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Lissajous 200
Music and Healing Sound

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Lambdoma Questions & Answers (part 1)

Dear Hugo, I like your Cheops-Covenant Code. Years ago I was intuitively drawn to make music by using 222Hz, 333Hz, 444Hz and 555Hz as fundamental frequencies on the Lambdoma matrix. Now I know it represents part of the Cheops-Covenant Code. It sounds somewhat like Tibetan Bells.

I took the numbers from your http://users.pandora.be/kenneshugo/ Bible & Pyramid Archaeoastronomy. Your numbers 555 in Hertz represents a C#. Incidently the C# is equivalent to the earth's period of rotation around the sun. C# is also connected to the predominant DNA clusters of music. The 666 in Hertz is an E+ in music, and is almost a harmonic chord with C#. I only mentioned this because I was guided to hear the sounds of the numbers 222, 333, 444, 555 and 666 in Hertz. 222Hz is A, 333Hz is E, 444Hz is also A, 555Hz C# and 666Hz is E+ again. A,C#,E is a harmonic chord based upon the note A. The scale would be LA, DO and Mi, that seems to relate to your Giza: Dynamic Model. http://www.planetarymysteries.com/egypt/rubino/gzdy2.html

How are vibrations assigned to chakras?

No one knows for sure just what frequencies are universal for the chakras. I chose my version based upon the colors of the chakra system. Red for root and purple for crown. Then I simply translated these colors into musical notes based upon Pythagoras' color coding of musical notation. In order to make the notation into frequencies, I used the ancient Lambdoma matrix of harmonic ratios and used the frequencies in Hertz in the middle C octave to represent the chakra system. 256(C)Hz root, 288 (D) polarity, 320(Eb) solar plexus, 352(F+) heart, 348(G) throat, 416(Ab)psychic center, 448(Bb)3rd eye, 480(B) crown. More recently, I found the frequencies of the orbits of the planets around the sun to be related to the sequence of my chosen chakra system. All this is in my aol website under "New Developments". I feel honored that some people, who manufacture tuning forks, have taken many of the frequencies on my website to use for their products.

Where can I find the Cantor-Array and the Farey-Series, you've mentioned? I know Georg Cantor only as father of set theory... May I ask what's the strangeness for you in Kayser's Lambdoma? Is it something about it's zero-origin? Or something too mystically?

The Cantor array is the Lambdoma. I came across Cantor's array in the Book "Mathematics and the Imagination" by Edward Kasner and James R. Newman, Simon & Schuster,1967, p. 48. I have written about both the Cantor Array and the Farey Series, in some of my papers.

Erv Wilson has an enormous amount of Farey Series and Lambdoma arrays on the website called Anaphoria. http://www.anaphoria.com/wilson.html

Kaiser's "Akroasis" in Table II used zeros in the x and y axis of his table, where the 1/1's and 16/16's all became zeros rather than 1/1. I have always thought of the zeros as being points outside the matrix. But perhaps this version is closer to the Riemann Zeta hypothesis than we know. The Pythagorean Lambdoma ChiX also has zeros running along the outsides of the X.

How would we get THE fundamental RESONANT frequency of the shape, specifically how might we especially, for instance determine the singular primary resonant frequency of an irregular complex 2D polygon, such as say a thirteen sided figure, all with different side lengths and angles.

Converting 2 D geometric shape to corresponding acoustic frequency, conversion taking into consideration, all relevant dimensions of shape, including angles, length, width, area, etc.... shape could be for instance an octagon or even a lissajous figure


V IS THE VELOCITY OF THE SPEED OF SOUND IN AIR ( ~1130 FT PER SECOND, depending upon temperature and sea/land level)
W IS WAVELENGTH A.) converting 2 D geometric shape to correspondinf acoustic frequency, conversion taking into consideration, all relevant dimensions of shape, including angles, length, width, area, etc.... shape could be for instance an octagon or even a lissajous figure.

Could you explain to me the Pythagorean Lambdoma?

You can find out all about the Lambdoma from my website: http://www.lambdoma.com

If you scroll down to the bottom of the page you will find a button ILRI. There is a description of the Lambdoma matrix that was attributed to Pythagoras.

I, with the help of others, created the Pythagorean Keyboard that is the first of its kind. I have used it with clients to help them discover themselves on emotional, spiritual and mental levels. It helps to lessen pain on a physical level. The client chooses the keynote, plays the keyboard and often goes into a happy dreamlike state. Also the client may watch the shapes of the harmonic musical intervals that are played. It is an aural, tactile and visual experience all at once.

On your site you have a list of cycles per second(hertz) and their corresepondences to the mental state... in this list you have listed 16 as the botom limit of hearing. In my studies I have found that the majority of science agree that 20 is the lowest before infrasound. Looking at your charts i have gone through and added 4 hertz to each one to see what is would give me. what I need to know is if you think that what they say about 20 hertz is baloney. Hw exactly does the list work? Are the listed freqs the actual freqs to be used or do they represent something? Also, what decibel do you create the sound with and what speakers do you use. All the speakers I have don't go low enough to recreate the lower frequencies.

You are correct, sixteen cycles is below hearing. Even though it is below hearing (sub-audible) the vibrations are still there. In other words you would feel them as a slow vibration but not hear them. Some people cannot even hear 20 Hertz. I am not sure that adding 4 hertz would be what you wish. It depends upon what you wish to accomplish. When you add 4 Hertz to 16 you have 20 Hz a note that is Eb, instead of 16 Hertz that is a bit lower than C.

If you use the Lambdoma matrix you would set the fundamental to 320 Hertz a multiple of 20 Hertz several octaves above 320 Hertz. The listed frequencies from the Lambdoma matrix are based upon the fundamental frequency of 256 Hertz. Any frequency may be used as a fundamental in the Lambdoma matrix. Why don't you look at my Lambdoma Keyboard in my catalogue. This is the instrument that I use to generate different frequencies that are all harmonic no matter what frequency you choose as the fundamental frequency.

I use the Lambdoma keyboard with an IBM computer. It is the computer that has its own speakers. I do not have the sounds set to loud just normal. Most companies do not have speakers that go below 20 Hertz. Many computer programs only go to 110 Hertz.

So, you start at 256 and work up to 512. So 1=256, 2=257 and so on? Do you have a chart you can send me that translates the freqs in numerical order with their correlation to the psychic mind?

The scale that I use includes the harmonics of any frequency between 256 and 512, 288-576, 320-640, 352-704, 348-696, 416-832, 448-896, 480-960. This is a Lambdoma scale in each octave. The psychic center, I believe, is between the frequencies 416 and 832. In order to find the harmonic frequencies between 416 and 832 just multiply 52 by 8, 9, 10, 11, 12, 13, 14, 15 and 16.

I have been studying frequencies for school and have recently come across your site. The Science community lists 7-8 hertz as the resonant freq of flesh. The freq is extremely harmful to flesh and organs. Also, 19 hertz is supposed to vibrate the eyes and cause them to see 'illusions'. I see your chart and am interested in how it works and if it corrolates with the others ideals. If I wanted to unlock the psycic (telekinesis is my goal) mind would I be able to do it by harmonic frequencies?

It is true that very low frequencies such as 7-8 Hertz may be harmful to the physical body. However when these frequencies are raised to an audible level they become musical notes. The mathematics of musical notes is based upon the octave. The octave is simply a doubling or halving of any frequency.

I use a reference octave composed of frequencies between 256 Hz (a little below middle C on the piano) and 512Hz (C), (an octave above 256Hz). Within this octave are found 8 notes of the scale. In the scales of India are found 52 articulations (notes) within the octave.

Thank you for telling me about 19Hz. I didn't know that 19Hz results in "illusions." When raised to a musical note it is 304Hz (D#/Eb). The matrix that I use is made up of only harmonic and subharmonic ratios. The structure of the matrix itself seems to unlock the psychic in individuals.

I hope you will find the time to read this E-book, called : The Cycle of Change. I want to ask you if you would be so kind to give me your opinion on it, positive or negative. The URL is : http://members.home.nl/peregrine or www.thecycleofchange.tk

You mentioned looking for the angles. The musical and ratio equivalents of the angles (when the fundamental is 256Hz (C)) are: 30 degrees = 7/12 [12th subharmonic](D), 36 degrees = 8/11 [11th subharmonic] (Gb), 54 degrees = 7/5 [5th subharmonic] F#, 60 degrees = 7/4 [4th subharmonic] A+.

Also, by octave reduction 25,920 years = an F musically, while 34,560 years = a C musically. This means that F at a ratio of 1/3 is a subharmonic of C at a ratio of 1/1. That is a wonderful sounding harmonic.

Also, 2160 years (F) is an octave reduction of 34,560 (F) by halving 4 times. 30 degrees (A) is 5th harmonic of F. This means that there is a harmonic chord of FAC (1st,5th,3rd) that is based upon the two precessions and the 30 degrees.

You mentioned in the introduction that 23.5 degrees is the plane our planets rotate around the sun . 24 degrees = 4/9 (ratio) = Bb. The setting and rising sun at about 80 degrees =11/2 (ratio) = F. Bb is a harmonic of a third 3rd or 3/2. The chord would be F, Bb, C, a traditional wonderful harmonic, that includes both precessions as well as the 24 degree plane of the planets.

Are your books translated in Italian language?

Alice Galassi, who has made some translations of some of my writings. Her e-mail address is: a.galassi@flashnet.it


I have not dealt specifically with chords in my music. I would have to look up the Amiga program software for the Meridian tape and translate the frequencies back into notes that made up the chords. If you think that you could use something like that let me know. Also, I do not have sheet music for either the Meridian or the Chakra Attunement music. The Chakra Attunement tape is the only one done with the Western scale. We sell the tape but will have to check to see if we have a score. If we do have a printout it would be part of a software Amiga program.

Do you have a copy of my "Chakra Attunement Chords" cassette? If you do you could just make a copy of the sounds to use as samples for your equipment.

Below is the way of arranging the chords in a musical form from the "Chakra Attunement Chords" These frequencies are all within the middle C octave:

C  G  C  G  E       256  384  512  768  1280 root  throat root throat solar
C# G# C# G# F       272  408  544  816  1360
D  A  D  A  F#      288  432  576  864  1440 polar 3rd eye polar 3rd heart
Eb Bb Eb Bb G       315  473  630  948  1575
E  B  E  B  Ab      320  480  640  960  1600 solar crown solar crown psych
F  C  F  C  A       341  512  682  1024 1705 heart root heart root 3rd eye
F# C# F# C# A#      352  528  704  1056 1760
G  D  G  D  B       384  576  768  1152 1920 throat polar throat polar crown
Ab Eb Ab Eb C       410  615  820  1230 2050
A  E  A  E  C#      416  624  832  1248 2080 3rd eye solar 3rd eye sol transpersonal
Bb F  Bb F  D       448  672  896  1344 2240
B  F# B  F# Eb      480  720  960  1440 2400 crown heart crown heart solar

To imitate the sounds from the cassette divide the frequencies in the top row by 16 for the lowest sounds. They increase pitch by increments as you go from the top row to the bottom row.

How do the Meridians fit in? The Meridians have their own frequencies based on the angles from 31 degrees to 45 degrees. The musical notations include their scales A, B, C, D E, F and G. Do you have our "Musical Chords Affecting our Body's Acupuncture Meridians"?

1- I'm confused about the colors of the chakras. I've never seen them, but I thought the crown was violet, 3rd eye royal blue and the throat ice blue. Seems like everyone has their own version of what they are seeing. How did you settle on the colors?

2-Room tuning for the apartment dweller...I didn't really find a place where this is discussed. . . can a room be retuned to increase a desired outcome? Can my WALLET be tuned to have plenty of ready cash to have fun with. :-)

3-I am familiar with sound + color + intention = creation, but I'm uncertain as to whether or not this is also what you are discussing in your work. How do you imput this into the grid?

1) The colors of the chakras I estimated at being complementary. That is, that the crown then becomes gold instead of violet, the third eye becomes yellow-orange instead of royal blue, the throat becomes orange instead of ice blue, etc. This is calculated by taking the frequencies (instead of the wavelengths) of audible sound multiplied many times to reach the frequencies of the colors.

2) On "room tuning", you can find out what the harmonics are in your room by measuring the height, length and width. The chart will show you what the musical notation is. If you get a C E G or D F A etc. You will be in a room that is very harmonious. If you are an architect you could build a room that is in harmonic musical proportions. About the wallet, it doesn't relate!

3) On the grid, all of the ratios are proportional to each other, therefore you may measure the dimensions of a room and find the ratios within the grid, thus insuring that your room is in perfect proportions. To use sound simply multiply all the ratios in the grid by the audible frequency in Hertz that you choose, and all the sounds will be harmonic with each other. Our Pythagorean Lambdoma Harmonic Keyboard will do this.

Pythagoras color-coded each musical note to a specific color, so that there can be a one-to-one relationship between sound and color. The intention of helping humanity is always the best key.

I can understand how you used the Lambdoma matrix for evaluating length, orbits, time, etc for everything accept the elements. Please describe how you arrived at the frequencies you have for the elements. In using their atomic mass one comes close. I realize that others would change the mass value stating that the physicists have not accounted for everything in determining each element's mass. Even if you change them slightly, it is still difficult to get a harmonic (octave) relation between the individual elements of a given row in the periodic chart.

I am trying to determine the best frequency that can be associated each element directly or proportionally. I have seen others use the nuclear magnetic resonance technique to determine the frequency of each element. Others have tried to do by calculating the wavenumber of the element and matching it to a musical interval. The latter produces many wavenumbers for the same frequency which then varies across the entire musical scale.

The way I determined the elements was by taking the element number and multiplying it by 2 until it reached a reference octave between 256 and 512.

I consulted a physicist in Atlanta, Georgia who had written an article in the New York Academy of Science journal. Unfortunately, I have misplaced his name. I went to his office at the University and asked him what would be the best number to use in order to translate the periodic table to musical frequencies. He replied that the number of the element would be the best way. Later I realized that the atomic weight (or density) of each element is close to an octave relationship. Because I believe in the inverse relationships in color, music, etc. I then took the inverse (reciprocal) of each frequency as a duality that would include a musical chord.

I am sure that there are many other ways of determining the music of the elements. Perhaps you will be able to find another way on your own.

The matrix is now applied to an actual Pythagorean Lambdoma Harmonic Keyboard. You may view it's description on my webpage: http://members.aol.com/bhero/keyboard.php

Is the PLHK capable of generating tones in the Mhz range?

Our Lambdoma Keyboard's matrix would range from 20 to 20,000 Hz as that is range of most computers. Mhz would be 1,000,000Hz, that is way beyond hearing. Is that what you were thinking of? Do you want 440hz multiplied by 2 a number of times to equal 1,802,240Hz? The middle C octave (+ or - one octave) is the one that most sound healers tend to use. There are some sound healers such as Nichole Lavoie that use the lower frequencies down to 16hz or so.

Reviewed your paper, "International Harmony based upon a music of planetary grid systems", [in Childress, Anti-Gravity and the World Grid] as well as comments on the ChartresMusic i-net file.

Perhaps I'm missing something obvious, but the formula shown; v = fw doesnt seem to actually provide the cps. What exactly is the octave expansion / reduction formula? In other words, specifically how are miles, such as 4264 miles actually converted to cps. I understand that once the cps is determined its a simple process of mulitplying by 2 to the "n" number to arrive at the musical note.

Lets say that I want to know " X ", representing an unknown frequency / cps, and I know the miles, "1000" and v = 1130,
v = (x)w
how is 'x' determined? formula wise?

The concept of using the 1130 for the average speed of sound in air allows one to compute the frequency of organ pipes. More importantly, it allows the computing of the resonant frequency of rooms with opposing flat walls. It is also important, for instance in computing the distance to a flash of lightning. Therefore, each second after you see a flash of lightning, it means that for every second that you count the flash is approximately another 1130 feet away.

Because echo is required for there to be a resonance, this allows you to know how far away the echo is coming from.

I work with the number of feet in a mile in my measurements of the grid system. The speed of sound in air at room temperature is 1130 feet/sec. This makes one foot equal to 1130 (Db). Since there are 5280 feet in one mile, one mile equals .214015151 cps. 1000 miles equals 5280000 feet. Therefore 1130/5280000 equals 2.140151515^-10 to the04Hz. By octave expansion (multiplying by two until one comes to the reference octave between 256cps and 512cps we get 448.8cps Bb as is seen in the chart of miles in "International Harmony based upon a music of planetary grid systems".

I've seen your wonderful chart that relates areas of the body to specific Hertz to promote healing. What I donšt understand is how you make the Lambdoma play tones within a specific Hertz or range. When you play that specific Hertz frequency, do you play complementary tones to support healing in that body part ­ or the same tone repeated for some duration of time?

I'm not clear about how the keyboard works with color, unless we are simply referring to another frequency/vibratory level. Does the art work produced by the keyboard have anything to do with healing capabilities?

The Lambdoma Keyboard is in the form of a matrix that generates all the frequencies in the matrix by putting the specific frequency as a fundamental in the 1/1 position. Therefore all the frequencies in the matrix are harmonically controlled by the chosen fundamental frequency, what ever it may be. Usually, I keep the fundamental frequency as a drone. It is the drone that, I believe, creates the healing, for it creates a stereo interval with all the other ratios in the matrix. All the tone/ratios are relatively complimentary to each other because of the fundamental governing frequency.

The keyboard does not produce color only sound. We have made four color overlays for the PLHK based upon C at 256Hz as the color red. The notations in the Lambdoma scale include all the primary, and secondary colors according to Pythagoras' "color-coding". One could just play the different colors on the overlay to see how they sounded and how they felt. Yes, I also believe, that color heals. When a person selects their favorite note from the matrix, it represents a color as well, very often their favorite color.

We also include four overlays for the PLHK of Lissajous shapes that are consistent in configuration no matter what frequency is chosen. That way individuals can also just play the harmonic shapes and create harmonic sounds.

About your last question on the right and left sides of our bodies. As I understand it the right side of the body is the male energy and the left side is the female energy. When a healer, Foster Perry visited us here in Maine, he healed my partner, Robert, by working with my right side. The Lambdoma has a right and a left side. The right side is made up of ratios that are called the overtone harmonic series. The left side is made up of ratios called the undertone subharmonic series. The overtone series may be likened to spiritual plane, while the left side is the earth plane. This is evident from Pythagoras' Lambdoma CHI X table that is in the form of a hour glass (as above, so below). Above is the cosmic, below is the earth plane represented by the Lambdoma with its left and right sides (both spiritual and earth plane).

My suggestion when you have the PLHK is for each of you, one at a time, to choose your favorite sound from quadrant 1 of the PLHK. Then you set the frequency that you chose (which you will see on the screen) to be the fundamental frequency of your own matrix. Using your own fingers as your kinesiology tools, you then play in succession all four quadrants for about 4 or 5 minutes each. When you ask questions of your higher self as you are playing, expect that you will find the answers. I have conducted about 250 private sessions using this method with almost instantaneous results concerning health, mission, emotional and spiritual needs.

You will be able to experiment in all sorts of ways with the PLHK. I am a trial and error sort of person and do my work based upon intuition (what feels right) to a large extent.

Lambdoma Questions & Answers (part 2)

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