Pi, Phi and 528
Proof that 528Hz is Central to Spiritual Freedom:
Transformational Math and Music for LIVE H2O and Beyond
By Vic Showell
as Introduced by
Dr. Leonard G. Horowitz
Wow! Mind blowing!
Vic Showell, a mathemetician specializing in sacred geometry and metaphysics has been studying pyramids as a hobby.
His joy has produced a major blessing for humanity and civilization’s evolution having to do with musical mathematics and Living Water science.
His revelations legitimize “The Plan” for LIVE H2O, regarding humanity’s musical alliance and “Spiritual Coup” that took place on June 21, 2009 during the “LOVE WATER Experiment.”
What follows is an introduction to Vic’s masterful thesis proving mathematically that pyramid sacred geometry, cosmology, Pi, Phi, and the Fibonacci series in musical-mathematics are intimately linked to 528 frequency harmonics and creative hydrosonics.
In essence, Showell’s revelations compel considerations of what I call, “Musical Creation: A New Theory on Physical Reality and Reactions in Space Time.”
Among these considerations are three rEVOLutionary postulates:
Postulate 1: All electrons are spinning musically; vibrating harmonically, determined by nine core creative frequencies—musical tones—comprising a “The Perfect Circle of Sound.”
Postulate 2: These nine frequencies of sound determine Pi, Phi, the Fibonacci series, all sacred geometrics including the structure of the universe, and the laws of physics.￼
Postulate 3: All piezoelectricity, oxidative-reductive reactions, electro-magnetism, and chemical interactions rely on the harmonics or dissonance of a musical vibrational mathematical matrix fundamental to physics and chemistry; all determined by simply nine ‘Perfect Circle of Sound’ frequencies.”
How did Vic come to these astonishing revelations? “I just don’t know how it comes to me,” he wrote. “It must be that I am so subconsciously tuned to the synchronous harmonics of the ancient timelines that it just happens.”
Technically-minded person who seek more information than provided elsewhere on this website on the TECHNOLOGY page will relish these contributions.
In this thesis, Mr. Showell has labored with LOVE to explain the fundamental mathematical geometrical sustaining universal truth–the knowledge that holds the capacity to set humanity optimally free in LOVE with the creative Self/self through the master creative carrier wave through which the Creator broadcasts the universe into existence.
This main carrier Wave, Mr. Showell’s research proves is LOVE, 528Hz, as now massive scientific/mathematical evidence posits.
So what do you think we should do with this knowledge?
How would you recommend communicating these revelations?
What would your first goals be, given this new knowledge?
Sure you can read it here, as others may, but these monumental revelations require distribution and assimilation by a world urgently requiring something wonderful to happen to “give peace a chance,” and change the dissonant vibrations in the hearts of mad men making war instead of LOVE.
You can help by simply “playing” with these numbers, and sharing this information with others.
Background on Pi
Pi or π is one of the most important mathematical constants. It represents the ratio of any circle’s circumference to its diameter in Euclidean geometry.
This is the same as the ratio of a circle’s area to the square of its radius. Many formulae from mathematics, science, and engineering involve π.
The mathematical constant Pi is a real number that arises naturally in mathematics. Unlike physical constants, mathematical constants are defined independently of physical measurement.
In other words, in math—the Creator’s language—there are physical and metaphysical constants, or laws that govern everything including nature’s structure, function, and balance.
Pi is approximately equal to 3.14159.
Pi is also an irrational number, which means that it cannot be expressed as a fraction m/n, where m and n are integers. Consequently its decimal representation never ends or repeats.
It is furthermore a transcendental number, which means that no finite sequence of algebraic operations on integers (powers, roots, sums, etc.) could ever produce it.
“Throughout the history of mathematics,” Wikipedia reports, “much effort has been made to determine π more accurately and understand its nature; fascination with the number has even carried over into culture at large.”
This fascination with the accuracy of Pi is the subject of Vic Howell’s contribution.
Background on Sacred Geometry, Phi and the Golden Ratio
The golden ratio, also known as the divine proportion, golden mean, or golden section, is a number often encountered when taking the ratios of distances in simple geometric figures such as the pentagon, pentagram, decagon and dodecahedron.
The designations “phi” (for the golden ratio conjugate) and “Phi” (for the larger quantity) are sometimes also used (Knott).
The golden ratio is found in the pyramids of Giza and the Parthenon at Athens. (http://mathworld.wolfram.com/GoldenRatio.html)
Pi and phi are important in trigonometry. For example, if you divide a 360° circle into 5 sections of 72° each, you will get a five point pentagon whose dimensions are all based on phi relationships. Accordingly, phi, pi and 5 (a Fibonacci number) are related through trigonometry.
Dale Lohr contributed the following equation defining the relationship between pi, phi and 5 as follows:
Note that the angle of ½ of Phi, or .5 Phi, is 36 degrees, of which there are 10 in a circle or 5 of in pi radians.
Additionally, here is graphic CymaGlyph evidence from pioneering acoustic engineer John Stuart Reid, consistent with Dale Lohr’s contributions showing 528 Hz frequency sound produces a 360 degree circle uniquely containing 36 nodes:
Click this image to learn more about CymaGlyph technology.
Giza Pyramid Math & Sacred Geometry
Now for the purpose of this study, Vic analyzed the Saqqara and Giza pyramids that are geometrically very similar.
The Pharaoh Khufu desired to solidify the ancient sacred geometry in the pyramid complexes built.
So he reproduced the geometry of Giza to establish the dimensions of the Saqqara pyramid.
Internet sites cite the dimensions of the Giza pyramid as follows:
BASE: 756 feet.
BASE/2: (also called the “Saturn synod” is 756/2 = 378 feet
HEIGHT: 481.090909 feet (or 280 cubits).
[*Note: Using 481 as the height, the slope would be 51 .8375.
This is close enough to 51.84 for this analysis. Vic used 481 as the “calculative constant,” and regardless if he used 481.09090909 or not 481 = 13 x 37; wherein the 37 has to do with planetary synods of Jupiter, mars, venus and earth cycle number.
This relates to the “Dresden Codex wherein 702 divided by 481 pyramid height = x; then x times 37 = exactly 54 reflecting simple math harmonics.]
Lesson One: Ancient Pi is not 3.14159, but 3.142857 . . . to Infinity
Get a calculator, and take your time to follow this slowly—step by step, calculation by calculation. You will see that modern Pi is significantly different from Ancient Pi. This seemingly small difference has substantially huge implications for the Spiritual Renaissance. This truth holds the capacity to set humanity free, and analyzing it will help to open your “heart-mind”—your intuitive channel through which more revelation and inspiration will come to you. This is what many people are experiencing by “playing” with these numbers that, in a sense, have you communing with the “matrix math” of creation, which is powerfully energized and energizing.
For additional reinforcement and benefit, Mr. Showell recommends you draw a pyramid dimensionally similar to the ancient Egyptian Saqqara pyramid, to visualize the sacred geometry created by this math.
Divide the base line into 2 sections of ancient Pi to test the prospect that ancient Pi is truly 22 / 7.
You can see from his graphic (and yours) that the pyramid base is 2(a)Pi by 2(a)Pi. And the height is 4Pi.
Next, using a calculator, divide 22/7 and write down what you see digitally on your display.
It is: 3.142857 142857 142857 142857 . . . to infinity.
Now double what you see, and write it down as written here. It may help to put one row directly below the other, like this:
3.142857 142857 142857 142857 . . . to infinity.
6.285714 285714 285714 285714 . . . to infinity.
Look carefully from a distance at both rows of numbers. Do you see the pattern?
The fractional pattern that repeats to infinity shifts two places, or numbers, with every doubling. (This is best noted with calculators that cipher to 18 places.)
In other words, the “14” in “.142857 shifts positions to the end of the repeating pattern, to become .285714.
IT DOES NOT DO THIS WITH THE “MODERN” ALLEGED Pi EQUIVALENT!
Try it again to make sure. Double 6.285714. You get:
12.571428 571428 571428 571428] . . . to infinity.
Put this number directly below the other two rows to get:
3.142857 142857 142857 142857 . . . to infinity.
6.285714 285714 285714 285714 . . . to infinity.
12.571428 571428 571428 571428] . . . to infinity.
Do you see what is happening, or what is emerging? See if you can see certain repeating numbers that form a pattern—a developing mathematical (and musical) matrix.
(Notice also that the numbers to the right of the decimal point always add up to “9”—”completion” in ancient numerology. Finally, notice also there are no 3s, 6s, or 9s in the decimal numbers, only the whole numbers.
Recall Tesla’s famous quote, “If humanity only knew the powers of the 3s, 6s, and 9s, it would be a completely new universe.”
Lesson Two: Phantom of the Opera and the Music of the Light
If you have seen the play Phantom of the Opera, or heard the lyrics of “Music of the Night,” it relays the story of the Angel of Darkness (i.e., Lucifer—the fallen angel of music), capturing the heart of “Christina”—metaphorically representing the Christ energy or Christianity.
The demon causes a crystal chandelier to fall on the audience to destroy the opera company engaged in battle under his control involving her love.
In the end, she renders the demon LOVE and is released to marry her hero.
In the Book of Revelation, the “Apocalypse” refers to a similar End Times battle resolving in a musical “marriage” between God’s faithful—the bride of Christ—who is finally wed to the Messiah for all eternity.
In “Healing Codes for the Biological Apocalypse,” by Horowitz and Puleo, these authors advance a musical code hidden in the verse numbers in the Book of Numbers (7:12-83) that applies the ancient priesthood’s alchemical Pythagorean math.
The code reveals the “music of the light”—the original Solfeggio scale by which the Hymn to St. John the Baptist was sung.
This music, reputedly the most spiritually-uplifting hymn of all time, is composed of only six notes; each defined in Webster’s Dictionary as part of a “New Song” sung during a global concert in Rev. 14:1 involving 144,000 spiritually pure persons who are “ransomed” by God for this Apocalyptic marriage.
These six tones were derived by reducing the verse numbers from their multiple digit integers to their single digit whole number (e.g., verse 12 = 1 + 2 = 3).
Thus, the following frequencies of sound were revealed:
This author later added the following 3 unnamed notes to this list to complete what he christened “The Perfect Circle of Sound.” These included:
You should note that these numbers each resolve into 3, 6, or 9 when the Pythagorean system is used.
Furthermore, the center two Solfeggio scale notes, I realized (MI and FA), identifies the MIracle FAmily (528 and 639); and that 528 (5 + 2 + 8 = 15 = 1 + 5 = 6) or Miracle 6 (i.e., also denoting MI6, British Secret Service).
This frequency lies at the heart of the electromagnetic color and sound spectrums; it is light green yellow in color, like the heart chakra (i.e., spinning bioenergy vortex), and is associated with LOVE.
Now return your attention to the whole numbers obtained by doubling pi. When reduced to their single digit, the following pattern is established to infinity:
3636363636 to infinity.
The repeating pair of numbers, 3 + 6, adds up to 9. (In Pythagorean math 9 equals “completion.” Zero’s are man made place holders. There are really only 9 numbers in the universe—1 thru 9.)
Notice also that that the numbers comprising the fraction of true ancient pi are missing the 3s, 6s, and 9s.
From conclusions I drew based on the simple mathematical “infinity pattern” (shown in the figure below) pioneered by Marko Rodin, the 3s, 6s and 9s represent a special set of numbers that provides a “”portal’ to the spiritual domain.”
These whole numbers reflect the totality of spirit–the Holy Spirit that hovered over the face of the Water at the beginning of time—as part of the Triune God.
The repeating fraction numbers, missing the 3s, 6s, or 9s, represent a fraction of the whole, or pieces of the totality manifesting physical reality, separated from spirit by a “period,” denoting time as a factor forcing separation (i.e., before or after, past and future, instead of being in the NOW of spiritual totality.)
Finally, in case you have not noticed, the matrix pattern created by doubling the fraction numbers, as Marko Rodin also showed during another analysis, reveals the original Solfeggio frequencies in patterned positions within the matrix.
You will notice the 528 shifts up and to the right, while the 741 shifts in the opposite direction—down and to the left.
This is consistent with the “Devil’s tone” designated in musicology as the dissonant combination of these two specific disharmonic tones.
Now Hyden’s 96th symphony is called “The Miracle.” Here again 9 + 6 = 15; where 1 + 5 = 6.
Modern propaganda alleges this classical composition was named from the sudden, inexplicable, nearly disastrous detachment of a huge crystal chandelier that fell from the ceiling of the concert hall during Hyden’s performance.
Miraculously, no one was harmed. No doubt Gason Leroux, author of Phantom of the Opera, borrowed this apparent myth.
Given the above revelations, and those in Healing Codes for the Biological Apocalypse, Hyden obviously composed and named his 96th symphony “The Miracle” honoring the 3rd “Miracle” tone of the original Solfeggio musical scale that resolves into “MI6” from either 96, 528, or 15.
Leroux did get the ending right with LOVE, 528Hz, conquering the demon.
Finally, if you add up each fraction using the Pythagorean method, you get:
1 + 4 + 2 + 8 + 5 + 7 = 27 where 2 + 7 = 9—the “Completion” number.
So in each doubling of Pi you get 3 or 6 alternating in the whole number spot, and 9 in the fractional location.
This set of 3s, 6s, and 9s, as stated previously, provide the spiritual portal through which metaphysical energy manifests into physical reality.
Lesson Three: Phi Cosmology, Pyramid Geometry, and the Creator’s Music
Take the original decimal sequence—.142857, and isolate that fraction for your next experiment (i.e., 0 .142857). Inverse it EXACTLY: 758241.
Then, extrapolate it out to infinity. (Be sure to keep punching in the decimal sequence into the calculator, well past what you see your calculator show. This is what the calculator does unseen.)
Now you can see the 2nd Solfeggio tone, REsonance, 417Hz, resonating to eternity harmonically fixed to 582, a harmonic of 528, LOVE.
Here again you can see the 3s and 6s combining to form the 9s:
4 + 1 + 7 = 12 = 1 + 2 = 3
5 + 8 + 2 = 15 = 1 + 5 = 6
If you again shift two digits from back to front of this number, you get REsonance, 417 in front, next to the harmonic of LOVE 582:
NOW! A great truth is revealed about Phi—and the deepest truth about all the ancient Egyptian pyramids and their math becomes apparent in a flash!
If you multiply the proven legitimate Pi fraction (.142857 going to infinity) times the cosmological constant associated with galactic and solar cycles known as the Saturn synod, which is 378 (whose Pythagorean sum is also a 9), you get precisely 54 as you approach infinity. Try it.
The more you extrapolate the numbers, getting closer to infinity, the closer it gets to 54!
0.142857 142857 142857 142857 142857 . . . x the Saturn synod (378) = 54 exactly!
Why is this important? Because, not only is 5+4=9 or completion, but the sine of 54 degrees is one half of Phi (or Phi/2).
Here is where Vic’s genius delivered to the max. He “Harmonic Codexed” the decimal sequence by shifting the 1st digit in line to the back of the line, and multiplied that number by the Saturn synod:
.428571 428571 428571 x 378 Saturn synod = 162 exactly as you get to infinity. EUREKA! 162 is exactly 100 times ancient Phi of 1.62!
Try this with all the sequences similarly by shifting the first digit in line to the back of the line and than multiply that number times the Saturn synod .
With this simple experiment, you have just proven the entire Egyptian pyramid math calendar geometry is based on Saturn and Mars cosmologies; with Saturn being predominant.
“Why do you think the Greeks and Romans called Saturn Chronos?” Vic asked facetiously. “Bingo!”
The cosmos is laid out perfectly, mathematically, harmoniously—a musical composition of Divine synchrony.
Saturn is like the lead bass player or percussionist maintaining the rhythm of the spiraling cosmos. (The “bass clef” in music “ reflects this spiraling center.)
Similarly, Vic provides irrefutable evidence, solid mathematics, that proves 528 is a central number operating in the musical-mathematical cosmic matrix, underlying the sacred pyramid geometics established by Phi.
(The graphics on the right link to full length articles and analyses by Vic Showell. Download these, including his full thesis, in pdf formats by clicking on these images.)
Lesson Four: Importance of the Ancient Solfeggio Musical Scale
According to Vic’s mathematical analysis, and a growing international consensus of math experts, the original Solfeggio frequencies work like magic in the Saturnian cosmologies and the 378 synod.
(The word “magic” sources from the ancient Melchezadak priesthood (called the Magi) who held this knowledge sacred and secret.
Once again, the original Solfeggio musical scale features 396, 417, 528, 639, 741, and 852 Hertz frequencies—mathematics fundamental to hydro-sonic creation and creationism.
The later is the actual act of creating the cosmos; applying the musical-mathematical “symphony” to impact everything within earshot.
Returning to his earlier analysis of the Saggara pyramid and Phi, Vic wrote that the number 7 within the fraction of Pi, derived from his initial decimal inverse, represents the 7 dots of the ancient cylinder seals and stele representing planet Earth as advanced and discussed by Zaccharia Sitchin.
So for Lesson Four, Vic recommends taking the real ancient Pi = 3.142857 . . . , and multiplying it times the Saturn synod (378). This yields EXACTLY 1188. “Look at that number,” he counsels, encouraging your intuition.
11 x 8 = 88, where 8 = 8 = 16 and 1 + 6 = 7; and 7 x 11 = 77 which yields by Pythagorean addition 14. As you see below, these are all numbers featured in sacred geometry and musical-math.
Musically profound, if you now take the original Solfeggio frequencies and apply the aforementioned information you prove Pi, Phi, the Fibonacci Series, and more, are all based on the Solfeggio musical matrix.
Convince yourself as follows:
First, divide the first note of the original Solfeggio (UT, which is 396Hz) by 1188, and you will get the exact sine of the molecular structure of Water—the tetrahedron:
396/1188 = 0.3333333—sine of exact tetrahedral (19.47122061)
You should also realize that, according to Webster’s Dictionary’s definition of “UT,” this single tone contains all other musical notes, and represents the entire gamut of human experience and emotion from grief to joy!
“Ha!” Vic wrote, “The ancients used 19.5 as their tetrahedral constant.
They did not need the exact 19.47122 constant. However, within the deeper Saturnian cosmology, the exact value yields better results.
“Have you seen the NASA image of the Saturn hexagonal super- storm from 2007, at the Saturn pole?
That is when the Star Gate opened to the Pleiades,” Vic continued, “THAT is why the Cassini space mission was sent to Saturn and not to Jupiter.”
Vic additionally noted that the newly discovered Saqqara pyramid measurements are noteworthy. The pyramid measures 22 meters square at its base, and 14 meters high.
Half those measures and you get the values 11 and 7.
If you divide 528, by this pyramid base length of 22, you get exactly 24 (as in 24 hours in a day), or 6, just like MIracle 6, or 528, where 5 + 2 + 8 = 15 and 1 + 5 = 6. Try it:
528/22 = 24
Now Vic gets more technical. Recalling that 22/7 is ancient Pi or 3.142857143; by taking the height of 14, divided by the base diagonal to base center point of the square-root of 242; you get “the tangent of the just under 42 degree slope of the Saqqara pyramid side angle. (The height of 14 divided by the base diagonal to base center point of the square root 242 = 0.899954085.
If you now take this arctangent and multiply it (0.899954085) by ancient Pi, and you get exactly the square root of 8. By the way, 242 = 11 x 22)
So 1.62 is ancient Phi used in Egypt and MesoAmerica, Vic reminds us. “This is by virtue of that number unifying the Nine, as in 9 x 18 = 162.
“Thus, the slope of the Saqqara pyramid Side Face, is/arc tangent of the square root of1.62 = 51.84 degrees and 72 squared = 5,184.”
He alerts us, once again, to the decimal placements. 5,184 is related to 22/19.5 = x.
Then squaring x, you get the tangent of 51.84 degrees. If you square x again, you get the ancient Phi number 1.62.
So now you may see more clearly how the original Solfeggio musical scale, including 528Hz, Pi and Phi, are intimately connected to the liquid crystal (tetrahedral) structure of Water and every other sacred geometric form.
Lesson Five: Final Proofs Regarding the Legitimacy of 528 and the Original Solfeggio Musical Scale
When you read Vic’s work, you have to understand his use of the ancient system of no decimals, or what he calls “decimal variations in numeric sets or sequences.” For example:
0.3333—-> 3.33333 —-> 33.33333, and 13 x 333.33333 = 4333 .33333 Jupiter sidereal; as 0.3333 is sine of the tetrahedral 19.47122061.
Because he found that the ancient Egyptian cosmological constant is 195/162 (or 1.95/1.62), he uses the 1.95 form of decimal placement often; which he named the “Khufu Constant.”
“In any case,” he writes, “to get to the ancient Solfeggio music of the spheres, you can use tetrahedral 19.47122061 but then you get 10 Pi.”
So he used 1.947122061 instead because, he declared, “that form created virtually magical pathways into the tangents and cosines and sines of angles in derivations.
The difference of exact Pi and the actual value achieved is 0.000354308,” that he chides, “if this is not close enough, then this will not work for you. It works for me.”
He derives this miniscule musical difference, ultimately in resonance harmonics, by taking the LA tone of the Solfeggio (852) and dividing it by the MI tone (528) as shown here:
Solfeggio 852/528 = 1.6136363636, then x 1.947122061 = 3.141946962 then minus Pi = 0.000354308.
Similarly, he examines the Solfeggio tones FA (639) and UT (396) to obtain the same stunning result as follows:
639/396 = 1.61363636363
Naturally, this music underlying the spinning fractal universe “goes in cycles,” he explains:
396 x 1.3333333 = 528
And this square root of 1.3333333 is the Side Angle slope tangent of the Mars Pentad Grid Pyramid 2 units high. Some researchers also believe this number, 1.33333, is the slope tangent of the Side Face on the 2nd pyramid of Giza.
“A few other Solfeggios do this as well with 1.33333,” he adds.
For his grand finale, Vic Showell (whose e-mail address reads vshowell, as if “V” stood for “victory” in showing humanity well [Water’s] sacred geometry based on musical harmony) presents his Quantum Space Time Fractal Harmonic Codex, beginning with LOVE (528).
Lay readers beware of going further with his flow of technically Divine, mentally masterful, revelation. You might get caught in confusion by the following examples that further prove the aforementioned points:
 /  = [0.64], and  =  squared.
now look back at my [51 .84] degree pyramid
and  squared = [5,184].
[0.64] x [5 .184] = [3.31776], then divide by Phi[1.61803388] = [2.050488445] = tangent of [64.00203243] degrees!
 <—–> 
 /  = [1.5625] , then divide by Phi[1.61803399] = [0.965678107] = tangent of [43.99968~] degrees = 
and of course  x  =  mile
and [1.2] = [pi] / [phi squared]…. pi / [2.61803399]
Example 3: Dresden Codex  /  venus synod = exact [1.2] = Pi / Phi sq.
[1.2] = [6 / 5] or  / , and  sq. = 
But Pi / Phi sq. = [ 1 .19998~], off by [2 / 100,000] from exact [1.2]
So to align the mathematics of the universe correctly, it is quite simple, reverse the equation to
[1.2] = Pi divided by [2.618033989]…..[phi sq.]
Therefore [1.2] x [2 .618033989] = [3.141640787] = True Pi . . .
and that my friend is an extremely valid restructuring of Pi into the math system [if we are going to disregard ancient original Pi upon which cosmology depends.]
The above mathematical analysis provides proof of Divine design far exceeding the math of men. It virtually proves “Postulate 1,” that “All electrons [as well as celestial spheres] are spinning musically; vibrating harmonically, determined by nine core creative frequencies—musical tones—comprising a “The Perfect Circle of Sound.”
In addition, “Postulate 2” is also proven by the aforementioned analysis: “These nine frequencies of sound determine Pi, Phi, the Fibonacci series,” and all sacred geometric forms including the structure of Water, the tetrahedron, cosmology, and the laws of physics.
“As above, so below.” From this evidence “Postulate 3” also appears to be significantly evidenced, virtually certain: “All piezoelectricity, oxidative-reductive reactions, electro-magnetism, and chemical interactions rely on the harmonics or dissonance of a musical vibrational mathematical matrix fundamental to physics and chemistry; all determined by simply nine ‘Perfect Circle of Sound’ frequencies.”