“The laws of nature are but the mathematical thoughts of God.” — Euclid

For decades, the tones now called “Solfeggio Frequencies” have been circulated through books, images, sound-healing circles and online media. The name is popular—but not accurate. Solfeggio, or solfège, is a method of teaching sight-singing and musical pitch (Do, Re, Mi …). It has never been a set of fixed frequencies.

In the 1990s, Dr. Joseph Puleo identified a sequence of numbers derived from the Book of Numbers. He referred to them as “Solfeggio,” but that label blended two unrelated ideas. To honor his discovery and separate it from later misinterpretations, I now refer to these tones simply as the Puleo Numbers.

When Dr. Puleo named them “Solfeggio” frequencies, he used a Gregorian Hymn, “The Hymn To Saint John the Baptizer” to derive the meanings. However, the notes of that hymn are the white-key diatonic scale and most of the Puleo frequencies are the black notes. By assigning meanings for the white notes to those of the black notes he created layers of confusion and misunderstanding. By calling them Puleo Numbers, I return the focus to the numbers themselves—the mathematics, the geometry, and the resonant relationships within them.
This site is dedicated to documenting the authentic Puleo Numbers, their reverse and triple number counterparts, and the symbolic language that connects them. Each number carries a frequency, a vibration, and a story expressed through Hebrew roots, geometry, and Gematria.

No theories are being “solved” here—only observed, compared, and preserved so that others can study them without distortion. I believe truth lives in patterns that repeat: in sound, number, and form. My work is to safeguard what remains of Dr. Puleo’s discovery and make it accessible, clear, and verifiable. It’s time to separate fact from folklore and restore these tones to their rightful context.

Delores DeVore is a therapeutic sound practitioner, educator, and independent researcher working at the intersection of sound, number, and harmonic structure. With a background in mathematics, education, and long-term study in sound and resonance, her work brings together disciplines that are often treated separately—music, geometry, and number.

Her research spans Just Intonation, Pythagorean tuning, whole-number ratios, and mathematical constants, along with their expression in music, architecture, and historical structures. This work led to the discovery of the Scale of 11 and the Resolved Just Scale (RJS), a 15-note harmonic framework in which every note and interval is a multiple of 11.

Her approach is grounded in observation, pattern recognition, and direct comparison—following the structure where it leads.

It’s Way Past Time to Set the Record Straight