The Code Zone

Stone, Tones and Stonehenge: Alphanumeric Synchronicities And Ancient Tales Of Singing Stones

THE CODE ZONE: Reality Outside The Box
(No.20) A Weekly Column By Gary Val Tenuta

You've just entered a realm somewhere outside the bounds of conventional wisdom... a world of words and ideas... a place where reality can shift at any given tnemom. See what I mean? Welcome to... The CodeZone.

STONE, TONES, AND STONEHENGE: Alphanumeric Synchronicities And Ancient Tales Of Singing Stones

Some basic background: The ancient stone monument known as Stonehenge was probably constructed in three phases, according to some researchers (we'll see the number 3, as in 1/3, come up in a moment). Phases 1 and 2 were probably about 5,000 years ago; phase 3, about 4,500 years ago. Many of the megalithic stones - some weighing as much as 40 tons - are now missing or have fallen from their upright positions. However, we are going to consider the structure in it's complete form.

Looking at Figure 1, notice the Sarsen Circle. This is the main circle consisting of 30 upright stones. This entire circle of uprights is topped by equally giant stones called "lintels". These lintels lay horizontally atop the uprights, thus forming a single unbroken circle. Notice toward the center of the

circle there are five structural units known as "trilithons" arranged in what is called the "horseshoe". Each trilithon is made of two uprights, similar to the ones in the Sarsen Circle, and the two uprights are topped by a lintel. Why this design? What did they have in mind? What inspired this particular shape? Certainly there was some reason; something to be memorialized. It occurred to me, looking at one of the trilithons from a ground level, that it has the same shape as the Greek letter for Pi, which is a mathematical constant relative to the geometry of a circle. (You'll notice in FIGURE 2 I've inserted two variations of the Pi symbol from a standard font.) Could the ancient builders of stonehenge possibly have known about Pi? Was that what the trilithons represented? If so, why five of them? If, indeed this was the purpose, then perhaps the answer to the question of "why five?" is encoded in the math. I discovered that Pi times 5 equals an exact decimal harmonic of Pi divided by 2:

Pi [3.141592654] x 5 = 15.70796327
Pi [3.141592654] / 2 = 1.570796327

As far as I can figure, these are the only two Pi formulas which will produce a precisely duplicate set of digits. Is Pi/2 the proof intended to verify the symbolism of the 5 trilithons?

We might also note what happens when we take the number 360 (number of arc degrees in a circle) and divide it by 144:

360/144 = 2.5
The number 2.5 is a decimnal harmonic of the alphanumeric value of the letters in the word "Pi" (P=16, i=9, then 16+9=25). (Note: a discussion about the significance of the number 144 comes later in the article)


Now, back to that number "3" I mentioned earlier. Examining the word "Stonehenge" I noticed it's obviously made up of two words. So I decided to split it in half and see what the alphnumeric values of the two halves might be.

The "1" and the "3" made me think of the fraction, 1/3.
1/3 = .333333333

Considering that the large interior stones are 5 trilithons (each consisting of two uprights + one lintel), we might consider the possibility that the Sarsen Circle should also be looked at as a circle trilithons. That would make the Sarsen Circle composed of 15 trilithons (noting, of course, that each of these 15 trilithons is connected by another lintel, thus forming an unbroken circle). Then, considering that the Interior Five Trilithons and the Bluestone Horseshoe seem to be related by sharing the same horseshoe shape, it might be reasonable to look at the sum of the elements in those three formations (each representing 1/3 of the 3 elements):

Number of Sarsen Trilithons: 15
Number of Interior Trilithons: 5
Number of Bluestones in Horseshoe: 19
15+5+19 = 39 = HENGE, and of course 39 self-references the "3" by way of cross-adding the digits: 39 = 3+9 = 12 = 1+2 = 3

Also if the 19 Bluestones and the 5 Interior Trilithons are related as a unit it could be a reference to 19.5 (Richard Hoagland's tetrahedral latitude, North and South, for a tetrahedron circumscribed within a sphere): 19.5 x 2 = 39 = HENGE !

Also, as I mentioned in CodeZone No.12, many people don't realize 19.5 is the nearest rounded figure for the more accurate figure of 19.47122061. Keeping in mind 1/3 decimal equivalent of .333333333 from our alphanumerics above, my colleague Michael Morton noted:

(( the SINE of the Tetrahedral Latitude ...
SIN 19.47122061 = 0.333333333 ))

It might seem odd that Hoagland's 19.5 should figure into this since that number is more often thought of in terms of his work on the geometry of the structures in the Cydonia region of Mars. Interestingly enough, however, I have a photo of the surface of Mars which appears to show something that looks very much like a portion of a gigantic "Stonehenge" structure. But that may have to wait for another CodeZone article.

Also, there are 6 design elements to Stonehenge (Figure 1):
Counting from the center outward:
1. Bluestone Horseshoe
2. Interior Trilithons
3. Interior Circle of Blue
4. Sarsen Circle
5. The Bluestone "Z-holes"
6. The Bluestone "Y-holes" (Note: Y and Z are archaeological designators)

Keeping in mind the 19.5 and the fact that there are six main design elements to Stonehenge, we find:
19.5 x 6 = 117, a key number in our developing gematria.

(Note: In my work there are many references to words and phrases which relate to Christianity. This is an artifact produced by the work and implies no particular religious agenda on my part.)


Now, on to the Stone/Tones concept:

As I noted in CodeZone No.12, STONE is the same as TONES for an alphanumeric value of 73. I've posted before about the idea of "stone" and "tones" being somehow connected, possibly indicating the mechanism by which the huge stones were moved into place, e.g., the story of the monks intoning a certain sound which allegedly could move huge stones. Stonehenge, then might be related somehow to the idea of "sound". The circle of stone could be a circle of sound, or there could be some as yet unrecognized relationship.

Madame Blavatsky (1831-1891) - world reknown mystic and founder of the Theosophical Society - wrote about the many cultures in which "speaking stones" and "singing stones" were elements of their spiritual/religious practices. There are ancient stories of special "speaking stones" (whatever "speaking" might have meant) which moved of their own accord. When someone would remove the stones from their original spot, the same stones would appear the next day in the spot from which they were removed.


How the number 144 figures into this:

A Code Gang associate by the name of James (Jimi) Furia is a gifted musician. He's also a researcher into the mysteries of the "Code of the Ancients" as rediscovered by Carl Munck (Grea t Intro to "The Code" ). Jimi has revised the standard piano keyboard to reflect the gematrian numbers of "The Code Of The Ancients" in terms of Cycles Per Second, or the vibratory frequency of each of the tones. The standard tuning has the note "A" tuned at 440 Cycles Per Second (cps). Furia's keyboard, however, has the tuning of "A" at 432cps. This revision resulted in some amazing numerical correlations to the structural dimensions of the pyramids in Egypt. Now we're going to see how it links to the ancient structure of Stonehenge in England. (Links to Jimi's work can be found at htm)

Recall from above:

The number 144 is considered, in the Hebrew tradition, to be one of the holiest of gematrian numbers ("Gematria"; an ancient system of assigning meaning to the alphanumeric values of words and phrases. A practice common to the Greek and Hebrew mystics). As noted in previous CodeZone articles, I've found 144 to be a significant number also in my work with our English language based on the Roman alphabet. It has several special alphanumeric relationships to both spiritual symbolism and, of course, the all-mysterious number "9". For example:
NINE IS THE KEY = 144 (1+4+4=9)

Now we'll see the number 144 as it links to music, or the concept of "tones", via the Gematrian Music Wheel of James Furia (See Figure 3):

144 = the note of "D"
144 x 2 = 288 = D
144 x 3 = 432 = A
144 x 4 = 576 = D
144 x 5 = 720 = no direct correspondence
144 x 6 = 864 = A
144 x 7 = 1008 = no direct correspondence
144 x 8 = 1152 = D
144 x 9 = 1296 = E

Note: position 5 (720) and 7 (1008) combined = 1728 = E on the music wheel.

"A" positions are 3, 5/7, 6 = 21
"D" positions are 1, 2, 4, 8 = 15
"E" position is 9 = 9
21+15+9 = 45

The number 45 also figures in to this in an interesting way (aside from the fact that it is yet another number which reduces to 9 by cross-addition). Let's look again at a statement from several paragraphs back where I said:

((Considering that the large interior stones are 5 trilithons (each consisting of two uprights + one lintel), we might consider that the Sarsen Circle is also a circle trilithons. That would make the Sarsen Circle composed of 15 trilithons (noting, of course, that each of these 15 trilithons is connected by another lintel, thus forming an unbroken circle). ))

Carrying that a little further we see if there are 15 trilithons then that means a total of 45 stones because each of the 15 trilithons is comprised of 3 stones: 15x3=45
So the number 45 from the list of tones on the Music Wheel also relates to the Sarsen Circle if we look at the Sarsen Circle in a new way.

Now, bringing the numbers 45 and 144 together, we find:
45+144 = 189 = THE TONE IS THE KEY

Readers who have been following the CodeZone articles might well remember the number 189. These three digits (1 and 8 and 9) keep turning up in various combinations, and here it is again:

There are a total of 60 stones in Sarsen Circle (30 uprights, 30 lintels). Check out the alphanumerics:

Remember last week's article (CodeZone No.19) which talked about the "reversal" concept and the number 1089? (For example: THE GOLDEN MEAN SPIRAL=198, reversed: 891. Then combining the two... 198 + 891 = 1089)

Here the idea of "reversal" is popping up again:




198 + 891 = 1089

Also, as we've noted before in our article on the mysteries of Rennes le Chateau in the South of France: THE CIRCLE OF CHURCHES=189

Interestingly, since we're looking at the possible connections between Stonehenge and "tones", we find this:


Recall Madame Blavatsky and the singing stones? (Sounds like a ROCK group! Pun intended.) That notion combines well, alphanumerically, with the concept of the reversed spiral:


In CodeZone No.19 we talked about "curvature"... I noted there were two elements which emerged in the alphanumerics: (1) circle, and (2) spiral... In order to combine the two different but related concepts I suggested two overlapping spirals, each in opposite directions, which forms a kind "circle". So, essentially, we'd have a closed spiral, or what we might call a spiral circle. Now I find these alphanumeric matches:





Also the idea of "reversal" and "opposites" comes in again:


but also...


Then we can note:
JEHOVAH IS THE KEY = 171 = THE EYE OF HORUS (a Mars/Egyptian connection)

In my musings on the mysteries of Stonehenge I imagined the 30 Sarsen uprights and the 59 Interior Bluestones each with a human being standing at the place of each stone. Two circles of humans, one circle inside the other. The outer (sarsen) circle of people are linked to each other by holding hands, like the upright stones are linked by the lintels. They're moving in one direction (so the "wheel" is turning [SPIN THE WHEEL=144], and they're chanting a certain tone. The inner (Bluestone) circle of people are not holding hands (because those stones are not linked to one another like the sarsen stones) but are moving in the opposite direction, chanting a different tone. The musical tones "A" and "D"? And maybe a group in the center are stationary and are intoning the "E". Why? A Stonehenge Hootenanny? Or maybe it created a counter-rotating merkaba (spiritual vehicle) which could lift giant stones or transport the chanters to other dimensional realms.


More interesting stuff:

Various stone monuments in England share a particular common trait. Where large stones are set in pairs, one stone is smoothed and manicured while the other is not. It has been suggested this pairing represents male/female in some way. Here's a related alphanumeric synchronicity:

31+42 = 73 = STONE or TONES

Could a reference to DNA be encoded here also? The Bluestone Horseshoe consisted of 19 stones:



Combine the 19 and the 54 and we get:

19+54 = 73 = STONE or TONES

And back again to our number 171. If we reverse that, of course, we still end up with 171. But if, conceptually, we do it anyway and combine them, we get:

171 + 171 = 342

Then, if we take that 342, reverse it and combine the two, we get:

342 + 243 = 585

If we go on to a 3rd step (remember the number 3 plays into this), we see the same thing as where we started; that is, if we reverse the 585 we still end up with 585. Nevertheless, let's reverse it conceptually and combine the two and look what we get:

585 + 585 = 1170 = 19.5 x 60, and 60 is number of stones in the Sarsen Circle!


Interestingly, related to the above discussion about DNA, research by Gerald Hawkins (Stonehenge Decoded, 1961) has shown evidence that the alignment of Stonehenge had a direct relationship to tracking the sun and the moon. In ancient lore the sun and the moon are symbolic of male and female. That being noted, here is another curiously relevant alphanumeric synchronicity:

54+57 = 111
Compare this with...
50+61 = 111

In the Greek gematria:
111 = NINE = KEY = HOUSE or DWELLING (denoting an enclosure)
111+111 = 222 = NAZARENE, a title for Jesus
222 + 222 = 444 = FLESH AND BLOOD = SPIRAL
444+444 = 888 = six lettered formula for the name "JESUS". Also the gematrian
value of "HE IS THE WORD" and "I AM THE LIFE".

So ends this week's excursion into the weird world of alphanumeric synchronicity. Sure it's interesting and yes, it's sometimes mind boggling but is any of this for real? And, if it is, then what does it all mean? That's always the question, isn't it? Especially out here... the CodeZone.

©2000, Gary Val Tenuta


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Visit Gary's web site which presents, in more detail, some of the ideas discussed in this series of articles: codeufo/gematria.html

His book, "The Secret Of Nine", lays out the full story of how the information presented on his web site came to be developed. It allows the reader to follow, step by step, the true life paranormal experiences, possible ET contact, and the thought processes which formed the basis of this fascinating and ongoing work which deals with the phenomena of alphanumerics and synchronicity in a line of research he calls cryptonumerology.

The Secret Of Nine is a self-published work in a handsomely bound manuscript format, complete with full color cover and illustrations and color coded numbers in the section on alphanumeric patterns as seen on the web site. Readers interested in purchasing a copy of the book for $12.95 (plus $3.95 S/H within the U.S.A. or $5.95 S/H outside the U.S.A.) can email the author for information at or write to:

The Secret Of Nine
c/o Gary Val Tenuta
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Gary is a freelance writer whose articles have appeared in FATE Magazine (U.S.A.), Xoddity Magazine (U.S.A.), Voices (U.S.A.), BEYOND Magazine (U.K.), and HERA Magazine (Italy). He currently writes a UFO News column for Journal Newspapers, Inc. He has been a guest on several radio programs across the U.S. and Canada.

Thank you to Peter Gersten for the opportunity to reach readers via the CAUS web site.


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