version 1 – July 18, 2016

Summary written by: Robert Vawter

The music you are listening to is not “composed” in the normal sense of the word, it is a re-creation of an experience by Chris Dunn when he was in Egypt in 1999. During that time, while experiencing the sites and sounds of Giza, Chris began to hear a chant that, when silent and focused, inexplicably and faintly resonated within. At first he thought it was music being played in the village of Giza, but with the music staying with him for the duration of his stay and even lasting up to 3 days after returning home, he considered the possibility that this was the sound of the pyramids.

Some 18 years later, in May 2016, Chris & I got together and after he had told me of his experience, I encouraged him to record the “chant” using an Open Labs digital recording studio. During the process of laying down the original tracks, we had several days of discussions relating to current research into the resonant frequencies of the Great Pyramid. We soon realized that the “notes” he was playing correlated with computer models of frequencies present in the (so-called) King’s Chamber. This realization lead to using digital synthesizers capable of producing controlled Microtonal Intervals in the music in order to more accurately re-create the frequency “environment” within the pyramid.

To fully describe the thoughts behind the Giza Chant, perhaps it is best to break the music into five elements: First – The melodic chant itself as it relates to a “dream/mystical” experience. Second – the choice of notes (frequencies) present in the recording. Third – the presence of the low frequency “electro-magnetic” drone sound. Fourth, the use of the Sistrum and the Bass Drum in rituals, and finally, the high Angelic Choir and heartbeat at the end of the piece.

< The melodic structure of the Giza Chant >

The main melody lines are best viewed as 3 sections or movements … First comes “The Call” – it is that quiet, yet insistent, voice that reaches out and seeks to communicate. This was beautifully expressed by Albertus Magnus – “The Light pursues us, even if we turn away”.

Second comes “The Response” – basically, one’s beginning question “did I hear that?” evolves into a tentative reply to the call. Multiple repetitions of this element grow in confidence during the recording, expressed as both the smoothness of flow of the melody line and the strength in volume.

Finally, the two elements of the melody coalesce into a conversation, the 3rd movement of the melodic structure. Anthropological and Theological studies of these experiences agree on the difficulty of attaining a smooth communication flow when one first comes into contact with these types of experiences. This is expressed in the recording as an irregular, sometimes hesitant, rhythmic structure.

< The Frequencies >

Basically a six note sequence … 3 notes, slight pause, 3 notes, etc. The vocal choir sound was produced by using Magnus Choir VSTi, a digital virtual choir instrument, programmed so that the variations in the voices included the range of microtonal frequencies modeled as present in the King’s Chamber of the Great Pyramid. The resonant frequency modes were calculated using AMROC Mode Calculator.

The “Call” and the “Response” – The notes for “The Call” are C – E – F. In “The Response” section, the same notes C – E – F are played an octave higher. Since both of these sections are included in “The Conversation”, they will be detailed in the next section.

The “Main Conversation” sequence is the notes C – E – F and then A – F – D.

The “C” > This frequency first appears in the King’s Chamber models as a Subsonic C0 + 5 cents at 16.39 Hz, and there are additional instances at C1 + 5 (32.81 Hz) , C2 +2 (65.62 Hz) and C2 +8 (66.02 Hz) that appear later in the harmonic series. This is a dominant resonant frequency directly related to the length (34’4”) and width (17’2”) of the King’s chamber itself. The repetitive nature of the 17’ 2” dimension in the pyramid is significant in my resonance models of the Great Pyramid. It appears in the King’s Chamber, the Queen’s Chamber, and in the ascending corridor “girdle stones”. This 17’ 2” wavelength translates to a frequency of 65.71 Hz (at Sea Level, 20 deg. centigrade, with average humidity conditions). This key dimension in the Pyramid also directly relates to Earth Geomagnetic Frequencies. The fundamental tone at 16.39 Hz is an octave of the base Schumann Earth Resonant Frequency (16.39 / 2 = 8.195 Hz), moving up the octaves yields 8.195 Hz, the 16.39 Hz fundamental, the calculated 32.81 harmonic, and finally the 65.62 and 66.02 harmonics in the model, which frame the 65.71 Hz indicated by the 17’ 2” wavelength.

The “E” > The “E” does not appear to be a fundamental resonance of the pyramid structure itself. Rather, it appears to be a harmonic being generated by the interaction of the frequencies. It appears as a double spike at E2 – 4 cents (82.02 Hz) and E2 + 4 cents (83.53 Hz) in the King’s Chamber model. The modern “E” in that octave range is 82.21 Hz, which has a wavelength of approx. 13.75 feet. This exact dimension in the pyramid remains elusive at this point in time.

The “F” > This harmonic first appears as F1 – 2 cents (44.11 Hz) and later as several harmonics ranging between F2 – 2 to F2 + 20 cents. (87.16 – 89.14 Hz) This cluster indicates a wavelength of approx. 12.65 to 12.94 feet. The fundamental tone F1 – 2 cents is almost exactly the modern F note, and has a wavelength calculated at 25.57 feet in normal ambient conditions.

The “A” > The first note in the conversation is played as a pitch bend “warble” … In the King’s Chamber model, there is a dominant frequency spike at a near subsonic frequency of 29.49 Hz. Additionally, there is a strong A1 – 2 cents modeled at 54.98 Hz. However, in higher octaves the “A” seems to dissipate, and a weak A# harmonic begins to appear. The “warble” on this note in the melody simulates this observation.
The “D” > The first instance of a “D” in the pyramid is D – 1cent (almost exactly a modern D). Later harmonics include D – 2 cents and D + 5 cents. In higher octaves, this “D” begins to look “furry, with the dominant note still present, but additional harmonics appearing within a range of approx. 71.94 Hz – 75.04 Hz ) … All appear to be harmonics generated by wave interactions within the chamber. The fundamental wavelength indicated here would be approx. 15.03 to 15.68 feet, with the dominant wavelength at the low end (15.03 feet) of this range.

< The Low “Electro-Magnetic” Drone Sound >

Much has been written about the presence of a F# “note” in the pyramid (Thomas Danley, Steve Mehler et al) … Additionally, Anthropological studies have observed the presence of the F# in tribal rituals and music around the planet. Most commentary on this subject seems to connect the F# to natural Earth energies of some sort, therefore: this frequency is included in the chant.
Robert Vawter’s research indicates this “F#” is perhaps slightly imprecise. Measurements of resonant frequencies in the Red Pyramid of Sneferu in Dashur, and computer models of the Great Pyramid in Giza both exhibit the F# “note”, however; it is more precisely an F# plus 18-23 cents. This is a microtonal frequency located between the F# and G notes in the modern equally tempered musical scale. In the Great Pyramid computer model, the “F#” manifests as a double harmonic at F1# + 5 cents ( 46.37 Hz) and F1# + 30 cents ( 47.05 Hz ), both frequencies neatly framing the measurements in Dashur.

In the Giza Chant, the F# is equated with Earth Geo-Magnetic forces, the always present, low frequencies rumbling through both the planet and our consciousness. To simulate this, a Korg Wavestation synthesizer was used. Within the programming, there is a Low Frequency Oscillator (LFO) that controls the resonance characteristics of the sound. As this LFO scans, the harmonic content of the signal changes. This has two main effects – it gives a slow sweeping motion to the sound, and as the harmonics change, it creates overtones that correlate with the microtonal range of F# plus 18 to 23 cents as measured at Dashur, and within the range modeled in the Great Pyramid King’s Chamber.

Additionally, the clock rate of this LFO was set to 2 cycles per second. This is in the Delta region of brainwave activity, the region of very deep dreamless sleep, and associated with activity in both the Cortex and the Thalamus within the brain. Delta waves are studied intensely by researchers interested in the effects of meditation.
I would like to add one more observation here, there is a direct correlation between the measured frequencies of brainwave activity and the Earth’s Geo-magnetic resonance known as Schumann frequencies. It is beyond the scope of this paper to explore this correlation in detail, but I would like to emphasize here that we exist in this resonant frequency environment, and any potential effects should be considered in any serious discussion regarding the pyramid.

< The Sistrum and the Bass Drum >

The Sistrum was a “rattle” used in Dynastic Egyptian rituals to Ward off evil , similar to the way a rattlesnake uses its tail as a warning device … Archaeologists have found numerous ancient Sistrums over the years, and some have been used as models for replicas. One such modern replica was sampled for this recording, and slightly processed using a spectral equalizer, a compressor, and a slight reverb effect added for ambience.

Fortunately, several written accounts from ancient times have survived describing the use of this instrument. For example, the Roman historian Plutarch wrote: “The sistrum (rattle) also makes it clear that all things in existence need to be shaken, or rattled about, and never to cease from motion but, as it were, to be waked up and agitated when they grow drowsy and torpid. They (also) say that they avert and repel Typhon by means of the sistrums …” [1] This last comment illustrates the Sistrum’s use for invoking protective forces within a ritual context.

Another Roman writer & philosopher, Apuleius, is particularly useful here. He describes a rhythmic pattern he observed in processional rituals while visiting Egypt – a sequence of 3 shakes, a pause, then 3 more shakes, etc. [2] This pattern was used in the Giza Chant recording.

The 36 inch bass drum was sampled at Bismarck/Henning high school with David Schroeder by Chris Dunn. It has been added for emphasis in certain sections of chant. However: it also represents a phenomenon known as Shamanic Forcing. In tribal shamanic rituals globally, it is common to see drums used to provide a rhythm that functions to “synchronize” all participants to a single rhythm, and consequently, creates a common unity of consciousness regarding focus and intent as the ritual unfolds.

< The High Angelic Choir Sound >

Though not a particularly Egyptian motif, the high Angelic Choir sound pays homage to the spiritual traditions in Chris’ background. It also represents a multi-dimensional, interactive, universe where many layers of energies and entities exist to assist us in our endeavors if we can get in tune with them.
This sound is located near the end of the Giza chant. The sound was sampled off the internet. It is a rather generic, non-descript sample, and hopefully the original post will not mind it’s inclusion in the Giza Chant. If one listens close, there is a slight modulation from a high pitched indistinct harmony, into a slightly dissonant moment, and then it resolves into a pleasing major interval. As the Angelic Choir appears, it is joined by a human heartbeat* which leads to a close where the union of mankind with Mother Earth and the Universe are sealed with protection by Hathor’s sistrum.

*The heartbeat was inspired by John Cadman and DNA sound artist, Susan Alexjander who met with Chris at John’s home in Bellingham, Washington, where John demonstrated his “pyramid pulse generator” which is modeled after the Subterranean Chamber in the Great Pyramid.

References

Plutarch (ca. 46 – 120 AD) – de Isis et Osir 63 , published in Vol. V of the Loeb Classical Library edition, 1936.

Apuleius (ca. 14 – 170 AD) – Metamorpheses, book XI.