Harmonic Triangles at the basis of reality

Several friends forwarded me this yesterday, so I think it was an important one to watch:

Fascinating what Robert E Grant does in the end with the “not-you” part.  So completely right – and to show that mathematically!

1. Pick a number 
2. Divide by 2 – now you have duality
3. Now I accept who I am – (square it)
4. I excercise my talents and find my way back to the oneness of being, the Monad (+ 1)
5. Now I find the essence of that (square root)
6. And I re-integrate my villain (+ the half I removed in step 2 when I had divided into dualism)
7. And now, whether I’m on this side of the mirror or the other side, I have a consistent picture of myself (1/the number)

He does say some odd things early on, “the 3rd and the 6th becomes the 9th” – well, it’s not true; the 4th and the 6th make the 9th.  But that’s OK, we’re only human, as he says!​

His look into Euler’s formula for predicting foms, (v – e + f = 2: the number of corners minus the number of edges plus the number of faces = 2): This is using geometry to understand form. But I think we both agree that reality is generated harmonically, musically, vibrationally. So this formula is exploring the relationship between how the harmonic essence of a “chord of creation” manifests into different structures in different dimensions of vibration.

Robert’s thing with the 3-4-5 triangles and music is something I’ve also considered.  3-4-5 is how musical chords are created – the chords of creation:

• 4 is the double octave of the fundamental frequency of let’s say 1 Hz (1 x 2 x 2 = 4 Hz), which is a C
• 3 is the the third harmonic (1 x 3 = 3 Hz: the “perfect fifth” musical interval above the C, a G)
• and 5 is the 5th harmonic (1 x 5 = 5Hz : the “major third” musical interval above the C, an E)

Sounded together, C, G and E are a C-major chord.  The harmonics are all there in the one, in the C.  But when we take the most powerful harmonics and combine them, we create a harmonious chord which everyone on Earth knows and loves – because that’s what we’re made of.

​So, a 3-4-5 triangle is a way of describing the harmonic relationships of the vibrations which create form.  

Robert goes on to say that 3-4-5 is the specific “chord” and harmonic formula behind carbon, the most prolific element on Earth.

What this means is that something vibrating follows harmonic rules of energy amplification and propagation to create an interference pattern in the substrate of reality, the aether.  

We know about the 3-4-5 harmonics that make the major and minor chords of music and creation.

And when he’s using the right-angled triangle to “factor” a number, he’s essentially breaking a vibration down into the harmonics it’s made from. It’s like reverse-engineering the frequencies that make a chord, or a binaural. 

When he’s subtracting the lengths (or energies) of one side from the other, he is revealing the harmonic differences between them.  These are the interference patterns.  The binaurals, if you will.

It’s the action of these frequencies against the harmonic resonance of the backdrop of reality, the Aether, which causes the ripples we call reality.​

Cymatic Reality

And I reckon this is the truth behind cymatics: that it’s interference patterns created by two vibrations,  (i.e. multiple frequencies interplaying with each other) that is the mechanism that forms reality. The cymatics we have for the Earth Harmonic frequencies are interplaying with the vibrational frequency of water itself – and creating the interference patters we see.

The “music of the spheres” is the interplay between harmonics of a common vibrational root – and from this interplay emerges form and dimension.

Geometry is a mathematical a way to describe harmonic energy propagation and formation across a piece of paper or a 3D world.  But music – harmony – is what’s really going on, and the “triangles” is a way to describe harmonic building-blocks: chords of creation.  But the reality is a fractal interplay of harmonics of harmonics all derived from the one, all following whole number rules of harmonic energy propagation and amplification – and all traceable back to the one vibration that they all emanate from.​

Robert talks about the fractal complexity of unpacking a form into the “origami” of its original template, back out to its most complex expression.

This is no different than saying that in the fundamental frequency of a vibration are all the harmonics which fractally make up that “one”.  When we unpack these sub-elements of reality, such as in a super-collider, and see some even tinier expression of reality spinning off, we are, as Robert says, just seeing another harmonic layer, duplicating the same harmonic interplay we had at the “bigger” level, but scaled up or down by some harmonic mechanism.

It’s all in the One.  All the shapes of reality derive harmonically from the One.  

The questions then remain:

1. What is the One? What is that fundamental vibration?  
   
2. And are there limits to the rules of harmonic energy propagation which act on the One – harmonics on top of harmonics, creating reality.  Is it harmonics up to the highest known prime number?  Or does the complexity of the higher prime-number harmonics automatically limit how much they propagate their energy before being overcome by the more common, more mutually reinforcing prime-number harmonics which intersect and reinforce one another?

Fundamental vibration:

Locally, for us in this Life, one ever-present, harmonic One is the frequency of the Earth’s rotation.  All that we see and touch and smell is expressing a harmonic relationship back to this 24-hour fundamental frequency – in my view – as evidenced by the cymatic images of the Earth’s harmonics.

But, in the Universe in general, what is the One?  If space and time are the by-product of your point of reference (the planet you’re on, the Galaxy you’re in, or the electron that you’re flying about on, if you’re really tiny, or a lone electromagnetic vortex in space), then I suggest that the consistent factor may or may not be the spin rate, but instead: consistent ratios or phases of the complete rotation.

For example, the ancient Hebrew second called the Helek corresponds to the Earth rotating 1/72nd of a degree. It takes 3.333333 seconds for that to happen. 1/72nd of a degree of Earth’s rotation is a harmonic division of 360 degrees of Earth’s rotation – derived from a combination of 5th and 3rd harmonics on top of each other.

So, however fast or slow the “thing” that’s spinning is going, the universal law of 2nd, 3rd and 5th harmonics being the most self-reinforcing, progagating and powerful means that whether in electron-land, Jupiter, in a low orbit of the Sun, or in the center of a Galaxy, 1/72nd of a degree of rotation of that “thing” is going to be an electromagnetic resonance that will be powerful, meaningful and energetically important.

Divisions of spin, as on the Earth, are divisions of Time.

And Time is Music!

That’s one theory:  

• Time is a local variable caused by the spin of the electromagnetic vortex (e.g. Planet); but within that physical environment, the music of the Sphere sounds the same – stretched across a different Time-reference, but still according to the consistent formula of multiplying that essential Planetary-vibration by 5 and by 3 x 3 x 3 x 3, until the musical limit of reality kicks in

Limits of harmonic factors:

Could the limits be:  

• the number of times the same harmonics repeat (e.g. we do 7 x 3rd harmonics to give us 8 notes in the scale back to the octave of creation?)
• or is the limit the number of harmonic prime numbers that vibration wants to be divided into (e.g. the 2nd, 3rd, 5th, 7th, 11th harmonics.  But do we go to the 13th, or the 17th, etc?  Where do the prime-number, whole number harmonics of the One end?  Does the fabric of the universe curve back on itself – perhaps according to the Conical architecture Robert talks about, to put a limit on how many harmonics can be sustained?  

We know that the 2nd, 3rd and 5th harmonics are the strongest because they mathematically reinforce each other.  That’s why anyone cares about “times-tables” and “factors” because we’re seeing how, for example, 30 is divisible by 2, 3 and 5.  It’s a point of harmonic reinforcement in the way the wavelengths converge their peaks at specific common multiples.  

So, then 30 is itself harmonically multiplied by the 2, 3 and 5 and there’s some other “node” which is the nexus of these vibrations, e.g. 120.

7, 11, 13, 17: these are not numbers that show up often in these repeating nexuses of vibrational coming-together, because they just don’t coincide with these other strong multiples very often.  So, they peter out. Like leaves on the tree, their energy is too subtle to be the “trunk” of energy propagation – they are a local “flavour” of harmonics that don’t propagate further.  

​Robert takes the 3-4-5 triangle/chord idea to a whole other level with finding all right-angled “3, 4, 5” triangles (e.g. 5-12-13, 8-15-17, 7-24-25, 20-21-29, 9-40-41, etc. (following a pattern of having a hypotenuse exactly 1 unit longer than the longest length), and then he relates them to the Periodic Table of Elements – and shows a stacked reality based on the 2D template of each energy.
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Mathematically, I think this is very rich.  But in terms of the reality of things, I go back to the simple mechanics of a vibrating string, or energy-vortex:  we can imagine it vibrating in 3 or 4 or 5 or even 11 equal portions along its length. But 41 nodes, for example, seems unlikely. But perhaps in the aether, harmonic energy is more subtle.
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Whether the fabric of the universe keeps supporting higher and higher prime-number divisions of a wavelength as part of how energy propagates isn’t known, I think.  But if we combine some mysticism with our practicality, we consider some aspects: 

• The three harmonics I discovered (5.4 Hz, 7.2 Hz, 10.8 Hz) form a fractal relationship back to the 24-hour vibration of the Earth itself:  3rd harmonics on top of 3rd harmonics (3 x 3 x 3 x 3, etc.) – like “turtles on the backs of turtles”
• 5th harmonics bring us down the frequency of the Earth’s rotation itself, as well as up to A 432 Hz, and all the notes of Zarlino’s pythagorean scale in the 16th century. 
• The 7th harmonic is one I’ve neglected and need to add to my models and harmonic frequency generation. (As Robert and Amrit say, it’s the energies we neglect within ourselves which project the troubles of the world, so I’d better get into that stuff!)
• ​The Solfeggio are the 11th harmonics of the Earth’s main back-bone of 3rd harmonics.  And these are the ones we’ve found the most powerful in sessions
• And the 12th harmonic is really just completing the “octave” coming back to our first 3rd harmonic again (3 x 2 x 2 = 12) 
• The 13th harmonic does correspond with the Schumann resonance of 7.8 Hz (mathematically it was predicted by Schumann to be 7.83 Hz, but measurements show it varying, so it may well properly be the 13th harmonic of the Earth’s “backbone” harmonic of Eb 0.6 Hz (0.6 x 13 = 7.8 Hz).  So, does that mean the 13th harmonic is also a key factor in our layers of reality?

So, in reality, do we keep going beyond this?  To the 17th harmonic, the next prime number?  I believe Anirban Bandyopadhyay limits this at the 17th harmonic.  And what about the 19th, etc, just climbing through all prime numbers?  

Or is there a simple, essential limit to all this?  Robert says the limit is 12 – which I interpret to mean that we are bound by prime-number harmonics below 12: e.g. 1, 2, 3, 5, 7 and 11. That the fabric of reality just generates all forms and energies that exist in the universe from this short list of harmonic multipliers.

One counter to this would be the moon, roughly having 13 x 28 day cycles in a solar year. This would suggest that at least the 13th harmonic is part of the harmonic fabric which creates reality.
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Dimensions of Being:

Robert is also walking from what is called the “3-dimensional universe”, into other “dimensions”.

(By the way, we are in the habit of referring to our reality as “3D”. But, I’m not sure we can really call it “3D” when it’s driven by electromagnetism which by definition not only encapsulates motion, gravity, electricity magnetism and applies at all scales connecting the quantum to the galactic and defining space-time. All the harmonics of reality are created by that single energetic function. So, is it 1-D? Or a million-D? I tend to think it’s up to us, how many harmonic layers of reality we are willing to experience.)

Other dimensions: the idea that everything exists in multiple dimensions, as harmonic projections – when it expresses a further, deeper level of harmonic expression.  

The question is: 
what are the harmonics which project a vibrating energy entity into another dimension?

So, then we get into the “dimensions” – and Robert speaks of the 12th dimension being the limit. 

I would posit that each dimension could simply be the 5th or 10th harmonic of the original, pushing reality up and down by factors of 10: that every time we go up or down a “major 3rd” musical interval we are multiplying or dividing our harmonic frequencies by 5 (or 10), and basically just moving the decimal point of the frequencies one step to the left or right.  

Reality gets bigger or smaller, while maintaining the same primary harmonic relationships, at all scales, just by climbing a harmonic backbone of 5th harmonics.  No doubt until some limiting point, and perhaps the limit is 12 of these layers.

New Boundaries for the Aquarian Age:

I loved Robert’s point that we have been limited at 9 layers (9 planets, 9 electron shells) – but that 3 new planets will likely be soon discovered in the Kuyper belt, and perhaps new layers of energy will be discovered in the harmonic energy of the electron.  And that our milky way resonates iron, but may soon start resonating magnesium – so eat your broccoli! 

All the elements as harmonics:

So, right-angled triangles is a way of figuring out “chords” around each prime number.  But whether those chords go from the harmonics of 3-4-5, to 5-12-13, to 8-15-17, to 7-24-25, to 20-21-29, I don’t know.  

What it’s doing to Robert’s model is that it’s yielding musical frequencies for each of the elements in the periodic table which I don’t recognize from my work, but he could be operating on a whole other level, or he’s letting the mathematics lead astray from the simple vibrational nature of nature: 

• that harmonics are simple, whole-number divisions of the “one” vibration
• which create harmonics on top of harmonics like turtles on the back of turtles
• And which in association create “chords” that are the “layering of interference patterns” as he says, which cymatically create the slow-moving patterns of energetic compression that we mistake for “things” like electrons, atoms, molecules, crystals and chocolate!
  

Robert is saying that each polygon in Nature has a right-triangle that represents its fundamental dimensions of expression. That is – a musical chord being expressed by every polygon.  

Or, another way to say is: all forms are harmonics of electromagnetic energy creating multi-dimensional cymatics in the aether – each based on a “chord”.​

And he also mentions “the layering of interference patterns” – which is precisely what I’ve been writing in my user-guide for the SoundBeing app.  How the cymatics are:

• the natural vibrational frequency of water (the 13th harmonic of B-flat, spirit frequency, raised by the 10th harmonic quite a few times)
• ​being vibrated at other harmonics of reality’s template
• creating an interference pattern which shifts the energies into cymatic forms – animated systems which do “work”
• and that the whole universe is the forms created by these interacting harmonies

His work with each element of the periodic table of elements and their musical foundation is potentially huge – and builds on Walter Russell’s work.  I need to delve deeper into the musical frequencies he is proposing there.

This is a good video to watch.