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Paul Horn Inside the Great Pyramid

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This is an amazing read. Paul Horn went to the Great Pyramid of Giza in 1976 and sang and played the flute in the King's Chambers. This article discusses how each room has a different set of acoustics and that the Queen's chamber is completely void of any echo. What's really interesting is that a man who had never visited the Great Pyramid but who studied it extensively told him the exact note of the Kings Chamber: “you’ll find that note to be A-438.” Each room in the Great Pyramid is supposed to have it's own note and vibration. Is it possible that the Great Pyramid and the rooms inside were built to give off certain vibrational frequencies when other sounds are made inside? If this is true, which seems a distinct possibility to me, what powers could be unleashed by different instruments and singing? 




by Paul Horn

From Inside Paul Horn, Paul Horn

HarperSanFrancisco, 1990 -Chapter 14 


As head of Epic’s A &: R department, David Kapralik saw the potential of Inside the Taj Mahal when nobody else did and released it. Now, eight years later, in a casual conversation, he planted another seed.

“Lately, Paul, I’ve been thinking about something. It seems to me you ought to go to Egypt and record in the Great pyramid. It’s the logical successor to Inside the Taj Mahal.”

About a year after that, his idea became a reality. In early 1976, I packed my bags, brought recording engineer David Greene and photographer Roger Smeeth with me, and flew to Egypt.

Before leaving, I read a number of books on the pyramids, including Secrets of the Great Pyramid, by Peter TompkinsThe Secret Power of pyramids, by Bill Schul and Ed Pettit; and A Search in Secret Egypt, by Paul Brunton. Reading these books, I found myself fascinated with the unbelievable dimensions of the Great pyramid and with the mystery left to us from that ancient civilization.


There are many theories, but no one knows exactly when, why, or how this pyramid was built. The Great Pyramid is the tallest, so huge it staggers the imagination. We could build thirty Empire State buildings from its stones. Its dimensions are perfect, and it is the only one that has chambers within the structure itself. Supposedly it is a tomb built for Cheops and his family, but no bodies have ever been found.

The books talked about people who had various experiences inside the pyramid, some of which were frightening. When author Paul Brunton came out, he was terrified.


When Napoleon conquered Egypt, he visited the Great pyramid and asked to be left alone in the King’s Chamber while his soldiers waited outside. When he emerged from the pyramid, all of the color had drained from his face. He was ashen and looked absolutely shaken. People asked what happened, but he refused to talk about it and ordered that he never be asked again. On his deathbed someone remembered this incident and said to him,

“Do you remember the time you spent in the King’s Chamber and wouldn’t speak of it? What happened?”

Even on his deathbed, Napoleon refused to discuss the matter. These things fascinated me.

Some of the books talked about pyramid power, a special energy that exists within the pyramid’s perfect geometrical structure. If someone builds a small replica of the pyramid, keeping the dimensions exactly in proportion and aligning the model with true north, certain very interesting things happen.

For instance, you can place a piece of fruit inside the replica, and it will not rot for one month or more. You can easily test it by putting one apple inside, one outside. In a few days, the apple outside decays, while the apple inside does not. Razor blades placed inside remain sharp for weeks when used, whereas ordinary blades left outside become dull after three or four shaves. Plants watered with water left inside the pyramid flourish better than plants watered with regular water. Such experiments were easy to set up and verify. These and many other things intrigued me.

Before leaving, I received a call from a man named Ben Pietsch from Santa Rosa, California. He introduced himself by saying he was a pyramidologist. He had lectured and written many articles on the Great Pyramid, including an unpublished book, Voices in Stone, which he later sent me - a fascinating work. He had heard via the grapevine that I was going to Egypt to play my flute inside the Great pyramid. He loved the idea and said that sonic vibrations constituted an integral part of the structure. In fact, he said, every room has a basic vibration to it; if we found it and identified with it, we would become attuned to that particular space. I had never heard that theory before, but it made sense to me.

The King’s Chamber is the main chamber in the Great pyramid. Within this chamber is a hollow, lidless coffer made of solid granite. Pietsch said that if I struck this coffer, it would give off a tone. I should tune up to this tone in order to be at one with it, thereby attuned with the chamber. “And by the way,” he said, “you’ll find that note to be A-438.” In the West, our established A-note vibrates at 440 vibrations per second. He was saying that the A-note of the coffer was two vibrations lower than ours, which would make their A-note slightly flat, only a shade lower in pitch, but different nevertheless. Although he had not personally visited the Great Pyramid, he seemed to know this quite definitely.

In the weeks to follow, I located a battery-operated device called a Korg Tuning Trainer, which registers on a meter the exact pitch of any tone. “What the heck,” I thought. “Just in case.”

The Great pyramid of Giza is the largest, heaviest, oldest, and most perfect building ever created by human hands. Eagerly, we bounded up stairs carved in rock to the entrance 20 feet up, a forced entrance, created in A.D. 820 by a young caliph named Abdullah Al-Mamun. At that time, the original secret entrance, 49 feet above the ground, had not been discovered. I had seen diagrams of the inner passages and chambers, so I knew that once inside we would soon arrive at what is called the Ascending Passage, a low, narrow passage 129 feet long, 3’5” wide, 3’ 11” high, and quite steep.

Handrails had been placed on either side of the passage, and wooden slats covered the slick granite floor. The passage was well lit, but still a difficult climb for anyone but a midget. At the end, we entered an utterly amazing passage called the Grand Gallery, 157 feet long, ascending at the same steep angle. It is some 7 feet wide and 28 feet high; its sides are made from huge monolithic slabs of polished limestone, which weigh up to seventy tons each.

At this point, instead of continuing upward, one can follow a very low horizontal passage for 127 feet, ending in a bare room approximately 18 feet square with a gabled ceiling 20’ 5” at its highest point. This room became known as the Queen’s Chamber, because the Arabs entombed their deceased women in rooms with gabled ceilings.

Deciding to visit this room later, David and Roger and I continued on to the top of the Grand Gallery. Again, the handrails and wooden slats assisted our climb, which culminated when we mounted a huge rock 3 feet high, 6 feet wide, and 8 feet deep, called the Great Step. By this time, panting, dripping with perspiration, we stopped to get our breath. Looking down, we saw almost to the end of the 300-foot stretch we had just climbed.

Going ahead, we had to stoop down and pass through a horizontal passage about 28 feet long, called the Antechamber, before entering the most famous and mysterious room of the Great pyramid-the King’s Chamber-which is 34 feet long, 17 feet wide, 19 feet high. Its walls and ceiling are made of red polished granite; nine slabs compose the ceiling, each a seventy-ton monolith. The lidless coffer, or sarcophagus, carved out of a single huge block of granite, stands at one end of the room, one of its corners chipped away by souvenir hunters. Behind it, to one side, rests a big slab, the purpose of which is unknown, and against the north wall stands another rock, about 3 feet high, also a mystery. It appeared to me to be an altar. Two vent-holes on the north and south sides emit fresh air and keep the room an even sixty-eight degrees throughout the year.

Deep silence permeates the environment. We sat on the floor and relaxed, propping our backs against the wall. I meditated for a while. Gradually we stopped perspiring and soon felt comfortable.

We spent the better part of an hour there and began our descent, exploring the Queen’s Chamber on the way, after which we felt tired from all of our stooping and climbing, so we returned to the hotel.



Paul Horn singing and playing the flute inside the Great Pyramid:











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