The Devil's Chord: The conspiracy to open the portal of consciousness and mystery of the octave

reply to post by Templeton

Barbera does note that Archytas used the Babylonian tetrachord, an extension of the tetrad, 6:8::9:12 whereby 8 is the harmonic mean and 9 is the arithmetic mean between 6 and 12 with the above changed meanings as discussed.236 So 1, 4/3, 3/2, 2 were converted to 6:8:9:12. So 8 x 9 = 72 (harmonic mean x arithmetic mean = geometric mean squared) and the square root of 72 in simplified radical form is 6 times the square root of 2 – or the equal-tempered logarithmic tritone music interval, the 6th semitone of the 12 note scale aka the Devil’s Interval. In other words 9/8, the major 2nd music interval, cubed, is the square root of two as the most dissonant music interval of the Western logarithmic scale.

André Barbera, "The Consonant Eleventh and the Expansion of the Musical Tetractys: A Study of
Ancient Pythagoreanism," Journal of Music Theory, 1984.

reply to post by Templeton

As a clue to the secret musical solution we can see a close analogy between the Hippocratic continued proportion used for doubling the cube, A:X::X:Y::Y:2A and the tetrachord from Babylonian math, 6:8::9:12....Archytas applied his Babylonian equation
stating that the arithmetic mean times the harmonic mean equals the geometric mean squared in
order to double the cube. As Professor Borzacchini states:
According to this opinion the original, crucial problem for the Pythagoreans
because of the general role of music in the social and political establishment, was
the “cutting of the tone” (the interval between the fourth and the fifth, i.e. the ratio
8:9) in two ‘equal’ parts. In other words the problem was to find x such that 8:x =
x:9. Obviously 17/2 is too high, 33/4 too low, and so on. Archytas succeeded in
proving that in general it was impossible to cut a superpaticular ratio, i.e. to find a
x such that n:x = x:n+1 in the ancient Greek arithmetic (roughly we could say in
rational arithmetic). From this general result, for n=1, we get the irrationality of
the square root of 2. 237

The Devil's Interval as the tritone from Archytas.

237 Luigi Borzacchini and Domenico Minunni (Dept. of Mathematics, University of Bari, Italy) A MATHEMATICA NOTEBOOK ABOUT ANCIENT GREEK MUSIC AND MATHEMATICS

If the cube root of two is the value for X and if the cube root of two was approximated as the music ratio 5/4, the major third music interval, then A:X::X:Y::Y:2A with A as 1 and 2A as 2 and X as the cube root of two gives the following result. By doubling the music octave to 4, so that Archytas could apply his geometric mean, the continued proportion of Hippocrates can also be
cubed so that A is 1 and 2A is 8 and the volume proportion for doubling the cube is 1:2::2:4::4:8.
Since the cube root of this equation means that X equals 5/4, the major third music interval as the
cube root of two, then the cube root of four, as Y, gives the harmonic ratio of 8:5, the
complementary opposite of 5/4 (the music interval the major third, 5/4, is inverted as the minor
sixth, 8:5). The secret of the sect music equation for the compounding proportions of the side
lengths is this:
A:X::X:Y::Y:2A = 1:5/4::5/4:8/5::8/5:2.

Let's remember that 2:3 is in decimal form 666 -- the number of the Devil.

reply to post by fulllotusqigong


667 is the neighbour of the beast then. Didn't you know that the translation is probably a mistaken and the "real" number is actually 616 - kind of off-topic, but hey, you started! en.wikipedia.org...

This is a response to Philth - somehow I messed up his text - so this will have to suffice.


Dear Philth - I have kept this experience to myself (and just a few family members) for so long - this thread seemed like the time to get it out there. My life totally changed from that day forward. My focus in life shifted to the power of vibrational energy - the unseen - rather than the material.

Something tells me that your music HAS ALREADY HAD untold impact on others - much of it you may never hear about. KNOW that this is your gift to humanity and is far more important than you realize.

reply to post by fulllotusqigong

This is so nice to see man, good on you and thanks too. S+F
I have some information pertaining to your research I hope you will find helpful...

This chart shows how energy changes from one form to another as you increase its frequency so in theory you can play musical octaves of gamma ray's and different colours within light...


And colours have been linked to chakra's... as have the musical notes and cymatic geometry....


And cymatic geometry is found in outer space.... on saturn...

Which shows a 6 pointed hexagon, this is the same 6 pointed hexagon in the chakra chart above relating to the musical note "D".

According to Hans Cousto inventor of the cosmic octave tuning forks the frequency of Saturn is -

tone: D, 147.85 Hz
pitch data: equivalent chromatical a1 = 443,0 Hz
difference to 440 Hz. = + 11,9 cent
tempo: 69,3 / 138,6 bpm
color: blue

Now according to one source we have D=Hexagon=Orange=Sacral Chakra=Saturn and another saying D=Hexagon=Blue, blue being the colour for the throat chakra.

and in yet a third mystery source -


In this one "D" is an Orange Icosahedron (hexagon shape when flat)

and 432Hz is a "G" instead of an "A" and a BLUE cube (like the G-Throat chakra above).......

So we clearly have the beginnings of a connection between the chakra's, colours, musical notes and the frequency in Hz attributed to them along with measurements and resonant frequencies of planetary bodies. but somewhere along the way its become confused. I believe this is due to the difference in 440hz and 432hz and the mathematics involved. I'm not great at maths but I can see that if one or 2 elements in this puzzle were swapped around be it the colours, Hz, whatever... we would have the solution.... or at least be another step closer...

so..whats the musical deal with A=432hz? over/under-tones and harmonics extend the full reach of the audible bandwidth, more of them then A=440Hz, lowest harmonic of "C" (lowest note) is closest to the minimum 'whole number' Hz value...i.e 1Hz.

Gematrically its a prolific deliverer of stunning numerical coincedence.

and it sounds good, has fuller richer bass. ez 2 mix.

here's some visualised connections to ponder... Musical Revolution

Music in ancient Greece and Rome By John Gray Landels

The archaic Egyptian instruments that have been unearthed, so far, are largely tuned to 432 hz.In ancient Greece (the school book original place for music) their instruments were predominantly tuned at 432 hz. Within the archaic Greek Eleusenian Mysteries, Orpheus is the god of music, death and rebirth, and was the keeper of the Ambrosia and the music of transformation (his instruments were tuned at 432 hz).

source

Audio Conversion - 440Hz to 432Hz & Tuning to 432Hz
Pitch is exponential... therefore pitch is different going up then it is going down. The difference between 440Hz and 432Hz when going down in Herz is 8, but to use this information to shift audio recorded in 440Hz to a bastardized 432Hz you need to know the following....So, Going from 440Hz to 432Hz is a difference in 'cents' of -0.3176665363342928 Going from 432Hz to 440Hz however is a difference in 'cents' of 0.31766653633429415 -31.8 cents or -0.318 Semitones. .....round to -32 if you have to....The calculator that calculated the calculations... As you can see on this chart 432hz is between -31 and -32. Kick ass Chart for all yousesss You can also tune your physical instruments (guitar etc) to use A=432hz but the process is complicated...if requested I'll try to dig up my notes..

-TF

Drew,

we used to go at it here, I insisted that free energy will solve all the worlds problems, you said qi-gong is all people need, I said you can't mass produce qi-gong masters...

But now I think we are on the same page as I have studied a bit more.

I think what you are talking about is the EXACT same thing going on in EM theory. Bearden talks about Heaviside and the missing or not accurate terms in the quaternion, a scalar quantity. If this was used instead of vector analysis then renormalization is not necessary because the infinity of the quantum chaos is accounted for.

There is a book series by Dolores Cannon called The Convoluted Universe, in it is a past life regression where a person is describing the technology used to render stone weightless and malleable (Hutchison effect)...The device looked like a 3 pronged tuning fork. The image you provided, the pitchfork was missing a tine.

I have been studying "negative resistance" and my circuit (soon to be prototyped) creates what I call "consonant current". By exploiting the inherent heaviside/poynting dipole rather than imposing one asymetrically my circuit will induce an auto-electronic avalanche effect (dynamic casimir effect) by imploding the heaviside halo into the poynting surface current...




That's the best I can describe it for now...but I see a relation between symmetry/asymmetry, scalar/vector amplitude/frequency, negentropy/entropy respectively.

Thanks man, look forward to getting zapped by a qigong dude someday

Originally posted by Templeton
Thanks for the post OP. I am intrigued, but much like others here I have a real hard time understand the lingo.

Is all of this ratio talk in relation to the major scale?:

1 : do
2 : ray
3 : me
4 : fah
5 : so
6 : la
7 : ti
(Thank you Sound of Music)

So when you say perfect 5th you are referring to do + so? And the perfect 4th is do + fah?

Ex.1 - Solfège or Solfeggio technique.
1 : Do = E
2 : Re = F♯
3 : Mi = G
4 : Fa = A
5 : Sol = B
6 : La = C
7 : Si = D
8 : Do = E (Octave or 8va derived from the Latin octo, meaning eight)

To answer your question, the Perfect Fifth is So. Keep in mind that there are also sharps (♯) and flats (♭) that can be used in between the Natural (♮) notes (the regular letters like A,B,C,D,E,F & G) of any given scale; all depending on the Key the piece of music is in.

The example you gave is in C Major, which has NO ♯'s or ♭'s, just like the A minor scale, which also has no ♯'s or ♭'s - but for the example below (In best Skwisgaar Skwigelf impression), we's use da keys of E's Minors, because eet's Metul's... and nutings ees more's Metul's den da keys of E's minors.

Using Ex. 1, the Tritone or "Devils Chord" would be considered:
1 : Do = E
5 : Sol = B♭(The flat fifth is essential in creating the Devils Chord)
8 : Do = E
So the B♭ would give the chord that scary, dissonant sound. If the B is left Natural (♮), it would just be considered a simple Fifth or Power chord, but no, instead it gives us that dark, eerie-sounding tone that is so hauntingly recognizable.

In the key of E on guitar, the tritone would look like this:
Ex.3
Open E♭5 (or flat Fifth)
E||----------
B||----------
G||----------
D||--2-------
A||--1-------
D||--0-------

Or higher up the neck:
[font=Courier New]
E||---------- 7th Fret
B||----------
G||--9-------
D||--8-------

Originally posted by galacticgirl
I have kept this experience to myself (and just a few family members) for so long - this thread seemed like the time to get it out there. My life totally changed from that day forward. My focus in life shifted to the power of vibrational energy - the unseen - rather than the material.

I love that!

Proof positive that sound and frequencies are more than just chosen Blips and Bleeps, and that they actually do have a purpose rather than helping us shake our money makers!!

~philth

Viva La Vida

"Call My Name..."

C - 528Hz

System of Truth

reply to post by the_philth


Thanks for the reply. It has helped me palette the concept tremendously. I dabbled in electric guitar in my youth so I can somewhat grasp the premise (I think). I noticed that when I was playing a power chord if I threw my pinky in there on the octave of the root note it would give it a more complete(?) sound. I THINK that the idea here is that if one were to drop the 5th down a fret it would produce this eerie demon chord.

This is interesting! For some reason when thinking about this tritone stuff I kept thinking about the intro to Megadeth's Hangar 18, which is a sequence if triads. So I went and found a clip on youtube that covers the intro, not much there other than a cool riff. But I clicked this link on the suggested video list and sure enough Dave is talking about and demonstrating the tritone chord (skip to 3:04).

Originally posted by ThoughtForms
reply to post by fulllotusqigong

 

This is so nice to see man, good on you and thanks too. S+F
I have some information pertaining to your research I hope you will find helpful...

This chart shows how energy changes from one form to another as you increase its frequency so in theory you can play musical octaves of gamma ray's and different colours within light...

Now That's some amazing stuff. I'm a newbie AMORC member myself. I'm gonna see if I can access this info directly. Also..in my early lessons, we get into the nature of space and time, how "objective" it is..I guess you could also say relative..it's mentioned that we're making engines to traverse great areas of space, i.e. a mechanical solution to traveling through space, but, in the cosmic(unseen) world, space and time don't really exist. There is no time to cover a distance, because there is no "distance" to cover, as in travel over/through. Wondering why we're not dealing with vibration and harmonics instead of chemical thrust. wondering what an engine based on such a concept would look like..

reply to post by fulllotusqigong

cool examples but would have to disagree that microtones are only achievable through a fretless guitar. Bending techniques allow you to reach just about any note depending on the range of the fretboard.

reply to post by fulllotusqigong


Do you believe 5/4 is the cube root of 2? Also,

So the Perfect Fifth is 3:2 as C to G and the Perfect Fourth is G to C as 3:4 but this is noncommutative mathematics!

I can't see why you expect it to be commutative as presented. What similarity is there between Perfect Fifth and Perfect Fourth? In this example doesn't C ascend to G and then G to C an octave above the original C?

For Western symmetric logic C to G is 2:3 and G to C is 3:2.

If they're the same C and G wouldn't that be true?

Well a fascinating subject.

I just want to link this:

www.abovetopsecret.com...

Basically a thread detailing the notion that Western concert pitch has been manipulated.

Some incredibly good posts on there - it might tie up with the OP in this thread.

Music and Euclid's algorithm combined gives:
plus.maths.org...

Interval: tone - 2 semitones = comma is corresponding with ratio:
9:8 / (256:243)² = 531441:524288 (about 81:80) (Pythagorean comma)
The same ratio is on page 2 of document below.
www.totallyratted.com...

Now check the Pythagorean Comma
Comma means in Greek, incision (means to receive = Rx)
www.greatdreams.com...

137 is related to the harmonic numbers 262144 and 531441
137 is called the Feynman constant and is related to an electron to emit or absorb a photon.

The Eye of Horus works exactly the same.
The 'Rx' symbol which is used by pharmacies and in medicine has its origins in the Eye of Horus.
www.greatscott.com...
Rx = receive = (Pythagorean) comma = incision (Greek)

Although 432 Pythagoran music is very harmonic,
protect yourself from the Eye of Horus (Pythagorean comma)

www.abovetopsecret.com...
Click this link to go direct to that post for ease of accessing the quoted links.

reply to post by mr-lizard


Yeah that's all based on Western symmetric math -- I'm talking about noncommutative math as complementary opposites.

All the supposed harmonic exposes assume a symmetric mathematics that does not challenge the lie that started with Archtyas -- the original coverup of true Pythagorean complementary opposite harmonics as alchemy which is the same as yin-yang-Emptiness and the three gunas of India and the trance shamanism of the Bushmen and the indigenous cultures that spread out from the Bushmen worldwide.

So no repeating symmetric math does not deal with what I call the Rotten Root.

Originally posted by DenyObfuscation
reply to post by fulllotusqigong

 

Do you believe 5/4 is the cube root of 2? Also,

So the Perfect Fifth is 3:2 as C to G and the Perfect Fourth is G to C as 3:4 but this is noncommutative mathematics!

I can't see why you expect it to be commutative as presented. What similarity is there between Perfect Fifth and Perfect Fourth? In this example doesn't C ascend to G and then G to C an octave above the original C?

For Western symmetric logic C to G is 2:3 and G to C is 3:2.

If they're the same C and G wouldn't that be true?

The example is noncommutative because it's from F to C as 2:3x and then C to G as 3:2x but it's never stated what "x" is -- that's the "bait and switch" tactic. So then F to C is squared as 4:3x but since it's within the same octave it is actually 3:4 as G to C and C to G as 2:3.

Archytas had to use only 3:2 and 4:3 based on the double octave whereas the frequency harmonics use the octave as 1:2 and the perfect fifth as 2:3 and the perfect fourth as 3:4. This is the natural resonance harmonics instead of trying to extend a scale using logarithmics.

reply to post by LightsideAssassin


It would be terribly rude not to mention Cymatics in a reply to your great post

en.wikipedia.org...

Cymatics (from Greek: κῦμα "wave") is the study of visible sound and vibration

www.youtube.com...



Observable frequencies. Again Hexagons and such.

reply to post by LightsideAssassin


Again this is all Western symmetric harmonics -- it can be found on any New Age harmonics website and in no way challenges Western mathematics or anything else.

Sure it looks cool -- but sound is not based on vision - but the West defines sound by vision which is the original problem causing the symmetric math against natural complementary opposite harmonics.

Originally posted by fulllotusqigong
reply to post by LightsideAssassin

 

Again this is all Western symmetric harmonics -- it can be found on any New Age harmonics website and in no way challenges Western mathematics or anything else.

Sure it looks cool -- but sound is not based on vision - but the West defines sound by vision which is the original problem causing the symmetric math against natural complementary opposite harmonics.

Okay sorry to derail you slightly with my misunderstanding.