
The actual frequencies of the notes now in use are as follows:
C 261.6; C# 277.2; D 293.7; D# 311.l; E 329.6; F 349.2;
F# 370,G 392; G# 415.3; A440; A# 466.2; B 493.9; C 523.2.
Compare this with the Chakra Scale as described by Valerie Hunt:-
Base Chakra 200; Sacral Chakra 300; Spleen Chakra 400; Stomach Chakra
500, Heart/Thymus Chakra 600; Throat Chakra 700; Brow Chakra 800;
This scale spans over two octaves. If one constructs a basic scale from the evidence of energy fields I have so far accrued it would look something like this, with harmonics below:
8 (9) 10 (11) 12 (14) 16 (18) 20 (22) 24 (28) 32 4/5 5/6 3/4 4/5 5/6 3/4
A much more tuneful scale. The highest harmonic of the Black notes is 11. The multiplier is obtained by squaring the last number, 32. The actual frequencies of the scale then are as follows:--
256; 288; 320; 352; 384; 448; 512; 576; 640; 704; 768; 896; 1024
This is fairly obviously a scale with scientific appeal, since it uses powers of 2. It takes into account the muscle frequencies at the lower end of the range, which finish around 250Hz and the thousand-petalled Lotus at the Crown Chakra, a thousand times as fast as a heartbeat. True it is only a six-note scale, but does one need the extra notes of the eleven-note scale, which don't really harmonize very well? It is reported that Debussy used a six-note scale for some of his music. Perhaps someone else would like to write some music in this scale so one could see what it sounds like. It might be quite therapeutic. The tones would leap about in a dramatic way, rising to piercing heights, quite unlike contemporary music. The separation of the notes would make singing to the lower octave much easier.
The idea of constructing a musical scale related to the Chakras is not new. In her book 'Sound Therapy' Olivea Dewhurst-Maddox (1993) lists a single octave of musical notes corresponding to the Chakras on Page 118. Most people, it seems, have a 'natural scale' of their own. Those who believe themselves 'tone deaf', or who have difficulty in singing, should be encouraged to sing notes that they can manage without difficulty. The singing teacher can then pick up the key, which they would be best able to sing in. Trying to sing in tune with a piano may be very difficult, when the keyboard contains so many compromises in frequency to accommodate a twelve-note scale. The guitar offers greater flexibility in keying, which may account for its popularity.
However, the two-octave scale I suggest, and the frequencies related to powers of two, is more in keeping with the fundamental sway of Yin and Yang, the constant interaction of energies in healthy existence. I did some tests of the effect of music on the energy field with two subjects, Simon and Kathy, as recorded in the Charts. It seemed to enhance the lower frequencies.
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