The Solfeggio Code

TalkToMeGuy : Greetings, everyone. This is the Sound Health Radio Show where we talk about the crossroads of the environment, our health and longevity with Richard TalkToMe Guy and Sherry Edwards. I would suggest going to the soundhealth portal.com, scrolling down just a bit and clicking on the watch how button. You'll see a short video explaining how to record and submit your first recording.

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If you would like to leave me a voice message with a question for a guest or a guest idea for a show, you can do that directly from the site, and I will be notified. With that, Sherry Edwards has been called too scientific by some, too esoteric by others. Maybe that means she's doing something right. Sherry's work reaches back through time into the ancient Fibonacci sequences into Sylveggio tones that users used long before medicine had a name and brings them forward into the 21st century because it turns out the ancients were onto something. These number sequences, these foundational frequencies don't just resonate with history, they resonate with you right now in your voice.

Today we're going to explore those ancient foundational tones. Joining us today is Jill Matson, a prolific artist, musician, author, and sound healing composer with 16 intriguing and magical CDs using ancient and modern techniques and special healing frequencies. Jill is a five-time author, award best music and book cover of a year with nine gold and three silver awards from cover and hundreds of media appearances to her name. Jill's newest work, The Magical Sulfeggio Tones, is soon to be released. And today we get a preview of what's inside. Welcome, Sherry and Jill.

Sharry Edwards: Glad to be here.

Jill Mattson: It's wonderful to be here and connect with like-minded people. Thank you.

TalkToMeGuy : I'm going to start with this question, and then it's off to the races between you two. Jill, in your newest book, you trace the Silveggio Tones back to King David and a hidden code in the Old Testament. discovered by Dr. Joseph Puglio in 1999. Where would you like to start that story for listeners who've never heard it?

Jill Mattson: Well, maybe I would say that it's very hard for us today in our world to understand the wisdom of ancient man. They had different ways of thinking about reality than we did.

I also think they were... predominantly right-brained, which means they saw bigger pictures and connections between things. I believe they were taught by very advanced people. And then, you know, what the humans have is maybe a little dumbed down, but based on some really cool stuff.

I believe that sacred geometry, sacred music, which we really don't have in our history books, and sound. numbers, meditation, acupuncture, all these different things, tap quantum energy fields. And that if you get into the work of Dr. Cream with biogeometry, he categorizes the quantum energy as positive for life, negative for life. And the thing that's special about his work is that he has many, many, many scientific studies. Not studying the energy he talks about, but studying the results. And science uses that technique.

That's how they decide there's dark energy and dark matter because of the results, although they're not advanced enough to directly detect dark energy or dark matter. And in that way, Dr. Kareem documents how different shapes create wave cancellation patterns, and life comes out and has a wonderful effect on your health, and science verifies it with statistics.

So it's it's like a whole different way of looking at reality. Um, but it bursts things like acupuncture, where you create clear your meridian system, you get rid of the blockages, your body heals. Chigong, yoga, meditation, you clear your mind, and wonderful things happen in your health and your thinking. So when you start back very, very far, it's very hard to understand these solfegio tones because they have different building blocks of reality and health and healing, and you can listen to the solfegio tones, like in this new book, a half of it is how to use them, and it feels unbelievably incredible, and there's wonderful stories. You can show the difference in or there's all kinds of ways to document how great these things are, but to understand them, it's a little bit of a walk in the park because we're going back to ancient days when they they viewed reality differently than we did. I don't know if that does that help or

Sharry Edwards: if the reality is still there, it's like even though we can't define time, time is there and it still goes on, and it's the same with these frequencies and the vibration of what it is, whether we can define it or not, it still goes on. And in reading your book, I got so mad reading your book because people were interrupting me, and oh wasp, there's a wasp buzzing me here. Um but one of the things that I learned in reading your book was there's actually two different systems. There's a system called Sophio, and then one called Fibonacci. Could you define each one of those?

Jill Mattson: Certainly. Um I guess maybe the way I view that is that we talked about Dr. Kareem managing, manipulating subtle energy, positive for life, negative for life. When you look at the work of scientists Tesla or Kepler or Marco Roden, they um view energy as positive for life or negative for life in the same manner as biogeometry views it, is the same manner as the ancients viewed it, and so they would separate out um frequencies that would create like an energy stream, which is positive for life, and then they would also create other energies or numbers that um maybe more create matter or blockages or shape matter, and when you look at Kepler, Tesla, and Marco Roden, they're using um not so much frequencies but numbers, but in the ancient understanding, numbers were frequencies. So Pythagoras would say, for example, all is number, meaning that numbers have a frequency, almost like a GPS, um, and they didn't even separate it from time like space-time, they would they would um have numbers and they would divide them in between positive and negative for life, and what the solfegios are when you convert them to um a base nine system, they're this incredible netting of 369, 369, 369, and uh Marco Roden even produced um uh a coil that taps this energy field by creating three six nine frequencies, and he gets endless energy. He's tapping the quantum realms, I believe, and so the solfegio um kind of go into that uh stream producing of life force, the fibonacci is quite different. The fibonashi is more like um the sounds, the numbers, same thing that create a spiral or curves.

So if you could imagine God's creating the earth and he's got an etch a sketch, and that's one of the giving my age away. That's a little simple toy where one knob makes a straight line, one makes a curved line. The Fibonacci makes the curved line. So how do these vibrations in nature create a curve? Well, it's just that they're pitched so that when they combine, as energies always do, they combine and they produce an um an ever-ending frequency. So there's it's you know, it just goes on forever, and it cancels waves. So it doesn't actually create a total blockage, it creates a partial blockage, a partial wave cancellation, and so that creates the bending shape that you see in a in a galaxy in a flower in a tree, and it's it's a very efficient thing. Nature has like um uh made it perfect, made it very efficient, and it's it's a number pattern, it's also a frequency pattern, and you kind of wonder like what's the importance of wave cancellation.

Um, I just recently read this study by um German, not German, um Russian scientists, and they put like um it's kind of a funny experiment. They put like aluminum foil or aluminum around people, and what the aluminum aluminum foil did was cancel normal waves. What's a normal wave?

Thinking, thoughts, feelings, radio, cell phone, even earth currents. So when you cancel out all this chatter that makes up our reality, the 3D reality, what happens is you create like a portal, and in the absence of all this wave interference, finer subtle energy qi, life force comes through that little hole, and so the fibonacci creates this spiral, and it has wave cancellation that creates the curved shape that becomes very efficient for many life forms, and it also has um some wave cancellation. So the actual spiral produces life, and think about how important the spiral is it's galaxies, it's solar systems. Um, I know Sherry, many times you've told me that scientists would learn more if they realized that the electromagnetic spectrum was organized as a spiral, and I believe that it is with you, and think about when you go into the quantum realms, it's all spirals, and there's almost how to put it, um, shapes create wave cancellations, so they create frequencies or energy patterns, and all the spirals resonate with each other. So the idea of being able to put into sound or see it in nature or see it in numbers or sacred geometry to me, they're all the same thing, just different octaves, and this spiral is is like um it's life, and in fact, NASA, NASA is now scanning for life on planets, and what they're scanning for is the Fibonacci numbers somewhere in their life force.

Sharry Edwards: So, as a uh normal human being, I could look at a conch shell and look at those spirals and see that that spiraling created the shape of the conch shell. So if it's uh reflecting in a conch shell, is it reflecting in us as a body? And where is it coming from?

Jill Mattson: Well, where is it coming from? Is a good question. Is it coming from galaxies? Is it coming from our solar system? Is it coming from quantum realms? It's actually present in all those places. Is it in our body?

It's all over, it's all over nature. Look at the um the shapes of the coastline. Um, I also think fractals are very close to um Fibonacci numbers, and um when you kind of like go up on the Fibonacci numbers, it creates like a like an energy stream, like a flow, a flow pattern. So think of you got a big tree, and the first branches are the first numbers in the Fibonacci sequence when you when you look at the space, and then as you keep going up and you get into the tiny veins in the leaves, still Fibonacci number shapes, um, it's just a higher tone of the Fibonacci series, it creates like an escalator or an elevator, and remember that waves combine, so they're kind of like choo choo chains, so like um my voice can convey love, anger, you know.

I can put other things on my voice, and we all understand that. And so all of these theories, Sofeggio and Fibonacci, they're kind of like healthy energy streams, and it can lift energies and proximity because it combines, it can lift our mood, doesn't it feel good to be in nature? It can lift our health eventually. Um, because those nature patterns are in our body.

Sharry Edwards: Well, absolutely when we were doing research with Fibonacci or with bioacoustics, and we ran into Pythagoras and Kepler, and both of them are saying that humans are affected by the movements of the planets, absolutely. How does that fit into uh the Sofeggio? numbers? Okay, okay.

Jill Mattson: First of all, um, they're talking about what I term shape resonance. So um, just to explain it, like one pyramid would resonate with another pyramid, and how does that work? So you just imagine the air coming by, and it it hits the outer surfaces of that pyramid, and it's going to reflect off. So if the pyramids are of the same dimensions, they're going to create the exact same wave interference patterns, assuming the wind's the same, and those two patterns resonate. Like we we all know that resonance is like a violin, you pluck an A string on one, the A on the other sounds, but it's also that a song that has many notes resonates with the same song, or that one pyramid resonates with the other pyramid. You can go inside that pyramid and just imagine the air resonating off those angled triangle slopes, it creates a characteristic reson a pattern, wave pattern that resonates with another. So, in that manner, um, let's say you look at the planets moving around, well, they're in spirals, they're creating Fibonacci, our veins are Fibonacci, our we got Fibonacci all look at wrinkles. Um there's all kinds of Fibonacci series within our body, and we go out in nature and we feel really good. We almost reset, it resets our thoughts, our brain waves, it resets our breathing rate, we calm down, we go into homostasias, we start to heal, and so we start to how to put it, what we focus on and what we're near, we exchange subtle quantum energies with, and when those come in a certain pattern, then it heals our pattern, think to acupuncture.

You know, they have this now. Science is not confirming meridians that I know of yet, but there's this meridian pattern, in which they say quantum subtle energies we can't measure yet, flow on this map. You clear the map, and then the energy flows, and your body gets life force and it heals itself.

So it's the same thing. You're out in the night sky, it's feels good, and if we were to spend more time, it would be healing as well. Think that um we evolved for millions of years underneath the stars. In fact, there are um, I just recently read some studies saying that um the frequencies of the planets in their orbit, um, like double crop growth, has a tremendous impact on crop growth and repels negative energy, repels um like pests and so forth, less flies or different things like that, just from being in nature, and and you take the concept of resonance and expand it to song and expand it to planets, or or even think of the hundredth monkey effect. So that's when you know you got a group of monkeys on one island and they learn a new trick. If enough of them do it, they resonate with all monkeys or shape resonance, the shape of the monkeys that learn something new, they resonate with all the other shapes, even on other islands they can't have access to.

Next thing you know, the whole species of monkeys knows that. And so this ancient idea is just taking the simple concept of resonance and making it broader, and it and it's just showing in quantum ways how we're related to the stars, how are related to um four leaf color?

Sharry Edwards: Does this whole system come down to humans as we create music?

Jill Mattson: Um, the ancient music system was very different than ours. And when you look at cross cultures, like for example in China, basically all of Asia, but I'll talk about China specifically, they believed that music was the controlling force of everything of personality, health, um, different qualities of people. The emperor would choose the tone that everybody would tune on, and they also believed it changed over time because the stars move, and therefore they create um like a path and their frequencies are going to change relative to us. So they would create tones and intervals and musical patterns that would create brave citizens, healthy citizens, harmony among different groups, and so like if like um Lao Tzu would think if you had one town that tuned to 440A and one that tuned to 432A, that they would not get along because they were being fed a steady stream of two tones that are close together and kind of create dissonance, so they were managing strength, population, virtue, health, um, by managing the tone, and we've lost this all, particularly you know, in the West, because of several reasons. Um, one of the major ones, I think, was during the let's say the times when the Bible was being written, so you have the Catholic Church has competition, it has the druids, paganism, it has the old Sumerian, the real old stuff, it has the Egyptian, not too far from them, and so they have these competing religions, ideas, and the ancients understood the power of music, and the church came up with laws, they made, like, for example, the interval of pie, which is created by two Solfeggio tones, they made that, they called it music a diabolis, it's of the devil. So if you were to play something that produces pie, which cancels waves, um, which is found in nature, and it's found in the Fibonacci series over and over again. If you were to play that, man, were you in trouble?

I mean, you could be excommunicated in a whole lot worse. And my understanding from other people is that they burned all the Greek music books and killed many of the musicians. So, in essence, to get rid of their competition, they got rid of the ancient idea of music, and then later on, when they were starting Gregorian chants, and they were pretty much established, they came up with they had to come up, they wanted to come up with music. So they had the titles of like the music things in Greek, like the Pythagorean, the Dorian, the Ionian, they had the titles of music, but they had eradicated what that meant, and those different scales managed portholes in different places to be used for personality treatment for mental health, for physical health. But then they went and they created music basically off of the sulfegio tones, which is phylus.

It's it's like the positive and negative scales, they both have benefits. But um, the only people that preserved the the Greek understanding of music were the Arabs, and you can get that stuff back there. But so the Greeks found this um the Solfeggio scale, and that's where it's got the name Solfeggio. So if you think about 1959 movie The Sound of Music, um Do a dear, so they're giving names, do, re, mi, fa, sola, to different scale notes. They don't have pianos, they don't have digital anything. This makes music easy to understand.

So their beginning Solfeggio names or scale notes were not what we hear on pianos, they were Soficio notes and octave made out of Sofficio notes that was phylless that got around the sticky mess of Diablo's diabolus, and so then what they did was that they um used all the Greek and ancient terms and names, but they didn't mean the same thing. And I mean, it just totally eradicated, I think the idea that vibration energy combines with us, and if used properly, heals us. Sorry, that was a bit long winded.

Sharry Edwards: I'm a little, I'm a little confused. Okay, we use different terms, vibration, uh, music, sound, math. So at the bottom line, can we say energy is shape, like you're talking about the geometry, energy um systems could be astrology, it could be acupuncture. Um so really this is a system correct of energy, correct?

And it just exists, and humans have control or no control. Who who invented this? That I don't know. I don't know. But it certainly gives credibility to different systems causing different effects on humans, absolutely.

Jill Mattson: It's so the ancients would look at the root of everything's numbers, and numbers can be expressed as frequencies, which is great because that's a phrase that you use often, and so they they would actually think of them like GPS coordinates, not just numbers and frequencies, but locations in space. I I think the ancient con um ideas do not separate time and space, and so just think of like going to Tahiti versus New York City. I mean, they feel different, different spaces, different feelings.

Think of going to you know, the stereotype of an Italian versus an ancient Chinese sage, different location, different personality stereotype, and everything was frequency, and so we have today we have the equal temperament scale, which is man-made, um, it's not based off nature, and it it throws it's it's close to the solfegio of tones, but not a close, not exactly, and the body, as you know, likes exact tones, and the whole concept of music today, particularly with our scale format, it doesn't fit nature, and so it kind of lends itself to music as entertainment, not healing, because we've lost the map to connect numbers or frequencies into nature, into the night sky, into the quantum realms to use for benefits like a vending machine.

Sharry Edwards: In one of your many books, um, I can't remember which one, but it talks about the church trying to hide this from the people and not allowing people to sing certain notes together or sounds together. Was that political, or they were just trying to control? Well, what was the purpose of the church doing that?

Jill Mattson: Well, I'm I'm guessing here because I wasn't there, but I would say both because their competition was the pagans, the druids, the Egyptians, the Sumerians, and the Greeks, and all of them honored nature and honored the sounds from nature. All of them used this ancient system for healing, and it was considered of the devil, satanic to use like um phi. So in between each fibonashi, remember I said the fibonashi creates a spiral spiral by creating partial wave cancellations, and there's a Pacific number, frequency, shape, angle, whatever, called phi, ph i that has a um partial wave cancellation, and it's in between every fibonashi number, it's nature, it's a little portal for pranachi, life force. That's what was considered satanic, and you know, we lost the knowledge, and then like I said, not only that, not I don't think on purpose, but I think then they tried to come up with music systems, and they had burned all the information. So they just use some of the names from antiquity, but they don't use them in the manner ancient people did, so it makes it really hard to research this.

Sharry Edwards: Are these systems of music available now?

Jill Mattson: Not that I know of, I do them as much as possible as I can. I do maybe 90% of them in my own music, like for example, I don't tune my cellos and my violin to the same note because as with a spiral, the pitch changes per octave, and harmony gets off in the ancient people. Um they sounded like you, Sherry, you know, you got to get the right frequency.

It's not okay to kind of sort of be right, and um so um, you know, all our systems are averaged, they're kind of mucked up, and we can't see the correlations, you know. So we've gotten lost in in music as entertainment.

Sharry Edwards: Have you done CDs for people with these uh energies in them?

Jill Mattson: Oh, yes, yes, yes, absolutely. I got about 16 CDs out, and they kind of represent my my growth. Like I started out with star tones and then nature tones and my first two CDs, and then I come into um uh create getting rid of negativity, um, taking from the ancient Greeks, um, and then uh the ancient names of God and what they were doing specifically with that, and then you've helped me so much. You you helped me with um the God gene, thanks to you, and um I've done recently five or six on health systems in the body. So I put in the frequencies that you have generously shared with humanity and the world for their healing, but then I also use my musical techniques.

So, like I'm going to try to tune as much as possible to nature. Um, I'm creating portals, I'm using key signatures for perfect. Key signatures are key. No musician that I've ever met really has understood what key signature means. And um, so yeah, and as I learn, I keep adding more and more, and they have tremendous amounts of techniques, like they even use time as a frequency. So the length of this phrase versus the length of that phrase creates wave cancellation um patterns in their minds, and so I've replicated that because remember, as I said earlier, I don't believe that the ancient people separated time and space, it was space-time, and treat them similarly.

Sharry Edwards: When I think about what you are and what you do and your energy, and I love your energy, it's like all of this ancient stuff and comes together in you, and then you create something out of that, like you create a CD of all of this collective information. Do you have a specific CD for fatigue? Because that's what many people are complaining about right now.

Jill Mattson: Um, no, but I bet you you and I could work together and we could figure that one out. I do have ones for energy, blissful mind. I do go into, and again, thanks to you. I do go into um creating energy in that one, and I have one for digestion and um properly using them. So yeah, I guess I do. Um, I guess I do.

Sharry Edwards: I'm looking at a couple of CDs that you sent me uh recently. Return to innocence. Like does that have any of the magic numbers on them?

Jill Mattson: Well, they all do, but um one of the things that I'm concentrating on return to innocence. It's it's a follow-up to a CD called purity, and in purity, I um I don't know, maybe 30, 40 different methods of detoxing the body, and then um in innocence, it's getting rid of inflammation. So, and again, it's an old idea. I found this from like 1910. And what doctors were doing before the AMA crushed them was that they had kind of a view of health that detox was a root of many, many diseases, and not just detox of liver, but they're talking detox of nerves, detox of bone marrow, detox of everything, and that they kind of like back to this ancient idea of acupuncture or the sulfesiotodes, an energy stream, a river, a flow of healthy energy. And so they would feel that, like um, yeah, you eat some eggs and you get a little piece of Teflon, it sticks on, let's say, an artery, it builds up, you start and get a blockage. And so detox, what they would do in in the 1910s, they were doing this, they would vibrate, they would resonate with the frequency of the artery, shake it to get the Teflon piece to loosen, and it would loosen and you detox, and then the innocence CD comes in, and I'm following up with what they did, which was then they feel there was a problem because they just pulled a piece of Teflon off your artery, and it's either bruised, caught, something, and your body has an immune response, meaning pus, you know, all scab, all that kind of stuff. So they were using frequencies then to stop the pus to stop the scabbing.

They have a whole sequence of tones to get rid of scabs in every place in your body. And so in 1910 in United States, they were using these ancient systems. And I believe the AMA about 1910, 1920, around in there, um was came out with some type of directive that they were going to take their license if they practice that homeopathy and some other natural healing modalities. So anyway, in that one, I'm I'm kind of using that system, and um I I shared with you a book. It's called The Resonant Resonance Effect by Carolyn McCackon. And she's the one that brought back this ancient, not ancient 1910 system. And she has a book out called The Resonance Effect on it.

Sharry Edwards: Well, people are reporting and listening to your CDs that they feel healing, maybe in a certain place. But when I listen to your seasons of the sky, that sound that feels more encompassing. It is. So you designed it that way? Yes. Yes. And it just came through to me, and I don't usually listen to music. Um but I love your stuff. Thank you. It feels more pure to me.

Jill Mattson: It totally is because I'm using these ancient methods. And furthermore, um, I'm also um using the concept that sound is like a choo-choo train and it has carriers or passengers. So I have prayer tracks, I have channeling tracks, I have um uh I add intent right into the music. And the seasons of the sky, what I'm doing there is I'm I'm I'm looking at the ancient idea of astrology, and we're talking back to the early Sumerians, and they did not use it like tabletop books or predictive, you know, it wasn't to say you're gonna have a good day today, it was tonal. So think of the night sky and think of the astrology signs like a piano keyboard, C, C sharp, D, D sharp, and they would play the stars. So you like say, you know, how you look at reciprocals to balance out tones. They were doing that, and rather than calling it like musical notes, they would call it the astrology sign, and they were also doing things like they were they were picking marriages based on whose tones balance out, and I also observed you do that too. You can look at and say, you're really noteler low on this particular note, it causes you issues, and yet your your spouse, you know, your spouse radiates the frequency you're missing and how beautiful that is.

So they were doing that back then. They weren't calling it bioacoustics, they were calling it astrology, and medical astrology is the same thing, they're using different correspondences to create a healing system to create um frequencies to fill your holes. So to me, seasons in the sky, it's the zodiac, and it's the ancient zodiac tones, and then um kind of cool. I was able to get off of NASA and satellites, um, they literally record the planets in motion, so you can get a number of um literal tapings of each of the stars in these zodiacs. So I create the zodiac, and um I particularly like to use it with your nano voice, Sherry, because it's very much similar to what you do, like in the nanolice voice, you lump the frequencies into like the notes on our piano keyboard, and then you can quickly see where people have needs and holes. So, based on your nano voice, a perfect follow-up of seasons in the sky, and it also gets into music about the meaning of key signatures and why a key signature is important, not for ease of the musician, but for the listener's health.

Sharry Edwards: I want to get into that in a minute, but I want to ask you something else. You you've created so many albums, and we've only touched a few here. How can people find out more about what each album is designed to do for them? Thank you.

Jill Mattson: Um, Jill's wings of light.com or Jill Mattson.com and just go under the store and then under um digital music or physical CDs. I think they're each different tabs, and then when you click on each one, it'll tell you what's within.

Sharry Edwards: And then they can just punch a button and order that from you. Yep. That sounds awesome. I would encourage everybody to go look at it. There's a lot there. Yeah.

A lot of information there. Jill and I first met when we were at a conference, I think in California. And she came up behind me and she introduced her source. She said, I'm gonna write a book about you. And here's this little sprite, and she just feels very light and um laughter. And I thought, oh, that's awesome. A lot of people say that. I wouldn't, I didn't expect her to follow through because at that point I was traveling all over the world, and a few months later, here comes a book, and I was just absolutely amazed at what was in that book, and it made me feel um safe about the process that I was trying to do, and that was to look at these frequencies Jill's talking about, how they come from the universe into our being, and we must match uh those sounds.

They can't be any sour notes, or the body gets sick, and so that's the way I'm looking at this and not understanding a bit of it until Jill started writing about well, Sofagio's this and um Fibonacci's this, and this is the way the systems go together, and this is the ancients, and this is what church tried to hide. It gave me fulfillment of all the reasons I was doing the work I was doing, and gave me hope uh to carry on. So thank you for your work.

Jill Mattson: Oh goodness, any way I could help you is an honor, trust me.

Sharry Edwards: I love your book about time too. Can you speak a little bit about that?

Jill Mattson: Yes, um, and again, I've got three new books coming out. You can pre-order them by going to Jill Matson.com or Jill's wingsoflight.com, going to books and scrolling down to the bottom of the page. Okay, back on the time book.

Um, I don't know, I think this one's my masterpiece. The ancient view of time was more like energy. Time is energy, time is numbers, um, time is space time, and how to use it like you would use a vending machine, and so it combines ancient wisdom, but it also combines um cutting edge science because the weirder science gets the more it matches these ancient ideas. So in the time book, um I go into you know the ancient and the modern, but also how to use time as a remedy, how to use time like a vending machine, how do you get out of time, how do you slow time, how do you speed up time, which times are best for you. Um, I don't know. It just kind of all put all my knowledge together in one piece that um the music of time, you know. And it I don't know, it I don't know. I guess I don't know what else to say.

Sharry Edwards: It's a masterpiece, and it it shows something that most people don't think about. Here's time, we named it, that's how it got its name. It exists without us or with us, it is there, and we're the one that's trying to understand it by giving it um names and topics, and it's the same thing with this energy that Jill talks about. I love this idea about your master numbers 222, 444, those ideas of how when that time is, and I I this side, I think they screwed up our time by making it all different in time zones, but

Jill Mattson: all kinds of um circadian rhythm corruption, yes, yes.

Sharry Edwards: So the music also has a time to it and fits into this energy, yes. So what Jill's books for me is trying to say is here's something that uh comforts us, gives us control, gives us dominion, gives us reasons, and here's how it's being used, and she's bringing that magic into uh into her books.

Jill Mattson: Well, we think that time is something that happens outside of ourselves that we're victim of. We never have enough time, but what I'm suggesting is time is an energy source, and part of health and enlightenment is mastering time, is using time, is changing time. And you can do all those things. And it kind of dovetails with science. So that's kind of cool. Do you think people can change themselves through the energy of music?

Sharry Edwards: Absolutely. I have thousands of testimonies of people getting out of the wheelchairs and walking of people in near death coming up and walking. I mean, all kinds of times, thousands of testimonies. So yes, it's an energy that combines with our energy fields. We become music. We don't listen to it. It becomes us. It's like you walk out in nature, and if you're out there long enough, you feel different. Your mind calms, you feel a little better.

It changes you. And music is no different than that. Um, and one other thing I speaking of things, um, I wanted to bring up was the ancients have a lot of ideas about like four, three, twos important, four forty is not, or they'll they'll they'll come in and they'll maybe like a 1520 numbers, they'll pick and they'll say, These are the frequencies that we listen to. Well, in ancient times, they didn't use cycles per second, but um, nonetheless, um, we can still calculate these special numbers, and I read about them for maybe 10, 15 years, and I always used to be kind of embarrassed because I think like, who cares? You know, you're telling me this number is important.

Big deal. What do I do with that information? But the point in antiquity was that there are cycles per second, or whatever measuring system you want to use. There are vibrational patterns in the universe and nature, like Fibonacci Solfeggio, or maybe the rate the earth rotates, or the vibration of the moon around, or our pace going around the solar system. And there's these, or the or this the astrology, they would have these um, you know, maybe the frequencies of the rotations, even these people were advanced of different planets, and the idea is that we don't hear them, but they're ever present. You go outside, and there's the sky, whether or not we see the stars or not, it has a vibrational influence, always. And when we tune to the sky, to the night, to nature, it's like we become in harmony with the bigger picture, with the more evolved masters, with greater consciousness.

They would like to think about like maybe time, like a second being a year, and then they would kind of like operate in in you know, a time period that's very, very long. And when you when you change your perspective, when you change your frequency, when you become in harmony with these big uh natural tonal patterns, it raises your elevation. You become greater, you you um have more consciousness, and so the importance of all these ancient people tuning to this tone or that tone, it's harmony like with all that is, and it lifts you, it it connects you to higher energy.

Sharry Edwards: Well, one of the things all of yours and my work brings together is energy first, and then the creation of physical reality, and I'm looking at it through octaves. I don't know what the term is where you're looking through, but it becomes a very low number and then works its way higher into reading and to hearing. Um, I don't expect you to answer that. I just think it's a great observation. And we have a question from the audience, and Richard says he has a question. We've left him out. So, Richard, come back in and ask your questions.

TalkToMeGuy : Uh well, I have a couple of clarifying questions for people from the audience. What is the name of the time book? Is it the lost waves of time?

Jill Mattson: Um, I've changed the name a couple times. I think um I have time tapestry on my website. Okay, the book is complete. I just need to move to get it out.

TalkToMeGuy : If only you could write another book. I swear you must write in your sleep. I don't know how you do it. And another one is what is the best ways and time to listen to two of your CDs, which is back to joints and return to innocence.

Jill Mattson: Okay, back to the joints. Um, again, this is a lot to do with the genius of Sherry Edwards. Um, back to the joints um includes frequencies for muscles, um, connective tissues, joints, joint fluid, connective tissues, bones, and so forth. So I'm looking at the skeletal system and precursors of nutrients and biochemicals that the body needs for the bones, muscles, joints to be healthy. Um the innocence one is the one that, well, it includes um inflammation, but this is going back to that 1910 uh USA medical kind of idea where they not only do they clear inflammation in the traditional sense that we'll find in alternative health, but they're doing inflammation on crazy things in your body, like saying inflammation in the nerves or inflammation in this cell or that cell. And um, so that is dealing with the inflammation because inflammation is a forerunner to cancer, to Alzheimer's, to heart, to diabetes.

I mean, inflammation's a big problem. Also on the innocence um collection of music, I added work with the endocrine system. And I did that because when you look in antiquity, they're associating healthy advanced endocrine hormones, feelings, um, glands, um, with advanced psychic skills. So I um I worked on clearing inflammation and building up the endocrine system for health and for spiritual purposes.

TalkToMeGuy : Oh, just that. Uh wow, okay. That's a whole that careened me off into a whole thing because inflammation is one of my pet projects. Yeah, I think that because I think that inflammation is always the body saying, hey, hey, hey, hey, hey, pay attention. Right.

And I think it's a I think it's a sleeper in, you know, so many people have inflammation and just sort of ignore it, like, oh, that's just inflamed. No, that's the body going, look at this, please pay attention. Yeah. Dogs would know to lick that spot. Yeah.

Jill Mattson: And what these 1910 doctors are saying is you have inflammations, you can't even imagine inflammation's all over. And look at the air we breathe, the food we eat. Um the stress of today's living. Yeah.

TalkToMeGuy : And now I have a I have a this is a ways back, but it it so fits in your big picture. Do you think that one of the advantages that the ancients had? And this I still include this in the acupuncture realm because that one has been less corrupted than so many others, that they also had in their context, clearing spirits, clearing evil, you know, absolutely. I don't mean this is oogie boogie. Absolutely. I mean this is in the sense of, you know, people thinking badly of you. That's pretty evil spirit. But don't you think they included that in their absolutely?

Jill Mattson: And let me let me talk into that for a little bit. So to me, everything's conscious. That's an ancient idea. That means your pen, your clothes, everything's conscious. Doesn't have free will, but it's conscious. So I'd like to think I'm a nice person, but you know, there's moments I haven't been. I've been angry, I've been frustrated, I've been a victim. I chose to, you know, I got my own little bag of negative stuff like everybody else. And if everything is conscious, so is that.

And I have created that. Whether I like it or not, it's like I can't go back and and well, you can kind of cancel. I think the reciprocal, Sherry, uh forgiveness is the reciprocal of some of your misdeeds. But um, once you create that, like attracts like, so when somebody's angry or dis dislikes you, that can resonate. Like, let's say, Richard, you say to me, I think I don't know about you. And you know, then I think about, oh, well, you know, my sister said that my mother said that. And then I then I think about childhood and memories, and then I believe in past lives.

So then I believe this life, that life. I mean, I got a history of feeling not smart, not accepted, nanan and that. So you just give me one little bad feeling, and it can set off like this line of dominoes of negativity in me. And if it's all conscious, to me, that's a negative spirit. So the first thing I think to get rid of negative spirits in general is these nature sounds, these fibonacci.

I've had people write in and say, like my paint your soul and start a CD, they'll play it in bad sections of town and the bad people won't congregate there. So the idea that a low vibe, think of low number, um, in in the presence of somebody who's pure or innocent or um good or very evolved, it's like those higher numbers, they um the the energy becomes more dense, and it's almost like they can fry the lower people get like like French fries, maybe they get fried a little, and so you can use like this global feel of energy to discourage um the low negativity, and then the other thing is is that um I guess I the end I I do believe there are such things as entities, so like that the dark energy, let's say from me and you, Richard, you know, we talked together and we both had lower moments in our lives, and maybe that energy combines and and it takes a life form of its own, and you can even go to Walmart and come home and you feel really tired and drained because you picked up this kind of stuff on other people, and it can take a life of its own. So, to me, keeping your energies highs, keeping your fields high, keeping your house high, your house is a thing. And I wrote a book, um Home of Power, showing how to create the high vibes in your home with simple, easy things, so that your home becomes a frequency machine because that low level negative stuff it's all over the place, and it and it attaches to us, and um, you know, we don't want to identify with it, we don't want to let it take us down. We just want to raise our own vibe and let it float off, you know. So you don't want to be poor me, I didn't deserve that.

Um, oh, that's awful. How come always me? When's the next shoe gonna fit? You want to be like neutral, like um I'm done with that. I'm on to I'm on delight, I'm on to love.

Sharry Edwards: Do you think listening to Silveggio and uh Fibonacci frequencies of music would be protection?

Jill Mattson: Yes, I do, because they're streams of positive energy.

Sharry Edwards: Wow. Do you have CDs for that? I certainly do.

Jill Mattson: I have the uh Solfegios in Paint Your Soul. Um, and then I have um I know I have Fibonacci, Sefeggio and Fibonacci in paint your soul. All right, I'll be ordering those now.

TalkToMeGuy : Um, I was gonna jump back to I'll pick on Walmart just because it's a good place to do it. Uh I've always thought of those negative vibes that you can get out in the world from it, doesn't have to be Walmart. Yeah, it could be uh someplace.

Um it could be Costco, uh you know, people's stuff, you know, they've got this stuff grinding away in their brains while they're out shopping, and that you can step through that field and get that Aka, as they say in some worlds, on you, and then I kind of think of that as an auric field of viral potential, correct? Correct. And so can I clear that on a regular basis using paint your soul?

Jill Mattson: Yes, and I'll tell you the other one that does it is I have one on the names of God. I'm using the Jewish names of God, but that was something that's an ancient idea.

You'll find it in Hindu China all over, all over. And the idea is that all that is starts out as like white light, and then think of white light going through crystal crystal, and you see this rainbow. So now um you got a pantheon, if you will, but they're really one in the same with God is one, and or or it's like your voice is one, and then Sherry analyzes it, and it's a thousand frequencies or something, you know, there's components. So the idea with names of God is that they're um higher evolved individuals, beings, probably not people, but energy fields, and that again, you know, the name is the mastery of the vibration of the name is a frequency wave pattern. And when you say the name, you resonate with the mastery of this sound pattern or this energy, and so um trying to think of the name of it, it's um divine invocations is the name. It is um 72 names of God in the Hebrew tradition, and then in the Hebrew and the Sanskrit, all of them, this is for warding off dark energies, dark spirits, dark entities, that kind of stuff.

And so the ancient people would use the resonance between the name, and I went to great trouble to get um uh coached to say the names properly, and it kind of sounds like I have Kleenex in my mouth, but anyway, that's how I was coached to say the names properly, and then I I had this vision and this dream, and I implemented it. Okay, so uh there's this thing called the Pythagorean, oh, what's the word? Um, scheme, that's it. And it's a way of taking numbers and transposing it with um letters. So like A would represent number one, B, number two, C, number three, etc. And so then you can um transport or transpose the energy between numbers and letters.

And there isn't anything for music, which I can't believe, because there's so many other different ways they have of transporting energy from different octaves or realms or dimensions. So in this dream, um, what I saw was the Rosa Christrian cross coming in from 1600 with um some guy in the middle ages, and in the center of that rosy cross is this little circle that looks like a color chart or color chart could be superimposed, and it's Hebrew letters. And so what I've done is I put um a color wheel and superimposed it on this alphabet in this circle of Hebrew, the ancient Hebrew letters. And then what I did was C is red, red orange, the C sharp. So I was able to transpose, and I'm quite sure this works.

I know this works. So this comes this like takes the energy of a name, like um, yes, you are or Michael or Angel Michael or whatever, and translate it into tones. So the 72 names of God is not necessarily music, it's tonal patterns. It is the name, and it is the frequency, like Michael might be Archangel Michael might be bum bum bum bum or whatever, you know. So it has their tonal pattern, and then throughout antiquity, they're all associated with stuff, like they're associated with this flower or that crystal or this or that, and I have those frequencies. So then I insert in a vibrational sense all the things associated with the mastery of this name.

And this was something pretty uniformly across the ancient world, as far as I believe, is purposely to get rid of dark entities, spirits for protection. It's another one, paint your in addition to paint your soul.

TalkToMeGuy : So listening to that CD on a daily basis would be like going through a psychic car wash. Yes, I love that.

Jill Mattson: Yes. Oh, and one other thing I just wanted to say, you know, Sherry. Uh oh, we might not have time. Go ahead.

TalkToMeGuy : No, you go ahead. We have a couple of things.

Jill Mattson: Okay, Sherry had also talked about sometimes she thinks I'm channeling, and I do channel. So, but I I just want to talk a little bit on channeling. I think everybody channels.

And I just think it's not a matter of channeling, it's a matter of being aware that you're channeling. And um I just wanted to cite one example. There's some what's there's a French scientist, um, Joel Sternheimer. He went to Princeton or something like that. But anyway, he measured under microscope the um the proteins, the protein cells of different plant species. And he with over time period, he could see think of a cellular blob like a jellyfish going in and out over a certain time period. With that, he can measure the frequency of that particular cell. And so he put together um a ton of frequency patterns for different species of plants, and most of them were recognizable music, like oh solo mio. And I just find that interesting that below our hearing range, we have plants, and they make sounds, they make frequencies. And then a composer like me goes into a field to write some music, and isn't it a coincidence? The song we write isn't it wouldn't be mine, it would be that clover in the ground. And so I think that we're all connected, and there's tones in the universe, there's tones in nature, there are tones in us, and that we're not so separate as we seem, and that we all channel and that we all resonate with nature and the universe, and that's kind of cool when we're in harmony. I agree.

TalkToMeGuy : Um, I'm surprised. Well, not really knowing the two of you that we're at the point where uh Jill, I'll ask you first, then Sherry. Uh, where would you like people to go to find out more about your work, your CDs and your books?

Jill Mattson: Jill's wings of light.com or Jill Mattson.com. And you can look at the drop-down menu for CDs and books. And there's a bunch of other stuff, lots of other stuff too.

TalkToMeGuy : Really, you must you must not sleep. I swear you just lay in a hyperparic oxygen chamber and like channel while you're not sleeping. It's amazing. Um and Sherry, where's the best place people for people to follow up on your information?

Sharry Edwards: Well, we're putting a um application together to run people's voice against Solfeggio and uh Fibonacci numbers, and that's sound healthportal.com. And that's where people can go and get their vocal print evaluated, and it's the best thing that we can provide for the public. And from there, they can just write to me at Sherry Edwards at Gmail. That's great.

TalkToMeGuy : Um, that was more of an adventure than I thought it was going to be, and it was still great. Thank you so much. Both of you. Wow. Mind blown as always, Jill and Sherry, ongoingly.

Sharry Edwards: We just skimmed the surface.

TalkToMeGuy : I know I know. Every one of everything Jill says is like an hour show. And you're sorry. You're the same. No, there's nothing. I'm not complaining. I'm a cooperator. I'm happy. That was wonderful. And everybody have a great rest of the weekend, and we'll see you next week. Bye-bye.

Sharry Edwards: Thank you.