Music and the fabric of time

Well, I just came across this article where the author goes back to the ancient Hebrew divisions of time and overlays musical frequencies in keeping with these time divisions and – LP and behold – comes up with the exact same frequencies for the complete musical scale that I did, based on the phenomena of the “resonant still points” which I demonstrate on my homepage.

https://ethnographicsblog.wordpress.com/2019/04/19/a-horological-and-mathematical-defense-of-philosophical-pitch/

The Hebrew measure of time was the “helek” which equates to 3.333333 (recurring) seconds. Gives you more time to think, I suppose.

This measure of time was devised by dividing each of the 360 degrees by which the Earth turns every day into 72 parts to give a total of 25,920 helakim (plural of helek) per day.

First off, my frequency (and his) for C is 259.2. (By the way, each time you multiply a frequency by 10 you’re getting the Major Third of the original – so 25,920 also suggests a frequency for G# (C-D-E, E-F#-G#).

As the author points out, 25,920 also equates to the number of years in the Great Year – the time it takes for the world’s axial “wobble” to precess through 360 degrees, going through the twelve Ages – one for each of the Astrological signs. And it takes 72 years for the equinox to precess by one degree.

Two hours is 25,920/12 = 2160 helakim, and 2,160 years is the length of an Age. And this suggests a microcosm/macrocosm thing where we enjoy a tiny Age, or change of astrological sign, every two hours of the day.

And every day is, in effect, a mini Great Year as our position on the planet passes through all 12 astrological signs.

The Earth rotates 1 degree on its axis every 4 minutes (72 helakim x 3.333 seconds = 240 seconds = 4 minutes.)  (3.333 recurring is a favourite number of the Free Masons but perhaps their big secret is simply the Helek.  By the way, this video beautifully presents much of this.)

Every day, we turn 360 degrees, 4 minutes per degree = 1,440 minutes which is a number the author equates to F# as 1,440 Hz, which is an octave of 360 Hz – which is also the frequency I’ve found for F#.

Dividing the hour into seconds suggests B at 60 Hz.

He makes the root frequency for his scale 108 Hz because 360 degrees divided by 3.3333 seconds per helek = 108. 360 represents the full daily and annual rotation of the planet on its axis and around the zodiac. Now, 108 Hz is a sub-octave of 216 and 432 Hz – so that’s the frequency for A. Same as mine. So he sort of encompasses a whole year into A as the root note.

He then derives the harmonic series from this A using the “5-Limit” harmonic approach (which is simply deriving 5ths (multiply the frequency by 3) and the major third (multiply by 5).

The author also considers beats per minute as a starting point – so that the rhythm of the music and the music itself are aligned with the fabric of time.

He works into this a division of time (in seconds or helakim) by whole numbers: 2, 3, 5, 7, 9.

So he divides the day into seconds (60 seconds times 60 minutes times 12 hours) = 86,400 seconds, (a number which relates to A=432 Hz). He also starts with a notion of C at one cycle per second where its octaves would be 2 Hz, 4, 8, 16, 32, 64, 128, 256 Hz, etc.

And with one helek = 3.333-seconds, a minute is 18 helakim – which relates to D at 9, 18, 36, 72, 144, 288 Hz

As he says, “Using 5 Limit Tuning with the root set to A (at 216) rather than C, the frequencies of notes C4 (256), G4 (384), E4 (320), D4 (288), and B4 (240) are reducible to, respectively: 1, 3, 5, 9, and 15“. Meaning that 1, 3, 5, 9 are sub-octaves of the given frequencies, e.g. 9 x 2 x 2 x 2 x 2 x 2 = 288 Hz = D.

If, as I believe, the phenomenon I can demonstrate on my tone generator is indeed the phenomenon of sound interacting with the fabric of the universe, then what more powerful evidence than to find that these frequencies all tie back to a natural way of measuring time – at least on our Earth. Do check it out: https://ethnographicsblog.wordpress.com/2019/04/19/a-horological-and-mathematical-defense-of-philosophical-pitch/

The Cygnus Key

So, I’ve been reading Andrew Collins’ fascinating book, the Cygnus Key – which gets into the common astro-alignment of Gobekli Tepe and the pyramids of Giza, and the acoustic qualities of both. The author talks about how the inner sanctuary as these “temples” (or shall we call them studios?!) was 20 cubits by 30 cubits.

The ancient measure of a cubit has been determined from the pyramid at Giza to be 21 inches.  So, a room that is 30 cubits long (using the Royal Cubit of 21 inches) is 52.5 ft.  And the frequency for a wavelength that is 52.5 ft long is 21.5 Hz (use this tool to calculate: http://www.1728.org/freqwavf.htm using an air temperature of 20 degrees centigrade) – and in my world of magical frequencies, an F is 21.6 Hz!!  That’s just 0.1 Hz off!  So, the inner sanctuary that the author mentions on page 262 would be actually tuned almost exactly to an octave of the magical F frequency of 10.8 Hz (10.8 Hz x 2) which I discovered as a “still node” of vibrational consonance and have documented on this web-site!

The other dimension of that inner sanctuary, at 20 cubits, at 21 inches per cubit is 35.0 feet.  And the frequency corresponding to a wavelength of 35.0 ft is 32.2 Hz.  And, the frequency for a C, as a harmonic 5th of my F frequency, is 32.4 Hz!  So, just 0.2 Hz off!
So, the inner sanctum of these ancient temples, using dimensions first identified in 9,600 BC were more than for creating a fifth/fourth resonance – it was designed to produce resonance specifically to the “magical” frequencies that I discovered for F and C.
That is an incredibly strong piece of corroborating evidence for both of our theories.
For the later sanctuaries, where the long dimension was extended to 90 cubits (page 277): at 21 inches per cubit is 157.5 feet.  And the frequency corresponding to a wavelength of 157.5 feet is 7.15 Hz.  And my frequency for the fundamental, magical tone of B-flat is 7.2 Hz !!  B-flat is the lowest note from which the fifth is F, and the fifth of F is C.
So, allowing for temperature, these rooms are designed specifically to generate B-flat, F and C – and not the modern, 440 Hz version of these notes, but the specific frequencies of these notes which I was able to discover of 7.2 Hz for B-flat, and 10.8 Hz for F, and their Octaves and harmonics, as I have documented on my web-site.
Clearly, the ancient Egyptians, and the ancient Anatolians before them, knew what these frequencies were and knew they were fundamental, sacred resonances at the foundation of creation!
Once again, this theory of sacred resonance has been re-inforced, this time by the ancient geometry of Gobekli Tepe and the ancient Egyptian temples that came after it!

A video of the sonic “still-points” phenomena that I discovered with a tone generator

Best listened to with headphones: The phenomena I discovered in which very low frequencies emit a waving, purring oscillation sound which comes to a halt at precisely 10.8 Hz, 7.2 Hz and 5.4 Hz. These frequencies correspond to a very low F, B-flat and low lower octave of F, respectively. And they are exactly a musical fifth interval apart (7.2 x 3/2 = 10.8).  

I interpret the cause of this phenomena to be a sonic “interference pattern” between the generated tone and some background vibration which is essential to reality but which we don’t hear. Interestingly, NASA has provided recordings of black holes emitting a very low B-flat note and I have found evidence of these frequencies from a range of ancient bells and flutes and other phenomena which I have documented at http://www.HarmonicsOfNature.com

Interestingly, the harmonic scale generated from these frequencies produces A = 432 Hz, thought by many to be the correct reference pitch instead of the current “standard” of A = 440 Hz. 

The implications to music are profound, indicating that music should rightfully be played in scales based on these frequencies for B-flat and F in order to align with the fabric of the universe. The healing potential for these frequencies and their harmonics needs to be further explored for health, happiness and spiritual alignment. 

Interestingly, 72, 54 and 108 are all ancient sacred numbers – which I didn’t realize when I first found this phenomena. 

Electrons in the key of F

This fellow plays the sound of a “nano-tube” at around 12:20 where with each electron added, the nano tube plays a note of the F minor scale.  https://youtu.be/wZzHnZzm_58

If it won’t open for you, search for:  Leo Kouwenhoven – “Spooky” physics. Tedx Delft

I’m just playing along with my guitar where my F is tuned to 345.6 Hz. You could try it on a guitar or a piano. 

Further evidence that F (and the note a fifth below it, B-flat) are fundamental frequencies in the universe which become apparent to us through oddities like this nano-tube and my own weird encounter with the tone generator on my iPhone. 

The architecture of our lives is defined by our music

Falling asleep vision/understanding: our music defines our “architecture”. It’s more than architecture being “frozen music”. It’s that our music actually reflects our mental state at the personal level and also at the cultural level. By re-accessing our music from stages of our life, we are able to access the reality of that time. It’s more than just treating Alzheimer’s – it’s recreating the energy which in turn had created that physical reality at that time. 
Our music is crystallized to form our vision of the world. Elevate the music and you elevate the architecture and the physical understanding. 
The music is transient and hard to recreate – lost prior to the Middle Ages it seems – but perhaps it can be reverse-engineered from their architecture – such as from the pyramids themselves – and so, we can understand how and why they did it. 
But really, our goal must be to go forward to elevate music to build on what we know and define a new architecture and understanding for the future.