My Final Analysis on 11,11 Phenomenon

Last month, I was shown with this 11,11 symbol several times, and I have not even thought of it, and I didn’t plant this symbol in my consciousness or subconscious mind.  But yesterday (August 2), very late at night, after months of avoiding, I broke a word to myself 'not to eat red meat' and ended up in McDonald joint by my house to get a McDouble.  I ate and finished the small burger and a cup of soda inside the restaurant and went home.  As my usual habit, I emptied my pockets and put everything what I had in my pockets into a small basket (a sort of a 'habit') and reviewed whatever purchase receipt I had that day.  When I looked at the time-stamped on the receipt from McDonald restaurant, it showed 23:11, this is equivalent to 11:11 PM.  This experienced had given me a strong suggestion (sign, or to convince me) to share you a piece of knowledge, which I have been keeping to myself since I have figured out the 11:11 phenomenon, for your own understanding and opinion.

Alright!  After thorough research, considering number of facts in science and physics, philosophy, arts and music, I am convinced that the 11:11 is all about the “Earth’s Frequency or Vibration” to consider what Nikola Tesla said, “If you wish to understand Universe, understand 'Energy, Frequency, and Vibration.'”  After all, if the universe has these three elements that made up life, then, I am inclined to believe that the 11:11 phenomenon is warning us about the earth’s frequency or vibration.  As we all have noticed that for the last two decades, and especially the last, the world's emotions, collectively, have been going into a lot of changes.  But I have no intention to farther express my opinion here, except to give you this piece of knowledge about “Music and Sound” that includes biblical references to support what I believe, and for your research and own understanding.  You just have to open your minds to understand why I believe in it.

Here it is:

SOUND AND MUSIC

Sound is the impression produced on the ear by the vibrations of air. The pitch of the musical note is higher or lower, accordingly, as these vibrations are faster or slower. When they are too slow, or not sufficiently regular and continuous to make a musical sound, we call it noise.

Experiments have long been completed which fix the number of vibrations for each musical note; by which, of course, we may easily calculate the difference between the number of vibrations between each note.

These were finally settled at Stuttgart in 1834. They were adopted by the Paris Conservatoire in 1859, but it was not till 1869 that they were adopted in England by the Society of Arts. The following is the scale of Do showing the number of vibrations in a second under each note and the differences between them:—

C              D              E                F             G              A               B              C

Do            Re            Mi              Fa           Sol            La              Si              Do

264  (33)    297 (33)    330  (22)     352   (44)  396  (44)    440  (55)    495  (33)    528

(24x11)       (27x11)      (30x11)        (32x11)       (36x11)       (40x11)       (45x11)        (48x11)

In the upper row of figures, those immediately under each note are the number of vibrations producing such note. The figures in brackets, between these numbers, show the difference between these vibrations.

The figures in the lower line are merely the factors of the respective numbers.

On examining the above it will be at once seen that the number eleven is stamped upon music; and we may say seven also, for there are seven notes of the scale (the eighth being the repetition of the first).

The number of vibrations in a second, for each note, is a multiple of eleven, and the difference in the number of vibrations between each note is also a multiple of eleven. These differences are not always the same. We speak of tones and semitones, as though all tones were alike, and all semitones were alike; but this is not the case. The difference between the semitone Mi and Fa* is 22; while between the other semitone, Si and Do, it is 33. So with the tones: the difference between the tone Do and Re, for example, is 33; while between Fa and Sol it is 44; between Sol and La it is 44; and between La and Si it is 55.

*In using this notation it is worth recording and remembering, in passing (though it is hardly relevant to our subject), the origin of what is now called Solfeggio. It arose from a Mediaeval hymn to John the Baptist which had this peculiarity that the first six lines of the music commenced respectively on the first six successive notes of the scale, and thus the first syllable of each line was sung to a note one degree higher than the first syllable of the line that preceded it:— 

Ut queant laxis

Re-sonare fibris

Mi-ra gestorum

Fa-muli tuorum

Sol-ve polluti

La-bii reatum

Sancto Iohannes

By degrees these syllables became associated and identified with their respective notes, and as each syllable ended with a vowel they were found to be peculiarly adapted for vocal use. Hence Ut was artificially replaced by "Do." Guido of Arezzo was the first to adopt them in the 11^th century, and Le Maire, a French musician of the 17th century, added "Si" for the seventh note of the scale, in order to complete the series. It might have been formed from the initial letters of the two words in this line, S and I.

The ear can detect and convey these vibrations to the brain only within certain limits. Each ear has within it a minute organ, like a little harp, with about ten thousand strings. These organs were discovered by an Italian named Corti, and hence have been named "the organs of Corti." When a sound is made, the corresponding string of this little harp vibrates in sympathy, and conveys the impression to the brain. The immense number of these little strings provides for the conveyance of every conceivable sound within certain limits. In the scale, as we have seen, there is a range of 264 vibrations. There is a difference between each one, so that there are practically 264 notes in the scale, but the ear cannot detect them. The ear of a skilled violinist can detect many more than an ordinary untrained ear. The mechanical action of a pianoforte can record only twelve of these notes. The violin can be made to produce a much larger number, and is therefore more perfect as an instrument, but not equal in this respect to the human voice. The wonderful mechanism of the human voice, being created by God, far excels every instrument that man can make.

There are vibrations which the ear cannot detect, so slow as to make no audible sound, but there are contrivances by which they can be made visible to the eye. When sand is thrown upon a thin metal disc, to which a chord is attached and caused to vibrate, the sand will immediately arrange itself in a perfect geometrical pattern. The pattern will vary with the number of the vibrations. These are called "Chladni's figures." Moist plaster on glass or moist water-colour on rigid surfaces will vibrate at the sound, say, of the human voice, or of a cornet, and will assume forms of various kinds—geometrical, vegetable and floral; some resembling ferns, others resembling leaves and shells, according to the pitch of the note.

The "Pendulograph" is another contrivance for rendering these vibrations visible to the eye; and for exhibiting depths of sound which are totally inaudible to the ear. The pen is attached to one pendulum and the paper to the other, and these are made to oscillate at right angles with each other. When each pendulum is set at the same length (making the same number of vibrations in the same time), the figure made by the pen will be a perfect circle. But when these lengths (or vibrations) vary, the patterns that are described are as exquisite as they are marvelous, and almost infinite in their variety and design.

Even the organs of Corti are limited in their perception, notwithstanding the many thousands of minute vibrating chords. When these organs are perfect or well formed there is what is called "an ear for music." But in many cases there is "no ear for music." This means that these organs are defective, not fully developed, or malformed, in the case of such persons; and that the sounds are not accurately conveyed to the brain.

There is a solemn and important truth therefore in the words, "He that planted the ear"! (Psa 94:9).  What wondrous planting!

Not every one has this peculiar (musical) "ear." And no one has by nature that ear which can distinguish the things of God. The spiritual ear is the direct gift and planting of God. Hence it is written, "He that hath an ear," i.e., only he that hath that divinely-planted, God-given ear can hear the things of the Spirit of God. "An ear to hear" those spiritual things is a far greater reality, and an infinitely greater gift, than an ear for music! Oh wondrous ear! It is the Lord that gives "the hearing ear" (Prov 20:12). He wakeneth the ear to hear (Isa 50:4); It is the Lord that openeth the ear (Isa 50:5). The natural ear does not hear spiritual sounds; it cannot discern them (Isa 64:4 and 1 Cor 2:9). Thus nature and grace illustrate each other, and reveal the great fact that there is a secret ear, more delicate than any "organs of Corti," that can detect sounds invisible as well as inaudible to the senses, and which enables those who possess it to say:—

          "Sweeter sounds than music knows
        Charm me in Emanuel's name;
        All her hopes my spirit owes
        To His birth, and cross, and shame.”