Ut queant laxis Resonare fibris
Another edition of healing frequencies, and we are going back to ancient solfeggio scale by featuring tracks from Gregorian chants, along with orgianl ut, re mi…and other sacred music.
The origin of the ancient Solfeggio scale can be traced back to a Medieval hymn to John the Baptist, and the original frequencies were capable of spiritually inspiring mankind to be more god-kind.
The original Solfeggio scale was developed by a Benedictine monk, Guido dArezzo (c. 991 AD c. 1050 AD). It was used by singers to learn chants and songs more easily. Today we know the Solfeggio scale as seven ascending notes assigned to the syllables Do-Re-Mi-Fa-So-La-Ti. The original scale was six ascending notes assigned to Ut-Re-Mi-Fa-Sol-La. The syllables for the scale were taken from a hymn to St. John the Baptist, Ut Queant Laxis, written by Paulus Diaconus.
Guido dArezzo
The secret meanings of the ancient syllables
Each tone has its own unique potential
As you already know, the syllables used to denote the tones are: Ut, Re, Mi Fa, Sol, La. They were taken from the first stanza of the hymn to St. John the Baptist:
Ut queant laxis Resonare fibris
Mira gestorum Famuli tuorum
Solve polluti Labii reatum
Sancte Iohannes
Literal translation from Latin: In order that the slaves might resonate (resound) the miracles (wonders) of your creations with loosened (expanded) vocal chords. Wash the guilt from (our) polluted lip. Saint John.
In other words, so people could live together in peace and communicate in harmony about the miracle in their lives, and how God blessed them to produce this magic, peoples true unpolluted spiritual natures required revelation. The above text seems to suggest that Solfeggio notes open up a channel of communication with the Divine.