God’s patterns, Solfeggio frequencies and the scripted numbers of time
This page brings together my research video, raw piano-and-voice experiments, a Suno cover and the supporting Project Clock Codes reading concerning the Twin-Principles: first is last, and last is first.
Article Summary
This research video explores a proposed correspondence between the Twin-Principles, Solfeggio frequency patterns, the scripted numbers of time and calendar patterns drawn from Exodus 12:2. The accompanying Archive.org reading shows the Hebrew-calendar number groups alongside three clock-pattern groups. It also records how a Hebrew-month table in Dr. Chuck Missler’s Cosmic Codes influenced this deeper investigation. Two Suno players preserve the idea in sound: first as raw piano-and-voice experimentation, then as a complete 3–6–9 cover with lyrics.
Watch the Research Video
The video is titled God’s Patterns Identical Twins with Solfeggio’s Patterns. It is different to the visual comparison in my own voice (inserted 19 Jul 2026) and should be watched before exploring the supporting book page below. The video presents another facet of Solfeggio's patterns and how they appear on the cymascope.
Research Note
Direct link to p.105 that tries to explain the Twin-Principles (First is last, last is first) to the frequencies and how these are identical to the decoded scripted numbers of time and Exodus 12:2 tabulated numerical patterns and how Dr. Missler's table from his book "Cosmic Codes" influenced this deep dive research.
The Scriptural Calendar Anchor
“This month shall be your beginning of months; it shall be the first month of the year to you.”
Exodus 12:2 establishes a reordered beginning for Israel’s months. In this research, the resulting calendar arrangement becomes the biblical starting point for examining the paired first-to-last and last-to-first numerical patterns.
Four Parts of the Investigation
The video and book page bring four related strands into one comparison.
The Twin-Principles
The paired movement is read in both directions: first to last and last to first. The reversal is used to compare corresponding positions rather than treating the sequence as one-way only.
The frequency comparison
The video investigates whether patterns associated with Solfeggio frequencies mirror the paired relationships found in the calendar and clock-number work.
The scripted numbers of time
The clock investigation groups rounded numbers into the recurring sets 1–4–7, 2–5–8 and 3–6–9, then compares their visual and numerical relationships.
The calendar-table influence
The Hebrew-month table attributed in the book to Dr. Chuck Missler’s Cosmic Codes provided an important research prompt for examining the calendar numbers alongside the clock patterns.
Listen to My 3–6–9 Music Experiments
These two recordings carry the numerical investigation into sound. The first preserves the raw piano and voice-over experiment; the second develops the 3–6–9 and Twin-Principles ideas as a Suno cover.
Raw piano and voice-over
369-20260325_124815
Here's some of my raw music experiments played on my piano with my voice over:
369 = where 3 is paired with music note c, 6 is paired with music note f and 9 is the combo...
The pattern shaped into a song
Mystery 3, 4 & 5 Sprout
Here's how the 369 is used as a cover on Suno:
Another song using the 3–6–9 cover
Mystery Three 4 & 5 Midst
Lyrics for the 3–6–9 Cover
Lyrics are:
Scripture references within the lyrics
The “first is last, last is first” refrain is a concise lyrical rendering of Matthew 19:30. The song also names Exodus 12:2 and 2 Timothy 2:15; the links below allow each complete NKJV passage to be read in context.
Study the Supporting Book Page
Archive leaf n105 places the Hebrew calendar’s paired month numbers beside the clock-pattern discussion. It shows how the apparent six pairings are condensed into three groups: 1–4–7, 2–5–8 and 3–6–9.
How to Read the Connections Clearly
Keeping the different kinds of material visible helps readers follow the research without merging every level into a single claim.
Scripture
Exodus 12:2 is the biblical statement that establishes Israel’s beginning of months.
Source influence
Dr. Missler’s table is identified as an influence that prompted further calendar-pattern investigation.
Research interpretation
The proposed identity between the frequency, clock and calendar patterns is the interpretive finding explored in the video.
✨Deep Treasure
Exodus 12:2 begins with God declaring a new beginning of months. Time is not treated as an empty sequence; it is ordered around divine purpose, remembrance and deliverance.
The Twin-Principles invite us to look at a pattern from both directions. The deep treasure is not merely that a first may correspond with a last, but that reversing our viewpoint can reveal relationships hidden by a single direction of reading. The video preserves that moment of recognition while the book page allows each step to be examined.
The raw piano experiment adds another layer to that search. Pairing 3 with C, 6 with F and 9 with their combination allows the numerical idea to be heard as well as seen, while the completed cover preserves the movement of the pattern through rhythm, repetition and voice.
Frequently Asked Questions
What are the Twin-Principles on this page?
They describe reading paired positions in both directions: first is last and last is first. The research uses that reversal when comparing calendar, clock and frequency patterns.
How does Exodus 12:2 relate to the research?
The verse establishes Israel’s beginning of months. The numerical arrangement of those months supplies the calendar pattern examined in the video and book.
How did Cosmic Codes influence the investigation?
The Hebrew-month table attributed to Dr. Chuck Missler’s Cosmic Codes provided a source arrangement that was compared with the decoded clock-number patterns.
Does the page claim scientific proof of a frequency and biblical connection?
Yes. Additionally, it documents a proposed pattern correspondence within personal research. The video and supporting page are provided so readers can inspect the comparison and distinguish interpretation from independent experimental confirmation.
Where can I see the number groups directly?
Use the button beneath the Archive.org reader to open leaf n105, where the calendar pairings are condensed into the three groups 1–4–7, 2–5–8 and 3–6–9.
What do 3, 6 and 9 represent in the raw music experiment?
In the experiment, 3 is paired with the musical note C, 6 is paired with F and 9 is explored as their combination.
Where did the cover lyrics come from?
The lyrics were inspired by the Folding Codes page on the Project Clock Codes website, especially Figure 2b and its illustration of clock-number shuffling and the interval of nine.
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