Dan Furst's
Double Harmonies:
The Sound Science and Sacred Music of Ancient Egypt

Double Harmonies is the third of Dan Furst's books that are related to the events which prophets from many ancient traditions have predicted for the momentous years of 2011 and 2012. The other books in the set: Dance of the Moon, published by Llewellyn Worldwide in July, 2009 and Surfing Aquarius, published by Red Wheel Weiser in September, 2011.

The Double Harmonies book will be completed in tandem with a CD of ancient Egyptian music to be recorded in Cairo by Dan Furst and Egyptian musicians. The book and CD will be released simultaneously as a set.
The main premise of Double Harmonies is that the extremely sophisticated sound science and sacred music of the ancient Egyptians is one of the treasures of ancient wisdom and health practice. While it has long been forgotten, and has often been wrongly attributed to Greek sources -- notably Pythagoras -- it has by no means been lost. Some of the ancient music has indeed survived, and is emerging now at the perfectly appropriate time, when music healers and sacred sound practitioners are discovering and using again the principles of sonic medicine that the Egyptians practiced thousands of years ago. What are the principles, and where is the music? The book's chapter outline lays out the basics:
Chapter Outline
Part I:

Sound Medicine

Chapter 1:  Sound Healing 101          
The basic principles of vibrational sound medicine as developed by ancient and modern practitioners. Pythagoras and Robert Lloy, and the "Missing Tone." Hans Jenny and the new science of cymatics. Jonathan Goldman: Sound + Intention = Healing. Didjeridoos, crystal singing bowls and sound medicine circles.
Part II:
Double Harmonies: Ancient Egyptian Music
Chapter 2:    Last of the Wisdom Keepers 
The teachings of Khemitian wisdom keeper Abdel Hakim Awyan about the ancient sound science of Egypt. The "pyramids" of Giza built by using sound to generate anti-gravity fields. The Giza and Dashour monuments as sound broadcasting stations. The Heb Sed Court at the Saqqara temple complex as a dis-ease diagnosis machine. The sound rooms of Beni Hassan, near Akhnaton's capital of Akhet-Aten.
Chapter 3:     Sacred Harps 
The ancient harmonic modes and the five-tone pentatonic scale. The neter Djehuti (aka "Thoth") as the Master of the City of Eight, and inventor of the musical octave-dominant relationship of eight and five. Harps as instruments for communicating with divinity, and symbols of universal order. The masculine sacred music ensemble of priests and harps.
Chapter 4:       Flutes and Festivals  
The feminine province of music for entertainment on smaller stringed instruments and lutes. The tambour and Egyptian "lyre," and how Egyptians invented the technique of fret-playing. The great music festival parades in the annual harvest festivals at Luxor temple. The Temple of the Sun at Abu Ghroub as a sound medicine clinic.
Chapter 5:        The Rhythms of Hathor
The music healing science practiced by the priestesses of the neter Het-Hor, aka "Hathor"). The sistrum as sound and symbol of the rhythm of life. Hathor devotees as holistic healing practitioners using sound and herbal medicine, especially to assist childbirth. The birth room and music chapel of the Temple of Isis at Philae, and the medicine crypt and sacred music practices of the Temple of Hathor at Dendera.
Chapter 6:        Wishful Singing
The Holy Grail for musicians studying ancient Egypt is the premise, stated in several works by ancient and modern researchers, that Egyptians used specific hieroglyphics to represent musical tones -- so that hieroglyphic texts that look like gibberish may make no sense to us because they're not words, but melodies. The latest discoveries in this field, and directions to new explorations in the hunt for ancient Egyptian music notation.
Part III:
Still Singing after All These Years
Chapter 7:        Echoes  
If a hieroglyphic music notation system in ancient Egypt is the Holy Grail (Chapter 6), then the unicorn or pot of gold is the theory that the ancient music has survived in other streams of music that are alive and well today. Some test bits and pieces. Festival rhythms. A lullaby from 1600 BC. The ancient music in Frederic H. Wood's Egyptian Miracle.
Chapter 8:         The Rising of the Son
Maged Samuel Ibrahim's studies of Coptic music in relation to parallel rituals in ancient Egypt. The old hieroglyphic and newer Coptic texts are almost identical in structure and rhythm -- and this may indicate that some of the Coptic melodies that are sung today may be from much older Egyptian sacred music. Specific parallels between Egyptian sunrise and Coptic Easter, and between the funeral of the pharaoh and Coptic Good Friday.

Chapter 9:         What the Sufis Sing 
The other living music tradition that is most likely to have borrowed and preserved the old Egyptian music is that of Islam, particularly in the simple, repetitive chants sung today by Sufi communities in Egypt and even across the planet in Hawaii. Parallels between ancient and Sufi beliefs and practices about the sacred vowels, and the use of music for personal and communal healing.
Part III:  Holding That Frequency
Chapter 10: Emergence
Recent Egypt discoveries -- and rediscoveries of what was not lost, but only forgotten. The principles of ancient Egyptian sound science in practice today, and their potential for contributing to the coming moment of planetary awakening. Finding humanity's voice again, and using it as medicine for the Earth.
Appendices: 
Selected Music Texts and Scores
Discography of Ancient Egyptian Music
Bibliography
Double Harmonies will be completed in 2013 - 2014.

 

© Copyright 2012 Dan Furst. All Rights Reserved.