Hey all -
My research is part of a collective effort called the Quantum Lodge, based in Lawrence, Kansas, USA. We are a community of Raw and Living Food enthusiasts, seeking new modalities of conscious thought and reality maps for the coming Age.
WWW.QUANTUMLODGE.ORG
My Blog will be continued here: http://quantumlodge.org/ezra/
Thursday, October 23, 2008
Wednesday, October 22, 2008
A little bit about me...
Many years ago, I was indoctrinated into the 12Tone Cult.
"Hmmm..."
I looked at the large black tuning pegs, the feminine shape of the wooden body, and the long fallic endpin which slid out like a hidden blade. The bridge looked like it was made of plywood and might collapse if I looked at it the wrong way. The clerk told me that somewhere inside the body was a hidden soundpost.. It was a big, mysterious thing...
Eight years of formal classical education passed by right under my nose. Despite youth symphony, private lessons, university courses in music theory, and the rest of it...
Never once did I question why the fingerboard of a cello, which obviously has no frets, was to be played only in certain positions according to a certain standard pitch frequency (A440).
So? What is this all about?
Astrotheology? Mind Control? Sympathetic Acoustic Resonance? Sacred Geometry and Harmony manifest as Laws of Musical Tone?
What the hell is going on with this Dinosaur we call the Western Musical Tradition???
Wednesday, October 15, 2008
Stage 5
Why do major chords sound "Happy" and minor chords sound "Sad"? If 12ToneEqualTemperament is an artificial human construct, then why do our favorite songs which employ this method of tuning still manage to touch us so deeply?
I will approach the question of Emotional Effects of Tonal Music first from the perspective of Acoustic origins, taking on the more "occult" aspects in a later post.
Whenever a note is sung or a string is plucked, the listener perceives a FUNDAMENTAL tone. In musical notation, this fundamental tone is the "note" that we identify on staff paper. Although we only account for one note in written form, there are actually several additional notes vibrating simultaneously. These notes are called Harmonic Overtones. In the following image they are laid out in a series, according to a hierarchy of pitch.
Throat Singing, a folk technique popularized recently by the Tuvan musicians of Russia, is derived from an understanding of how the harmonic overtone series works. These vocalists are able to sound a fundamental tone and emphasize its most prominent harmonic overtones, resulting in a kind of whistling, humming sound. The listener might hear anywhere from two to four melodies expressed simultaneously.
Explore Tuvan Throat Singing Videos
You may have noticed that throat singers do not drone on consonant letters like K or P.
Vocal melodies are necessarily comprised of some combination of consonants and vowels. However, it is the vowel which carries the strongest harmonic overtones. Whereas a consonant is generally percussive and punctual, vowels are animated and musical. When we speak to one another, it is the inflections in our voice which expresses our mood and intention. The phrase "Oh yeah?" could express curiosity or animosity depending on how the vowels are executed.
B - C - D - F - G - H - J - K - L - M - N - P - Q - R - S - T - V - X - Z
A - E - I - O - U - W - Y
"The findings of acoustics compel one to admit the fact that every time one hears language, whether sung or spoken, one is consciously perceiving an intricate melody of high harmonics, and this is the very thing that carries meaning and enables us to understand one another."
"Another conclusion to be drawn from the unconscious hearing of vowel-resonances is that we must have an inborn familiarity with the harmonic series. Somewhere in our perceptive mechanism, the harmonics of vocal tones are being analyzed and presented to our consciousness as vowels."
-Joscelyn Godwin Mystery of the Seven Vowels
The human brain instantaneously perceives the presence of harmonic overtones in a spoken word or melody. Various shades of harmonic emphasis are intuitively measured. It is the presence of specific harmonic intervals which generates our notion of "tone quality". It is likely the application of these natural, harmonic intervals to our own 12TET that evokes emotional responses like "Major chords sound happy".
If you return to the harmonic series at the beginning of this post, you will find that it collectively expresses something close to a diatonic scale - The Root, Perfect 2nd, Major 3rd, Perfect 4th, Perfect 5th, Major 6, flat 7, and major 7 are present in a non-linear sequence.
Although the true overtone series does not land precisely at the intervals dictated on staff paper, it does get relatively close. The presence of Major rather than Minor sonorities in this harmonic overtone series offers one explanation for our emotional reactions to certain intervals present in the 12TET.
I will approach the question of Emotional Effects of Tonal Music first from the perspective of Acoustic origins, taking on the more "occult" aspects in a later post.
Whenever a note is sung or a string is plucked, the listener perceives a FUNDAMENTAL tone. In musical notation, this fundamental tone is the "note" that we identify on staff paper. Although we only account for one note in written form, there are actually several additional notes vibrating simultaneously. These notes are called Harmonic Overtones. In the following image they are laid out in a series, according to a hierarchy of pitch.
Throat Singing, a folk technique popularized recently by the Tuvan musicians of Russia, is derived from an understanding of how the harmonic overtone series works. These vocalists are able to sound a fundamental tone and emphasize its most prominent harmonic overtones, resulting in a kind of whistling, humming sound. The listener might hear anywhere from two to four melodies expressed simultaneously.
Explore Tuvan Throat Singing Videos
You may have noticed that throat singers do not drone on consonant letters like K or P.
Vocal melodies are necessarily comprised of some combination of consonants and vowels. However, it is the vowel which carries the strongest harmonic overtones. Whereas a consonant is generally percussive and punctual, vowels are animated and musical. When we speak to one another, it is the inflections in our voice which expresses our mood and intention. The phrase "Oh yeah?" could express curiosity or animosity depending on how the vowels are executed.
B - C - D - F - G - H - J - K - L - M - N - P - Q - R - S - T - V - X - Z
A - E - I - O - U - W - Y
"The findings of acoustics compel one to admit the fact that every time one hears language, whether sung or spoken, one is consciously perceiving an intricate melody of high harmonics, and this is the very thing that carries meaning and enables us to understand one another."
"Another conclusion to be drawn from the unconscious hearing of vowel-resonances is that we must have an inborn familiarity with the harmonic series. Somewhere in our perceptive mechanism, the harmonics of vocal tones are being analyzed and presented to our consciousness as vowels."
-Joscelyn Godwin Mystery of the Seven Vowels
The human brain instantaneously perceives the presence of harmonic overtones in a spoken word or melody. Various shades of harmonic emphasis are intuitively measured. It is the presence of specific harmonic intervals which generates our notion of "tone quality". It is likely the application of these natural, harmonic intervals to our own 12TET that evokes emotional responses like "Major chords sound happy".
If you return to the harmonic series at the beginning of this post, you will find that it collectively expresses something close to a diatonic scale - The Root, Perfect 2nd, Major 3rd, Perfect 4th, Perfect 5th, Major 6, flat 7, and major 7 are present in a non-linear sequence.
Although the true overtone series does not land precisely at the intervals dictated on staff paper, it does get relatively close. The presence of Major rather than Minor sonorities in this harmonic overtone series offers one explanation for our emotional reactions to certain intervals present in the 12TET.
Stage 4
I have established in previous entries that musical NOTES are singular and absolute. They represent whole numbers manifested as vibrational TONES. This anagrammatic relationship between the words notes and tones may be the reason that we symbolize notes as little black STONES on ledger lines.
The black stone theme has been elaborated on in depth by many Synchromystic enthusiasts.
1. See Jake Kotze's work on the BLACK STONE here:
http://rundonotwalk.blogspot.com/2007/11/all-i-want-for-christmas.html
2. Radio Coverage on the BLACK STONE at REDICECREATIONS: http://www.redicecreations.com/radio/2007/03mar/RICR-070329-SUB.html
3. Jake's Octagonal Stargate video here:
http://www.youtube.com/watch?v=VEmSy07ISOw
4. Goro Adachi's original research into the Benben Stone here:
http://www.goroadachi.com/etemenanki/endgame-2-p1.htm
MOVING ON...
If we consider the notes of the musical structure as building blocks (Stone/notes/tones) then we need to take DURATION into account. Traditionally this is done with the use of "flags" attached to a pole, attached to the stone/notes. We'll get back to this point later in the post.
For now, the duration of a note can be accurately represented by the use of bricks. In the music editing program FRUITY LOOPS we find this brick motif in plain sight. Bricks are stacked within a matrix, elongated or diminished in length to establish the duration of the (s)tone.
Notes represent ABSOLUTE forms (one designated pitch and duration) and are the cousins to mathematical units of measurement. Although notes do not traditionally have an associated number, such as C=1 Db=2 D=3 and so on, we do find the emergence of a musical movement called SERIALISM emerging in the late 1940's. This approach basically demolishes the notion of Septenary Keys and ushers in a TWELVE-TONE system of "Tone Rows".
As you can see in the images above, the composer of 12-tone serial music assigns a number to each musical pitch. Next, a tone "row" is established and placed on a square matrix. The composer follows pre-established guidelines to derive his melodies and harmonic counterparts.
Where else do we see NUMBERS operating in a MATRIX?
That's right. Popular musical forms mirror the collective philosophy of the ages.
If we look back in time, the oriental musical traditions were founded on pentatonic (five note) modes. Japanese Haiku forms generally take on a musical rhythm of 5-7-5 syllables, going a little something like-a this...
Music Mystifies Number and Geometry Rhythm, Harmony.
The haiku is an expression of the 5/7 Mystery (see previous posts). From the five emerges the seven and to the five it then returns.
Likewise, Serialism is an expression of our Collective Expansion during this Cosmic Awakening. In the Astrotheology mp3 lectures, Manly P. Hall describes how our number 7 emerges from 12 in the planetary mysteries.
THE TWELVE:
THE SEVEN:
As our planet moves into the age of Aquarius and completes its 12th Cycle, the Western human's music reflects this re-connecting process through an exposition on all that has come to pass during the last 25,700 years.
The black stone theme has been elaborated on in depth by many Synchromystic enthusiasts.
1. See Jake Kotze's work on the BLACK STONE here:
http://rundonotwalk.blogspot.com/2007/11/all-i-want-for-christmas.html
2. Radio Coverage on the BLACK STONE at REDICECREATIONS: http://www.redicecreations.com/radio/2007/03mar/RICR-070329-SUB.html
3. Jake's Octagonal Stargate video here:
http://www.youtube.com/watch?v=VEmSy07ISOw
4. Goro Adachi's original research into the Benben Stone here:
http://www.goroadachi.com/etemenanki/endgame-2-p1.htm
MOVING ON...
If we consider the notes of the musical structure as building blocks (Stone/notes/tones) then we need to take DURATION into account. Traditionally this is done with the use of "flags" attached to a pole, attached to the stone/notes. We'll get back to this point later in the post.
For now, the duration of a note can be accurately represented by the use of bricks. In the music editing program FRUITY LOOPS we find this brick motif in plain sight. Bricks are stacked within a matrix, elongated or diminished in length to establish the duration of the (s)tone.
Notes represent ABSOLUTE forms (one designated pitch and duration) and are the cousins to mathematical units of measurement. Although notes do not traditionally have an associated number, such as C=1 Db=2 D=3 and so on, we do find the emergence of a musical movement called SERIALISM emerging in the late 1940's. This approach basically demolishes the notion of Septenary Keys and ushers in a TWELVE-TONE system of "Tone Rows".
As you can see in the images above, the composer of 12-tone serial music assigns a number to each musical pitch. Next, a tone "row" is established and placed on a square matrix. The composer follows pre-established guidelines to derive his melodies and harmonic counterparts.
Where else do we see NUMBERS operating in a MATRIX?
That's right. Popular musical forms mirror the collective philosophy of the ages.
If we look back in time, the oriental musical traditions were founded on pentatonic (five note) modes. Japanese Haiku forms generally take on a musical rhythm of 5-7-5 syllables, going a little something like-a this...
Music Mystifies Number and Geometry Rhythm, Harmony.
The haiku is an expression of the 5/7 Mystery (see previous posts). From the five emerges the seven and to the five it then returns.
Likewise, Serialism is an expression of our Collective Expansion during this Cosmic Awakening. In the Astrotheology mp3 lectures, Manly P. Hall describes how our number 7 emerges from 12 in the planetary mysteries.
THE TWELVE:
THE SEVEN:
As our planet moves into the age of Aquarius and completes its 12th Cycle, the Western human's music reflects this re-connecting process through an exposition on all that has come to pass during the last 25,700 years.
Stage 3
We speak of writing a piece of music in a "Key".
Just what does this "key" unlock or activate? We have no musical term called "Door" or "Motor Vehicle Ignition" so why do we use the word key and to what does it grant us access?
My first inclination is to study the function of a non-musical key.. It usually goes into a hole of some kind and then you turn it. The result? Something is unlocked or turned on...
Q: Where do we find all 24 musical keys present?
A: The Circle of Fifths. To understand why, please refer to the previous Blog post.
Notice that we do not say that we are playing "with" a certain key, such as C major. We use the phrase "In" the key of C. Therefore, musical Keys must occupy some kind of fixed domain which can be explored and navigated from within, while simultaneously serving the function of opening or activating something external to its own nature. This makes sense... The key of C has a domain comprised of C-D-E-F-G-A-B which may be expressed via one of seven different "Modes". However, C Major also exists within the larger framework of our 12-tone system (circle of fifths).
In Physics, the word Mode refers to "any of the distinct patterns of oscillation that a given periodically varying system can have."
I've thrown together a little diagram here to try to illustrate how one navigates through a Key via different Musical Modes:
To operate "IN" the Key of C is to explore the septenary (sevenfold) course by whatever means - whether you explore the tonal elements in stepwise or disjunctive motion, it makes no difference as long as you don't step outside the boundaries of the Key. To operate a "mode" of the C major Key is to begin at any single note in this diagram and travel clockwise or counterclockwise without jumping around. That is to say, you may only move in stepwise motion.
But what does the key DO? A physical/material key is INSERTED into a complex system and ROTATED. Likewise, I might guess that a musical key is meant to be inserted into the 12 tone system and "turned" in some way, perhaps along the 24 rungs of the circle of fifths, until it returns to its original point of entrance.
If we imagine that the septenary is being inserted into the circle of fifths rather than already existing there, then we can rotate the Key in a "Cranking motion" and watch it operate IN RELATION to the other "Key Potentials" or keyholes.
For those of you familiar with the circle of fifths model, I would ask you to be open minded and try to imagine this modified form. Rather than the circle of fifths being a fixed display of 24 keys, I am painting it as a sort of "rotary dial pad". Rather than 9 positions as in the rotary dial phone, the rotary circle of fifths has 24 positions and full rotation potential.
Imagine that each spot on this color wheel is a musical keyhole. We may "insert" the key of C and TURN it through the wheel to measure it in relation to the 23 other keyholes.
There is still one problem... If we are traveling via circular rotation, how are we meant to turn from the outer (Major) Keys to the inner (Minor) keys without disrupting the continuity of the rotation? The relative major and minor keys both exist on separate, perfect circular planes. Rather than dealing with concentric circles, we might adjust our rotary dial to allow for SPIRAL MOTION.
The spiral of fifths is a more accurate model for what I'm describing.
Our chosen Key will never quite match up with any of the other keyholes. It will be comprised of too few or two many sharps/flats, or in the case of its relative minor, it will be oriented to a Major rather than minor orientation. So the "Key" is a musical archetype journeying through different potentialities (keyholes) until it finally completes a full, spiral rotation and arrives back home, at a higher point than it was before.
The Circle of fifths is not a KEY CHAIN but a Series of KEYHOLES...
Just what does this "key" unlock or activate? We have no musical term called "Door" or "Motor Vehicle Ignition" so why do we use the word key and to what does it grant us access?
My first inclination is to study the function of a non-musical key.. It usually goes into a hole of some kind and then you turn it. The result? Something is unlocked or turned on...
Q: Where do we find all 24 musical keys present?
A: The Circle of Fifths. To understand why, please refer to the previous Blog post.
Notice that we do not say that we are playing "with" a certain key, such as C major. We use the phrase "In" the key of C. Therefore, musical Keys must occupy some kind of fixed domain which can be explored and navigated from within, while simultaneously serving the function of opening or activating something external to its own nature. This makes sense... The key of C has a domain comprised of C-D-E-F-G-A-B which may be expressed via one of seven different "Modes". However, C Major also exists within the larger framework of our 12-tone system (circle of fifths).
In Physics, the word Mode refers to "any of the distinct patterns of oscillation that a given periodically varying system can have."
I've thrown together a little diagram here to try to illustrate how one navigates through a Key via different Musical Modes:
To operate "IN" the Key of C is to explore the septenary (sevenfold) course by whatever means - whether you explore the tonal elements in stepwise or disjunctive motion, it makes no difference as long as you don't step outside the boundaries of the Key. To operate a "mode" of the C major Key is to begin at any single note in this diagram and travel clockwise or counterclockwise without jumping around. That is to say, you may only move in stepwise motion.
But what does the key DO? A physical/material key is INSERTED into a complex system and ROTATED. Likewise, I might guess that a musical key is meant to be inserted into the 12 tone system and "turned" in some way, perhaps along the 24 rungs of the circle of fifths, until it returns to its original point of entrance.
If we imagine that the septenary is being inserted into the circle of fifths rather than already existing there, then we can rotate the Key in a "Cranking motion" and watch it operate IN RELATION to the other "Key Potentials" or keyholes.
For those of you familiar with the circle of fifths model, I would ask you to be open minded and try to imagine this modified form. Rather than the circle of fifths being a fixed display of 24 keys, I am painting it as a sort of "rotary dial pad". Rather than 9 positions as in the rotary dial phone, the rotary circle of fifths has 24 positions and full rotation potential.
Imagine that each spot on this color wheel is a musical keyhole. We may "insert" the key of C and TURN it through the wheel to measure it in relation to the 23 other keyholes.
There is still one problem... If we are traveling via circular rotation, how are we meant to turn from the outer (Major) Keys to the inner (Minor) keys without disrupting the continuity of the rotation? The relative major and minor keys both exist on separate, perfect circular planes. Rather than dealing with concentric circles, we might adjust our rotary dial to allow for SPIRAL MOTION.
The spiral of fifths is a more accurate model for what I'm describing.
Our chosen Key will never quite match up with any of the other keyholes. It will be comprised of too few or two many sharps/flats, or in the case of its relative minor, it will be oriented to a Major rather than minor orientation. So the "Key" is a musical archetype journeying through different potentialities (keyholes) until it finally completes a full, spiral rotation and arrives back home, at a higher point than it was before.
The Circle of fifths is not a KEY CHAIN but a Series of KEYHOLES...
Tuesday, October 14, 2008
Stage 2
Why does the Western Musical Tradition subdivide a perfect octave into Twelve Notes?
Sure, there are acoustic reasons...
According to the official records, Pythagoras studied the overtone series of a plucked string and cut the string by whole-number ratios to derive the additional notes.
These whole number ratios can be set against one another on the Kabbalistic Tree of Life to derive all 12 tones. Click the following image to enlarge:
Still... The number Twelve has too much weight in Western culture to merely be a sonic accident. There must be some highly symbolic, mythological backstory to the selection of this number. After all, I believe that music is THE MOST POWERFUL MAGICAL TOOL IN THE UNIVERSE.
The number twelve pops up in astrology, color theory, human physiology, architecture, government, and our models for time. I am particularly interested in the connection between the clock and the CIRCLE OF FIFTHS.
However, before we get into the music/time connection, allow me to provide a little bit of background for non-musicians who are reading this blog.
The circle of fifths is a cycle of notes which ascend consistently at an interval called the "Perfect Fifth". The fifth is considered perfect because of its function in traditional musical patterns called "Scales". Astrologically, we see scale as a matter of temperance brought out in LIBRA. In freemasonry, balance is measured not by weight but by length. The compass and square is a measurement of balance, whereby any extension in the arc length of the compass results in an equal distance from the crux of the square ruler.
Likewise, in the most common musical scales we begin from the "Root" and move one of two paths (ideally) - Either we travel towards a Major or Minor mode. Regardless of which path we take, the FIFTH note of the scale remains the same.
For example, if we begin in the key of C...
C Major is composed of: C - D - E - F - G - A - B - C
C Minor is composed of: C - D - Eb - F - G - Ab - Bb - C
In either case, the root is C (analagous to the CRUX of the square in our masonic emblem). The fifth note of both of these scales is G regardless of the major or minor path. Thus it is "perfect".
Are you following this so far? Keep up the good work!
We return to the CIRCLE OF FIFTHS, the name of which should be more clear now.
Notice that at the pinnacle we have the note "C" and moving one spot to the right (implying ascension via clockwise motion) we have the perfect fifth "G". Isn't it interesting that G is at the center of the freemason's compass!!!
Even more fascinating is the "Role" that the Perfect Fifth plays in Western Tonality. The Root - Fifth relationship is the most common musical "progression" in this entire system. The fifth is known as the "Dominant" note..
(By the way, I was just taking a shower earlier tonight when I realized for the first time that the Freemasonic G can be interpreted as a musical reference. I almost slipped in the tub, running to my computer to type this blog entry)
What are the freemasons telling us musically about their utter DOMINANCE in our society? In case there is any doubt that the G in this compass is a musical reference, remember that G is the highest "Scale Degree" in the ascension of diatonic notes. We all know how masons love their classical music and how they love their climbing up the DEGREES.
That is to say, our twelve tones are actually only made up of seven letters: A - B - C - D - E - F - G
In addition to these seven letters we may reach 5 additional notes through half-step motion. There are several different enharmonic articulations possible, but the prime examples would be:
Articulated in Flats: A - Bb - B - C - Db - D - Eb - E - F - Gb - G - Ab
or
Articulated in Sharps: A - A# - B - C - C# - D - D# - E - F - F# - G - G#
This phenomenon resonates with my previous post in reference to Manly P. Hall's explanation of the 5/7 split in the Mystery Traditions. See below for links to free mp3 lectures on his website.
TO SUMMARIZE SO FAR, the letter G in the center of our Freemasonic compass resonates as the dominant note in the Key of C and the Seventh Scale degree of a diatonic (all white keys) A minor scale. The Seventh Scale Degree resonates with the Seventh Day of the week, the last day of the WEEK-END, Sunday, which is of course the DAY OF THE SUN. Oh how our freemasonic brothers love to disguise their luciferian obsession in clever symbolism..
Moving right along...
Notice that in comparing these two systems, C lines up with 12 and G with 1. So while G is seen to resonate with 7 in terms of a diatonic scale minor scale, it also resonates with one. This makes sense when we consider that on a calendar, our week begins on Sunday and not Monday, and that the sun is one.
From calendar time we can transition into daily time cycles... I would like to point out another mythological aspect of this circle of fifths.
Every major key has what is called a "relative minor". This is demonstrated above as the Major keys in purple outer circle and relative minor keys in blue inner circle. C major, therefore, has a relative minor key of A minor. This means that for every note that you play in c major, the exact same notes are present in a minor.
Now it is time to connect the circle of fifths to our daily clock time. Why is it that we have 24 hours in a day and yet only 12 hours on a clock? Simple! There must symbolically be a balance of black and white, and thus a balance of day and night. Twelve hours of day and twelve hours of night. Likewise, in the circle of fifths we have 12 cycles of Major chords and 12 cycles of Minor chords, correlating to light and dark, happy and sad.
It's really quite brilliant, actually... If you begin at C and keep ascending in fifths, after 12 rotations you wind up at C again. Now we know that the pythagorean number cult had something to do with this clever design, given the obsession with the pythagorean triangle. You know the one... A2 + B2 = C2
The only way to make this equation work using whole numbers in single digit form with squares of 3, 4, and 5 units, as displayed below. 3 squared + 4 squared = 5 squared because 9+16=25
3+4+5 = 12
In case you doubt that the freemasons appreciate pythagorean numerology, here's a horseshoe they made commemorating the triangle... 9+16=25
25 = 2+5 = 7
And what is the triange pointing to in the horseshoe? Why G, the seventh letter, of course.
Sure, there are acoustic reasons...
According to the official records, Pythagoras studied the overtone series of a plucked string and cut the string by whole-number ratios to derive the additional notes.
These whole number ratios can be set against one another on the Kabbalistic Tree of Life to derive all 12 tones. Click the following image to enlarge:
Still... The number Twelve has too much weight in Western culture to merely be a sonic accident. There must be some highly symbolic, mythological backstory to the selection of this number. After all, I believe that music is THE MOST POWERFUL MAGICAL TOOL IN THE UNIVERSE.
The number twelve pops up in astrology, color theory, human physiology, architecture, government, and our models for time. I am particularly interested in the connection between the clock and the CIRCLE OF FIFTHS.
However, before we get into the music/time connection, allow me to provide a little bit of background for non-musicians who are reading this blog.
The circle of fifths is a cycle of notes which ascend consistently at an interval called the "Perfect Fifth". The fifth is considered perfect because of its function in traditional musical patterns called "Scales". Astrologically, we see scale as a matter of temperance brought out in LIBRA. In freemasonry, balance is measured not by weight but by length. The compass and square is a measurement of balance, whereby any extension in the arc length of the compass results in an equal distance from the crux of the square ruler.
Likewise, in the most common musical scales we begin from the "Root" and move one of two paths (ideally) - Either we travel towards a Major or Minor mode. Regardless of which path we take, the FIFTH note of the scale remains the same.
For example, if we begin in the key of C...
C Major is composed of: C - D - E - F - G - A - B - C
C Minor is composed of: C - D - Eb - F - G - Ab - Bb - C
In either case, the root is C (analagous to the CRUX of the square in our masonic emblem). The fifth note of both of these scales is G regardless of the major or minor path. Thus it is "perfect".
Are you following this so far? Keep up the good work!
We return to the CIRCLE OF FIFTHS, the name of which should be more clear now.
Notice that at the pinnacle we have the note "C" and moving one spot to the right (implying ascension via clockwise motion) we have the perfect fifth "G". Isn't it interesting that G is at the center of the freemason's compass!!!
Even more fascinating is the "Role" that the Perfect Fifth plays in Western Tonality. The Root - Fifth relationship is the most common musical "progression" in this entire system. The fifth is known as the "Dominant" note..
(By the way, I was just taking a shower earlier tonight when I realized for the first time that the Freemasonic G can be interpreted as a musical reference. I almost slipped in the tub, running to my computer to type this blog entry)
What are the freemasons telling us musically about their utter DOMINANCE in our society? In case there is any doubt that the G in this compass is a musical reference, remember that G is the highest "Scale Degree" in the ascension of diatonic notes. We all know how masons love their classical music and how they love their climbing up the DEGREES.
That is to say, our twelve tones are actually only made up of seven letters: A - B - C - D - E - F - G
In addition to these seven letters we may reach 5 additional notes through half-step motion. There are several different enharmonic articulations possible, but the prime examples would be:
Articulated in Flats: A - Bb - B - C - Db - D - Eb - E - F - Gb - G - Ab
or
Articulated in Sharps: A - A# - B - C - C# - D - D# - E - F - F# - G - G#
This phenomenon resonates with my previous post in reference to Manly P. Hall's explanation of the 5/7 split in the Mystery Traditions. See below for links to free mp3 lectures on his website.
TO SUMMARIZE SO FAR, the letter G in the center of our Freemasonic compass resonates as the dominant note in the Key of C and the Seventh Scale degree of a diatonic (all white keys) A minor scale. The Seventh Scale Degree resonates with the Seventh Day of the week, the last day of the WEEK-END, Sunday, which is of course the DAY OF THE SUN. Oh how our freemasonic brothers love to disguise their luciferian obsession in clever symbolism..
Moving right along...
Notice that in comparing these two systems, C lines up with 12 and G with 1. So while G is seen to resonate with 7 in terms of a diatonic scale minor scale, it also resonates with one. This makes sense when we consider that on a calendar, our week begins on Sunday and not Monday, and that the sun is one.
From calendar time we can transition into daily time cycles... I would like to point out another mythological aspect of this circle of fifths.
Every major key has what is called a "relative minor". This is demonstrated above as the Major keys in purple outer circle and relative minor keys in blue inner circle. C major, therefore, has a relative minor key of A minor. This means that for every note that you play in c major, the exact same notes are present in a minor.
Now it is time to connect the circle of fifths to our daily clock time. Why is it that we have 24 hours in a day and yet only 12 hours on a clock? Simple! There must symbolically be a balance of black and white, and thus a balance of day and night. Twelve hours of day and twelve hours of night. Likewise, in the circle of fifths we have 12 cycles of Major chords and 12 cycles of Minor chords, correlating to light and dark, happy and sad.
It's really quite brilliant, actually... If you begin at C and keep ascending in fifths, after 12 rotations you wind up at C again. Now we know that the pythagorean number cult had something to do with this clever design, given the obsession with the pythagorean triangle. You know the one... A2 + B2 = C2
The only way to make this equation work using whole numbers in single digit form with squares of 3, 4, and 5 units, as displayed below. 3 squared + 4 squared = 5 squared because 9+16=25
3+4+5 = 12
In case you doubt that the freemasons appreciate pythagorean numerology, here's a horseshoe they made commemorating the triangle... 9+16=25
25 = 2+5 = 7
And what is the triange pointing to in the horseshoe? Why G, the seventh letter, of course.
Stage 1
Welcome to the blog everyone.
We talk about composing sheet music on "staff" paper:
Who else do we know that uses a staff for musical and magical purposes?
Oh sure... Composers, conductors, sorcerers and magicians... What's the difference?
After all, the Italian and Spanish word for the musical "Staff" is PENTAGRAMMA.
Source: http://it.wikipedia.org/wiki/Pentagramma_(musica)
What else does the word pentagram imply?
Penta means five and gramma is at the root of our English word Grammar (that which relates to structure of LANGUAGE)... It is no stretch to say that the musical STAFF is chiefly concerned with the conduct of FIVE GRAMMA(TICAL) elements.
The roman numeral for five is V. The five primary (V)owels of our English LANGUAGE are the musical animators of speech. There are two additional hidden vowels (y and w).
"The seven (V)owels which we use every day in speech depend on the phenomenon of harmonics which is at the very basis of music. When we hear (V)owels we are hearing the laws of harmony which are ultimately the laws of number that are said to govern the universe."
This mystery of the 5/7 split is addressed by 33 degree freemason MANLY P. HALL in his free astrotheology mp3 lectures here: http://www.manlyphall.org/audio/astrotheology-2/
But back to the prefix 'Penta'...
There are five "ledger lines" that make our musical "staff". In common masonry, the word ledger refers to a horizontal timber in a scaffold.
Is our musical staff not a series of horizontal lines attached to a perpendicular shaft? Is the term "ledger line" then not derived from masonry? Perhaps FREEMASONRY? After all, the black and white theme is all over our western musical tradition, resonating with the freemasonic CHECKERBOARD motif.
Dictionary.com also defines the word ledger as a slab of stone laid flat over a grave... And while we're on the topic of death and ledger, Heath Ledger (Joker) died on the 22nd day of the first month of 2008. Interestingly, the 22nd card of the Tarot's Major Arcana is the FOOL, and this card was the inspiration for the JOKER card in common playing card decks. An honest, random coinciboogie, or is the universe letting us in on a little secret...
Notice heath's BLACK AND WHITE face make-up... It ties us back into a discussion of esoteric musical components.
On these pentagramma we write our notes. The word NOTE is an anagram of TONE. Interestingly, a perfect musical tone is signified by the written note. Both of these words contain the word ONE. The notion of singularity (ONEness) is foundational to the idea of A Tone and A Note as they are precise, mathematical absolutes. Any musician has (A)NOTATED his sheet music with performance specifications and alternative fingerings... We likewise witness the ATONEment of Christ, the Son(Sun) of god, as there is of course, only one sun. Notice how the sun looks like a "Whole" NOTE in standard musical notation.
The (A)n(A)GR(A)M of Note/Tone has been introduced to the letter A in Annotate and Atone. The letter A is the FIRST LETTER in the English alphabet and implies singularity, as in "A Conspiracy" or "A Dream".
If you trace the negative space on the Dolla dolla bill's All Seeing Eye pyramid, capstone included, you will derive the magical sigil which we call "letter A".
Could this have something to do with the reason A440 is our standard point of reference for tuning musical instruments?
NUMERO-LOGICALLY....
4 is a masonic number, implicating the SQUARE as well as the 4th dimension (time). Multiples of 11 are considered to be "Master numbers" and so 440 is clearly a magical number, as it multiplies 11 by 4 to create 44 AND goes even further to multiply the whole thing by 10 (The magickal number of perfection and completion).
Ledger Line resonates with a Ledger stone that lays on a grave - Heath Ledger died on 1/22/2008.
2008 = 2+0+0+8 = 10
10 + January (1) = 11
11+ 22nd day of january = 33
It seems our Freemasonic suspicions have been confirmed by a simple numerological analysis...
Stay "Tuned". More to come, soon.
We talk about composing sheet music on "staff" paper:
Who else do we know that uses a staff for musical and magical purposes?
Oh sure... Composers, conductors, sorcerers and magicians... What's the difference?
After all, the Italian and Spanish word for the musical "Staff" is PENTAGRAMMA.
Source: http://it.wikipedia.org/wiki/Pentagramma_(musica)
What else does the word pentagram imply?
Penta means five and gramma is at the root of our English word Grammar (that which relates to structure of LANGUAGE)... It is no stretch to say that the musical STAFF is chiefly concerned with the conduct of FIVE GRAMMA(TICAL) elements.
The roman numeral for five is V. The five primary (V)owels of our English LANGUAGE are the musical animators of speech. There are two additional hidden vowels (y and w).
"The seven (V)owels which we use every day in speech depend on the phenomenon of harmonics which is at the very basis of music. When we hear (V)owels we are hearing the laws of harmony which are ultimately the laws of number that are said to govern the universe."
This mystery of the 5/7 split is addressed by 33 degree freemason MANLY P. HALL in his free astrotheology mp3 lectures here: http://www.manlyphall.org/audio/astrotheology-2/
But back to the prefix 'Penta'...
There are five "ledger lines" that make our musical "staff". In common masonry, the word ledger refers to a horizontal timber in a scaffold.
Is our musical staff not a series of horizontal lines attached to a perpendicular shaft? Is the term "ledger line" then not derived from masonry? Perhaps FREEMASONRY? After all, the black and white theme is all over our western musical tradition, resonating with the freemasonic CHECKERBOARD motif.
Dictionary.com also defines the word ledger as a slab of stone laid flat over a grave... And while we're on the topic of death and ledger, Heath Ledger (Joker) died on the 22nd day of the first month of 2008. Interestingly, the 22nd card of the Tarot's Major Arcana is the FOOL, and this card was the inspiration for the JOKER card in common playing card decks. An honest, random coinciboogie, or is the universe letting us in on a little secret...
Notice heath's BLACK AND WHITE face make-up... It ties us back into a discussion of esoteric musical components.
On these pentagramma we write our notes. The word NOTE is an anagram of TONE. Interestingly, a perfect musical tone is signified by the written note. Both of these words contain the word ONE. The notion of singularity (ONEness) is foundational to the idea of A Tone and A Note as they are precise, mathematical absolutes. Any musician has (A)NOTATED his sheet music with performance specifications and alternative fingerings... We likewise witness the ATONEment of Christ, the Son(Sun) of god, as there is of course, only one sun. Notice how the sun looks like a "Whole" NOTE in standard musical notation.
The (A)n(A)GR(A)M of Note/Tone has been introduced to the letter A in Annotate and Atone. The letter A is the FIRST LETTER in the English alphabet and implies singularity, as in "A Conspiracy" or "A Dream".
If you trace the negative space on the Dolla dolla bill's All Seeing Eye pyramid, capstone included, you will derive the magical sigil which we call "letter A".
Could this have something to do with the reason A440 is our standard point of reference for tuning musical instruments?
NUMERO-LOGICALLY....
4 is a masonic number, implicating the SQUARE as well as the 4th dimension (time). Multiples of 11 are considered to be "Master numbers" and so 440 is clearly a magical number, as it multiplies 11 by 4 to create 44 AND goes even further to multiply the whole thing by 10 (The magickal number of perfection and completion).
Ledger Line resonates with a Ledger stone that lays on a grave - Heath Ledger died on 1/22/2008.
2008 = 2+0+0+8 = 10
10 + January (1) = 11
11+ 22nd day of january = 33
It seems our Freemasonic suspicions have been confirmed by a simple numerological analysis...
Stay "Tuned". More to come, soon.
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