Abstract
Dr Joseph Puleo discovered a pattern of six repeating codes he claimed he had uncovered within the bible. These he believed were encoded,appropriately enough,into the Book of Numbers, chapter 7,in verses 12 through 83. When he deciphered these verses reducing the verse numbers to their single digit integers, the code revealed a series of six electromagnetic sound frequencies that he believed had correspondence with the six missing tones of the ancient Solfeggio scale.
Content
Dr Joseph Puleo discovered a pattern of six repeating codes he claimed he had uncovered within the bible. These he believed were encoded,appropriately enough,into
the Book of Numbers, chapter 7,in verses 12 through 83.
When he deciphered these verses reducing the verse numbers to their single digit integers,
the code revealed a series of six electromagnetic sound frequencies
that he believed had correspondence with the six missing tones of the ancient Solfeggio scale.
The six number sequences he had arrived at were as follows:
396, 417, 528, 639,741 and 852.
1. Ut = 396 = 9
2. Re = 417 = 3
3. Mi = 528 = 6
4. Fa = 639 = 9
5. Sol = 741 = 3
6. La = 852 = 6
Looking through this chapter, we first notice that it renders 12 separate lists, each one appearing to be generally similar to the others. Each list begins with “on the first day, on the second day” etc… then provides a list of what had been sacrificed.
By writing down the corresponding verse number each time it says “on the first/second etc day”
Then if we convert each of those verse numbers to single digits.
It renders the following pattern: 396396396 etc
We could go ahead and dismiss this as being coincidence,however he then adds that
if we write down the corresponding verse number every time it says
“And his offering was one silver charger”
and reduce those values to single digits.
This will render the pattern 417417417417 etc
And if we follow the same principle with the next one, “One spoon of ten shekels of gold”
This contributes the pattern 528528528528 etc
This system,Puleo claims will work with every single verse in Numbers 7:12-89
These concealed number sequences Puleo discovered happen to mesh very precisely with the numerics rendered by our device formed by the 24 Fibonacci numbers.
Could it be we are getting a first glimpse of something which might be construed as a possible ‘theory of everything’?
Discovering the identical numeric sequence within the PRIME NUMBERS certainly encouraged us regarding the possibility of this belief.
The prime numbers also just happen to display this same natural three part division.
Therefore
the indivisible numbers
1, 2, 3
are representative of the primary terms of 3 different numeric sequences:
1 –> 5, 7, 11, 13, 17, 19, 23, 25, 29, 31 … (divisible by 1)
2 –> 4, 8, 10, 14, 16, 20, 22, 26, 28, 32 … (divisible by 2)
3 –> 6, 9, 12, 15, 18, 21, 24, 27, 30, 33 … (divisible by 3)
Numbers 7:12-89 in the Bible describes the offerings brought by the leaders of Israel after the tabernacle was set up. Each leader brought identical offerings for their tribe on separate days, making this passage one of repetition and structure. The detailed account includes offerings of silver platters, silver bowls, fine flour mingled with oil for a meat offering, golden spoons full of incense, burnt offerings, sin offerings, peace offerings, and more, symbolizing dedication and consecration to God.
The Solfege scale, on the other hand, is a music education method used to teach pitch and sight singing in Western music. The scale consists of the syllables Do, Re, Mi, Fa, Sol, La, Ti (Si in some systems), and Do (at the next higher scale), each representing a specific pitch in a musical scale. This system helps students understand musical intervals and relationships between pitches, facilitating easier transposition, singing, and auditory recognition of music.
The connection between Numbers 7:12-89 and the Solfege scale isn’t immediately apparent from a traditional standpoint, as one is a biblical text detailing offerings and the other is a musical pedagogy method. However, some individuals and scholars look for deeper symbolic or numerological connections in biblical texts that could relate to various aspects of human knowledge and culture, including music.
### Possible Symbolic Connections
While the Bible passage does not directly reference music or the Solfege scale, one could consider the repetitive and structured nature of the offerings as analogous to the repetitive and structured nature of music scales and rhythms. Both involve a series of actions or notes that create a whole greater than the sum of its parts, whether in worship and dedication (as with the offerings) or in creating music (as with the Solfege scale).
Additionally, the concept of harmony and order is central to both the offerings described in Numbers 7 and the organization of musical scales. Just as each offering was brought with specific intent and purpose, each note in the Solfege scale has a specific role in creating musical harmony.
### Spiritual and Musical Harmony
In a more abstract sense, one might draw connections between the spiritual harmony and unity represented by the communal offerings of the tribes of Israel and the harmonic unity achieved in music through the use of scales like Solfege. Both can be seen as different expressions of order, beauty, and dedication—whether to God or to the art of music.
### Conclusion
Direct connections between Numbers 7:12-89 and the Solfege scale may not be explicitly present or historically grounded. However, exploring symbolic or thematic parallels between biblical texts and musical concepts can offer unique insights into both spirituality and the arts. Such interpretations are often personal and subjective, reflecting broader human attempts to find interconnectedness and meaning across different aspects of life and culture.