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Author Topic: 17 tone music attuned to the earth's spin  (Read 69871 times)

Tom M Culhane

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17 tone music attuned to the earth's spin
« on: December 02, 2011, 10:02:16 AM »

This is my second post after discovering this forum last month. I have some simple ideas I think microtonal musicians will find of interest. As noted in my first post, I do not have a technical background in mathematics or music, but have derived the following using basic numbers and common sense:

I have come up with a seventeen tone system. I used basic fractions to find what would be the basic seven tones, and put the denominators equal, and then put everything into the simplest whole numbers. So I came up with the following beats representing the seven basic tones: 24  27  30  32  36  40  45, and then the octave would be 48. So if 24 beats per interval of time represent doe a deer, then you see how two whole numbers drop right in between doe and ray. So the seventeen tones I came up with are: 24 25 26 27 28 29 30 32 33 35 36 37 39 40 42 44 45  and then the octave would be 48.

Reading thru this forum, I saw something about Rod Poole's 17 tone just intonation scale, and it sounds like we are thinking along similar lines. I believe what I have written here or something similar was the basis of much ancient music, as it relates to the most fundamental numbers. I haven't actually played this but it seems to capture an amazing amount of basic rhythms. Adding a 31 and also a 46 beat makes it 19 tones, and i wondered about switching 35 with 34 as that offers some advantages also. But i'm pretty happy with what i 've written here.

Then, thinking about that ancient device known as the clock, I noted it divides the earth's rotation into 24 hours, the earth's rhythm, and noted my scale starts with that same number, 24. So then I thought of hertz, beats per second, the clock divides hours into minutes into seconds. So I thought about the idea of music being in synch with the earth's spin, and what if this ancient device the clock is in tune with sound science?. I checked to see if the establishment's tunig system they gave us matches up with my numbers at all. I found the closest note they have is G, which is tuned in standard tuning to 24.5 beats per second, if you go to the right octave. My first note beats at 24. Two weeks ago I bought a viola and am learning to play it, and I've decided to detune the strings to the basic earth beat, in other words my G string is tuned to an octave of 24 beats per second, not 24.5.

I went on the computer to see if I could find a tone to listen to to  check my tuning by ear, and found a bunch of videos based on the idea that the A note in music should be tuned to 432 hertz not 440 as the establishment does, because 440 is discordant to our systems but 432 hertz is harmonious.  If you reduce that number by octaves, you see 432 works ouf to be 432  216  108  54  27. 27 is exactly my second whole tone, the A note if I call 24 the G note. this youtube video came to exactly the same conclusion I did following an entirely different path, that G should be tuned to an octave of 24 hertz, not 24.5, note A should be tuned to an octave of 27, etc....

Bottom line, my idea that music in tune with the earth's clock should be naturally harmonius to us fits exactly with others' ideas coming from a whole idfferent direction, using quantum mechanics, healing sound science, etc.  Here's the video: 
A = 432 Hertz Cymatics

      , or look up 432 hertz music.                                                                                                                       .
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EricJacksonArts

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Re: 17 tone music attuned to the earth's spin
« Reply #1 on: December 02, 2011, 06:09:08 PM »

If it inspires music, more power to you.


I've heard the 432 'theory' before.

I forget the exact hz, but the old standard used to be a bit lower. It was brought up 440 so that string instruments would ring louder in large theaters.

The odd thing is that the reference pitch has to be A to begin with. According to Elodie Lauten's chart ( http://www.elodielauten.net/vault/micro.html ) the frequency is 136.10, roughly a "C Sharp". If we wanted to be "in tune" with the Earth, it might make sense to use C# as our 1/1 then.

Here's my thing with these kind of new age things though:

The idea is ABSOLUTELY wonderful. And I think it can INSPIRE some seriously interesting music. I've tuned to Mars' reference pitch and written things with that state of mind, and it has produced some cool stuff. However when it gets to the point where someone will make a CD of a single reference pitch, (or a flock of birds) and sell it to someone on the basis that is "healing" someone, I start to draw the line. This kind of thinking leans towards situations where people are taken advantage of.

Mike Watson at www.ambientmusicguide.com puts it better than I can when it comes to this:

"Yes, ambient styles of music generally are relaxing, and therein lies their appeal for a substantial number of people. Obviously, you are free to use music for whatever purpose you wish. But whether you "use" such music for healing disease, aligning charkas or babbling with whales is irrelevant" (Watson, http://www.ambientmusicguide.com/pages/history.php)

It's also worth noting that if you believe something prior to investigation, it is more likely that you will look for evidence that already supports your pre-determined belief.

Make some music with this stuff, I'd be really interested in hearing it.
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Tom M Culhane

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Re: 17 tone music attuned to the earth's spin
« Reply #2 on: December 03, 2011, 05:17:51 AM »

Peplying to ErikJacksonArts:

I missed my own pun in my post, "what if this ancient device the clock is in tune with sound science?"  Yes I believe it is. Thanks Erik for the ideas and links. If you follow my post, the reference note I use is G, not A, and detuned as I say to an octave of 24 hertz.

My take on sound, and what is good for us or not, along with lots of other things, is I believe each of us has guidance to help us navigate thru this complex universe. So I go by what feels right for me. I don't want to set arbitrary limits to my own or others' expression, musical or otherwise. At the same time I do believe there is a very precise science to this Universe, and harmonics plays a key key part in it. So if a singer's voice can shatter a crystal glass, well we can talk about our beliefs, expectations, etc etc, but that glass shattered or it didn't, depending on the tone.

The clock divides the rate of the earth's rotation into very harmonic intervals, 24 hours and 60 minutes and 60 seconds. If I take that smallest whole unit, the second, and put my smallest whole number beats to the second, 24 being the smallest whole number that captures the entire seven tone idea exactly, then that is how I am tuning doe a deer on mhy scale, 24 hertz.

Who came up with this division of the earth's rotation into seconds? The only remaining of the seven wonders of the ancient world, the Great Pyramid, sits within one and one half miles of the 30th parallel, which puts it at the point that is the same distance from the north pole as from the center of the earth. Holy cities throughout the ancient world were positioned along this line, the holy citties of Egypt, Persia, Sumeria, India, Tibet,... Random event theorists would have us believe this is all coincidence, but what if there was a real science to ancient knowledge?
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Mat

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Re: 17 tone music attuned to the earth's spin
« Reply #3 on: December 03, 2011, 01:50:13 PM »

Yeah interesting topic, i've been working on this since the late 90's on and off, however i must distance myself from the large amount of naive and false material found on the web at sites such as 'omega432' etc.

Since A4=440 Hz is arbitrary i began to wonder what we could use as a meaningful reference pitch, i decided that the Earth day is the most fundamental and stable frequency in human experience, so i transposed the rotational frequency up by many octaves until it became an audible frequency. If we could hear the day frequency it would be 16.12 cents below G (with A4=440 Hz), or, G with A4=435.921 Hz. I actually now tune my instruments to planetary frequencies. I simply like the idea of being in tune with nature, and this was extremely important in ancient music too. I have no idea if it is beneficial to do so, but it is beneficial to me because it just like the idea.

More recently i searched the web for very accurate scientific measurements of planetary cycles and transposed those frequencies up until they became tempi in beats per minute, then audible pitch and finally a light frequency. Each colour in the spectrum of light has a particular frequency, each image below has a background colour accurately matched to the calculated light frequency using this 'visible laser spectrum chart': http://www.skywise711.com/lasers/files/spectrumchartv10.tif. It is convention to convert light frequency to a wavelength in nanometers to specify a particular colour in the spectrum of light.











Notice that the tropical year is C# with A4=432.098 Hz. This is where the 432 movement originally got their value from, although they really should at least refer to it as 432.1 Hz, but that is not so catchy.

Importantly, 432.098 is a fairly insignificant frequency, since it is merely the value of A4 in modern 12 equal temperament that results in C# being harmonious with the Earth year. 12ET is itself arbitrary and so the relationship between A and C# within it is also arbitrary and not even close to any simple Just interval. The important and meaningful frequency is in fact 136.1 Hz, which is harmonious with the Earth year. So really the movement should be called the 136.1 Hz movement.

'Klangwirkstoff' is a music label that specialises in music tuned to natural frequencies, including atomic resonances: http://www.klangwirkstoff.de/html-en/kosmischeoktave.html
« Last Edit: December 03, 2011, 06:55:33 PM by matcooper »
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Mat

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Re: 17 tone music attuned to the earth's spin
« Reply #4 on: December 03, 2011, 03:46:42 PM »

Maths workthrough for Earth's day frequency ...

Earth day in seconds (seconds per cycle) = 24 x 60 x 60 = 86400 s
Day frequency (cycles per second) = 1 / 86400 Hz (hertz is cycles per second = the inverse of seconds per cycle)
Next use a calculator to multiply 1 / 86400 Hz by 2 repeatedly until the value is >440 Hz (multiplying frequency by 2 is the same as raising pitch by an octave)
Resulting frequency is 776.722963 Hz, 26 octaves higher
Frequency ratio with 440 = 776.722963 / 440 =  1.765279461
The cents value of 1.765279461 = log (1.765279461) x 1200 / log2 = 983.8759134 cents above A440 = F# + 83.8759134 cents = G - 16.12408656 cents (with A4 = 440 Hz)
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Tom M Culhane

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Re: 17 tone music attuned to the earth's spin
« Reply #5 on: December 04, 2011, 05:01:54 AM »

Thanks Mat for the interesting ideas and calculations. Approaching the math in my own way, if I consider the rhythm of one beat per 24 hours to be a bass note, and keep going to the next octave, the first audible tone I reach is 24.27259 hertz. I think this agrees with your numbers because continuing with octaves, we reach 776.72... hertz, and I see that number in your post.

24.27259 hertz being the first audible tone is interesting to me, because the closest whole number to this in hertz is 24, and that is the first note of my 17 tone tuning. Now what I am wondering based on this, and what I have been wondering, based on other things in my post, is if the unit of one hertz is of key importance in terms of the resonance of the earth. Dividing the earth day by halves and more halves does not bring us to exactly one hertz. However, the octave or two rhythm is only one rhythm acting on things, there is the diatonic comma idea, which I learned of since finding this forum, and calculated in my own way and it agrees with what I found then looking up the idea, anyway the point is you have different rhythms pulling on things in different ways, and the entrainment idea etc, ... and so I am wondering, if you decrease a time interval like a day, over and over, by octaves or any interval, if other harmonic numbers come into play, and if the interval called a hertz, is actually a valid and extremely important interval at the scale of audible sound?

Put differently, I'm wondering if I should tune my viola G string to 24.27259 hertz or keep it at 24.000 hertz, 24 hertz perhaps being more in synch with the earth rhythm because in the numerous divisions to get from the day to the hertz scale of numbers, the rhythm entrained to an even hertz number? Is there more to a clock than meets the eye?

I want to clarify, re 432 hertz music, i have not looked into that at all other than it came up right when I had decided to retune my viola strings to these even hertz numbers, and then I found this music site using exactly the same numbers and talking of related thigs. Of course we have to be careful of claims made by anyone, but there is nowhere we need to be more cautious with than ideas that come from the establishment.

I posted a link to a youbue video above, and your website put the video here, but the descripton of that video is as folows:

A Cymatic visualization of 432 Hertz sounding in a drop of water. This is the classic tuning, in harmony with myriad ancient teachings, and modern quantum physics, that should be used in performances of Western music and in the manufacture of musical instruments.

The DNA resonances of the ears respond best to 432 Hz. It is also the logical tuning contained in the overtone series, i.e., C = Binary 2, 4, 8, 16, 32, 64, 128, 256, etc. G = Ternary 3, 6, 12, 24, 48, 96, 192, 384, etc. D = 3-Squared, i.e., 9, 18, 36, 72, 144, 288, etc. A = 3-Cubed 27, 54, 108, 216, 432, etc.

The "corporate" tuning of 440 Hertz for A is a modern substitute with proven harmful effects, e.g., in Cymatic Therapy and Sonatherapy. Case studies ranging over 100 years have proven this beyond question.

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Mat

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Re: 17 tone music attuned to the earth's spin
« Reply #6 on: December 04, 2011, 03:11:56 PM »

>if I consider the rhythm of one beat per 24 hours to be a bass note, and keep going to the next octave, the first audible tone I reach is 24.27259 hertz. I think this agrees with your numbers because continuing with octaves, we reach 776.72... hertz, and I see that number in your post.

Yes it agrees.

>Now what I am wondering based on this, and what I have been wondering, based on other things in my post, is if the unit of one hertz is of key importance in terms of the resonance of the earth.

Well 1 Hz means 'one cycle per second', and so is directly linked to the second, it is the inverse of 1 second . In turn the second is indeed derived precisely from the Earth day, it is the length of the Earth day divided by 86400 (=24 x 60 x 60). But 86400 is a fairly arbitrary number, so 1 Hertz is not harmonious in any significant way to the day frequency, the most you could say is that 1 Hz = 24 x 60 x 60 x day frequency, it is not an exact number of octaves above. Also i doubt that 1 Hz is significantly harmonious with any other planetary cycle such as years or months, but i haven't checked that ... :)

>I'm wondering if I should tune my viola G string to 24.27259 hertz or keep it at 24.000 hertz

Only 24.27259 hertz has any significance, it is an exact number of octaves above the day frequency. It is only coincidence that '24' appears in '24.27259' and also appears in your scale and as the numbers of hours in a day, there is no significance to this other than a pleasing coincidence. It is also coincidence that 432 Hz divides to 27 Hz and that 27 appears in your scale, also, the value is actually 432.098 which divides to 27.006125. 432.098 Hz is a completely different subject since that is merely the value of A4 that in 12ET makes C# exact octaves above the year frequency.
So if you tune the first 2 tones of your scale to 24 and 27, no tone in your scale will be in octave harmony with the day or year, since your scale is Just intonation, not 12ET. 432.098 Hz is only indirectly significant within a 12ET system.

So i would suggest 24.27259 hertz, that is very much out of tune with 24 Hz, even though they look close.

Video text>A Cymatic visualization of 432 Hertz sounding in a drop of water. This is the classic tuning, in harmony with myriad ancient teachings, and modern quantum physics, that should be used in performances of Western music and in the manufacture of musical instruments.
The DNA resonances of the ears respond best to 432 Hz. It is also the logical tuning contained in the overtone series, i.e., C = Binary 2, 4, 8, 16, 32, 64, 128, 256, etc. G = Ternary 3, 6, 12, 24, 48, 96, 192, 384, etc. D = 3-Squared, i.e., 9, 18, 36, 72, 144, 288, etc. A = 3-Cubed 27, 54, 108, 216, 432, etc.
The "corporate" tuning of 440 Hertz for A is a modern substitute with proven harmful effects, e.g., in Cymatic Therapy and Sonatherapy. Case studies ranging over 100 years have proven this beyond question.

Everything in that video text is untrue or meaningless ;D
« Last Edit: December 04, 2011, 06:03:26 PM by matcooper »
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Mat

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Re: 17 tone music attuned to the earth's spin
« Reply #7 on: December 04, 2011, 06:05:01 PM »

A post of mine copied from nonoctave ...

"Scientists using NASA's Kepler, a space telescope, recently discovered six planets made of a mix of rock and gases orbiting a single sun-like star, known as Kepler-11, which is located approximately 2,000 light years from Earth."

http://www.nasa.gov/mission_pages/kepler/news/new_planetary_system.html

I found the official data for the orbital periods of the 6 planets and converted them into a chord and an octave reduced scale ...

Kepler-11 chord
cents
3600+626.59
3600+220.85
2400+460.14
1200+1064.93
1200+410.70
0.00 (Root tone is G#+19.17 cents (A4=440Hz))

Kepler-11 octave reduced scale
cents
1064.93
626.59
460.14
410.70
220.85
0.00 (Root tone is G#+19.17 cents (A4=440Hz))
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Tom M Culhane

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Re: 17 tone music attuned to the earth's spin
« Reply #8 on: December 05, 2011, 04:32:49 AM »

Picture three guys drumming, the first beating at 128 beats per minute, the second at 129.746, and the third at 125 beats per minute. Will they each maintain their same  exact rhythm with the others beating so closely to them, beat by beat? Will their rhythms be pulled to synchronize? Understanding my ideas involves the idea of entrainment and related. An interesting book I read long ago, Stalking the Wild Pendulum, goes into the phenomenon of how rhythms can shift when in the proximity of similar beats. I submit the octave pattern does not hold precisely, when talking about huge increases in rate of vibration. Other numbers become manifest. The hertz idea comes from the clock, and the spin of the earth, increased by octaves, does not reach an exact even hertz number, because octaves are based on the number two, but the clock also divides things with the next two prime numbers, three and five. Some of you may recognize the three drum beats above as relating to the numbers two three and five. And they relate to the diatonic comma idea.

I have those numbers on the tip of my tongue because I recently derived the diatonic comma numbers in my own way.

I had the vague idea the diatonic comma had to do with octaves and fifths, and how they don’t exactly synchronize is some way. So it came to me, if you take a rhythm  of one beat, and increase it by octaves, 1  2  4  8  16  32  64  128… I thought, I’ll bet if you increase a beat by the rate of three to two, at some point this different rate of increase will reach a similar number. And if you do that, 1  1.5  2.25…, at the 12th step you reach the number 129.746…  So I could see this diatonic comma idea has to do with the entrainment and related ideas. I also noted another fundamental number converges right in this neck of the woods, 125, five  time five times five.

Picture a guitar string, you pluck it, and it vibrates at a certain rhythm. Now picture a node point form at the half way point, so now the string is also holding two standing waves vibrating at the octave of the original tone. Now continue the process, the string divides into four segments, while still carrying the original vibration, and then 8  16  32  64  to 128 segments, singing these high harmonics as the original bass tone of one length feeds them all.

Now consider the idea of walking and chewing gum at the same time. That simple looking string gets more and more complex as you look at it more closely. Consider that while it’s resonating with these octave patterns in it, consider node points forming at the one third and two third points on the string, diving the string into threes, and holding those tones as well, however subtle. So you see in there you have the fifth pattern of two thirds of a string existing. Now continue, with these rhythms feeding higher and higher harmonics, until you get to segments of the string divided by 129.746, these high harmonics singing, in the string, however subtle. And then let’s add to this resonating system the next prime number, divide the string into five equal segments, and then twenty five, and then 125. So those high harmonics are singing as well, these three different currents all being fed by that same original one string length bass tone. And then add to the mix, since these three high harmonics are close to each other, 125  128  and 129.7, add in the idea of them pulling on each other, the tendency of similar beats to synchronize.

You can consider this vibrating string like a processor. It took a fundamental rhythm and has generated these high harmonics seven octaves out. Process the vibration in this way two more times. In other words increase the vibration by seven more octaves, and then by seven more octaves again. So now you are out 21 octaves. If you do this, you will have covered the distance from the rhythm of the earth day, one beat per 24 hours, to the rhythm of the first audible tone, and that first audible tone following this pattern of increasing by octaves, will be EXACTLY 24 beats per second, 24 hertz. It will not be 24.27259 as the octave pattern alone would have brought us to, because in the process of going out 21 octaves, the rhythm shifted slightly, based on the influence of other rhythms. And so the note Doe, beating at 1 beat per 24 hours, will synchronize with Doe beating at 24 beats per 1 second. It will be exact. And so I will continue to tune my viola G string to an octave of 24.00 hertz. This will be the most resonant tone with the earth’s spin. And while I think the octave pattern will hold going from 24 hertz to 48 to 96 … I we were to increase the beat far enough out, say 21 octaves out from 24 hertz, I would expect that by that time the next Doe note would have shifted slightly off the perfect octave pattern once again.

Madness? Divine inspiration? You tell me folks, but now it’s time to start playing this here viola…
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Mat

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Re: 17 tone music attuned to the earth's spin
« Reply #9 on: December 05, 2011, 10:17:30 AM »

Aha i see ... i misunderstood your earlier posts, that's clear to me now thanks.
« Last Edit: December 05, 2011, 08:21:34 PM by matcooper »
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Tom M Culhane

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Re: 17 tone music attuned to the earth's spin
« Reply #10 on: December 06, 2011, 01:51:29 AM »

For some reason, rereading my last post, I twitched when I got to "consider the idea of walking and chewing gum at the same time". Hope that didn't come out wrong, I was talking about the string holding two rhythms at once... Am i paranoid?...
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Tom M Culhane

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Re: 17 tone music attuned to the earth's spin
« Reply #11 on: December 06, 2011, 09:51:06 AM »

There's the old riddle, how can Hercules beat a tortoise in a race, if the tortoise is given a head start, because Hercules must first reach the point the tortoise is currently at to then pass it, but by the time he reaches this point, the tortoise will be slightly ahead of that point, when Hercules reaches that next point, the tortoise will be slightly ahead of it... there will always be a point between Hercules and the tortoise, no matter how infinitely small the distance. So how can Hercules win the race? My friend gave me the answer. There's no such thing as infinity. The world of form is built out of units. A lot of them, but units. You're either here, or you're there. So when Hercules gets close enough, then with the next click of the clock, he will pass the tortoise. When this Creation unwinds, then it never happened. So we will wind it up again. And then we get to ride the wave. And it will be the first time. It's always the first time. Do I claim to understand what I just wrote? No. So here are my numbers:

  24 hours
  12 hours
    6 hours
    3 hours
  90 minutes
  45 minutes
1350 seconds
 675 seconds
 337 1/2 seconds
 168 3/4 seconds
  84 1/2 seconds
  42 1/2 seconds
  21 1/3 seconds
  10 2/3 seconds
   5 1/3 seconds
   2 2/3 seconds
   1 1/3 seconds
       2/3 of a second
       1/3 of a second
       1/6 of a second
       1/12 of a second
       1/24 of a second
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Mat

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Re: 17 tone music attuned to the earth's spin
« Reply #12 on: December 06, 2011, 02:34:20 PM »

>"consider the idea of walking and chewing gum at the same time". Hope that didn't come out wrong

Heh no worries, it seemed a somewhat random sentence when i first read it but i now see what you meant. Besides, i like randomness :)
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Tom M Culhane

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Re: 17 tone music attuned to the earth's spin
« Reply #13 on: December 07, 2011, 07:05:17 AM »

Explaining my numbers.

I posted a spectrum with 22 numbers there. They cover 21 octaves, going from the macro rhythm of one beat per 24 hours to the micro idea of 24 beats per one second. You perceive the macro rhythm as the cycle of one day, and you perceive the micro rhythm as a pitch, a deep bass note. My numbers cover three diatonic comma cycles, as I would call it, three seven octave groups. I had to account for the difference between 24.00 hertz, which I believe is precisely in synch with the Earth’s 24 hour day, and 24.27259… hertz, the theoretical 21st octave of the Earth day if octaves maintain precisely the two to one rhythm over a twenty one octave range.

So I had to account for something like a fifth of a fret shift in pitch over these 21 octaves. Looking at the numbers, what came to me was the jump rope idea, like two people each holding the ends of a rope, and the rope dancing in between. I considered the two ends of this spectrum to be very stable. The daily 24 hour cycle seems pretty stable. And looking at the theoretical octave numbers on each side of one second, they were so close to the intervals 1 1/3 seconds and 2/3 of a second, that it seemed obvious to me the Earth rhythm would have crystallized into these precise numbers by this point on the scale. So my numbers have perfect octaves going from each end of the spectrum toward the center. The one fifth fret’s worth shift in pitch happens in the center area of this spectrum, on the bridge, as I would call it.

Points of interest about this spectrum: Going out seven octaves from the first number, 24 hours, to 675 seconds, all these numbers are whole numbers. This covers one third of the spectrum, one diatonic cycle. After this point, there are no more whole second numbers, at octave points at least.

Going out nine octaves from each end of the spectrum to the center, the octaves are perfect. So the bridge where the shift in pitch happens is between the octave points 168 ¾ and 21 1/3  seconds. The numbers I used to bridge the two perfect octave groups were 84 ½ and 42 ½ seconds:

168 ¾  seconds
 84 ½  seconds
 42 ½  seconds
 21 1/3  seconds

I believe the normal range of human hearing is about ten octaves of sound, so ten octaves takes you from each end of this spectrum to the bridge.

All the whole numbers in the bridge are multiples of seven.

Sitting in the center area of this bridge, which is the center of the whole spectrum,  would be the interval of 60 seconds. The power of a minute. Do you have a minute?

The octave points on each side of one minute, 84 ½ and 42 ½ ,  split numbers into halves, half seconds, ie 169/2 seconds and 85/2 seconds. The next octave point, going toward macro, has split numbers into fours, 168 ¾ (675/4) seconds. So you could look at it like this huge processor has processed whole numbers into fourths of seconds, on one side of the bridge.

On the other side of the bridge you see it has divided seconds into thirds, 21 1/3 ....

So you have a pattern of division by two, in the center of the bridge, and division by four toward the macro side, and division by three toward the micro side, of the spectrum.

A most basic way we perceive things is in two, up and down.
When we look up, toward the macro, the skies, we see the four pattern, sunrise, midday, sunset, midnight. No moon, first quarter, full moon, last quarter. Four seasons from the skies. When we look the other way, down toward the Earth, we have the sphere idea, which relates to three. Circles fit around circles by the three pattern, six fit right around one. They align in lines in three directions…

You could look at the micro three pattern as light condensing into matter, spinning in circles faster and faster, the inside of a sphere idea, the center of the Earth. And going the other way, the circles straightening out, going faster distance wise in straight lines, … out into the skies… the four pattern. And we live on the surface of the sphere, in between up and down, which divides things into two.

Most people perceive ten octaves of sound, which gets you to the bridge. What if you became more perceptive? What if your perceptions crossed the bridge? (Bridging the physical and spiritual?...)

I believe microtonal music offers us help in crossing the bridge, accessing our full potential. I knew that before finding this forum. Those subtle changes in pitch, I can feel really working things in my system, bridging different patterns maybe… And now I think 24 hertz music, and its harmonics, such as 432 hertz music, offer yet more possibilities. And what about non octave scales to cross that bridge, I thought I heard something about them in this forum?

A complex Universe. I go by what feels good to me. I sing spontaneously, and try to play music as it comes to me… Using like a machine or something that’s generating tones, or chanting some mantra or something over and over, I mean stuff like that makes me nervous. But we all have guidance to help us find our part in the symphony. Ok I’ll stop talking.

Ok one last idea. You could look at that ten octave range of perception as having a corresponding part when you are in your dream body, so ten and ten, like two dimes, and connecting them a bridge(s), where the shift happens. Like a pair of dimes, and a shift. A  paradigm shift. And if you could extend your perceptions one octave each way, and bridge the two, physical spiritual, like a pair of 12 octaves, die have six sides, two make dice, 12 sides so a pair of dice, pair of 12, gets you across the bridge each way. Pair of dice, paradise. ok I'm done.
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Tom M Culhane

  • Guest
Re: 17 tone music attuned to the earth's spin
« Reply #14 on: December 07, 2011, 12:53:54 PM »

Non Octave Scales:

Ok to finish with this, the clock generates three non octave scales in the bridge area of the 21 octave spectrum, if my theory is correct. So I’ll do some of the numbers for the very middle one, the heart of the whole spectrum. Now keep in mind, I first heard the phrase non octave scale like two weeks ago, and never have looked up what exactly was meant by it. So if you should decide to put these following numbers to music, all I’m saying is I can’t take any responsibility. So if the top of your head blows off, don’t come cryin. By the same token, if you should start strummin this stuff and then awaken in Arcadia with a perfect body, well I would expect at least a postcard.

Ok, the math: The octave points on the center of the bridge are 84 ½ seconds and 42 ½ seconds. Now sitting in between, if you have a minute, would be 60 seconds. So that gives us three numbers. So if we put those to whole numbers, we have:  169  120  85

The difference between 169 and 120 is 49. 120 to 85 is 35. I find those numbers kind of interesting.   169  = 13 times 13
                             49 =   7 times 7
                    120
                             35 =  7 times 5
                      85 =  17 times 5

I’ll let you guys take it from there (does anyone actually read this stuff?). That’s all the math I can handle for this year. Back to the viola…
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