News about B-flat creating waves “hovering above your head”

Here’s a podcast about Glenway Fripp’s discovery of standing waves that seem to miraculously form in certain places when a B-flat note is played, sung or, in this case – whistled:

And a snippet more about him from NPR:

Closer to home, a friend of mine was telling me a few years ago about an experience he had while jamming where a note that the band  was playing seemed to just hang above his head – floating there.  They all took it in turn to move into that part of the room while playing the note, and they all experienced it, seemingly dwelling above their heads – taking on a life of its own – like some sort of zero-point energy source.

My friend says he has a recording of that, too.  It will be interesting if he can dig it out.

New Guitar Tuning

Re-posting this to my blog – here’s my new baritone guitar tuning:
B-flat : tonic
E-flat : 4th
G : 6th
C : 2nd (minor mode starts here)
F : 5th (dorian blues starts here)
B-flat : octave
Low to high.
All the notes are harmonics of B-flat, which I consider to be the universal, foundational frequency.
This is a baritone guitar – so two inches longer than regular, and the bass string is like a 0.68″ or something ridiculous.
Meanwhile, on a non-baritone guitar – like my acoustic, I tune the same intervals, but starting here.  Thats:
Eb : 4th of B-flat (76.8 Hz)
Ab : 7th of B-flat (100.8 Hz)
C : 2nd of B-flat (129.6 Hz)
F : 5th of B-flat (yer blues, dorian) (172.8 Hz)
Bb : tonic (230.4 Hz)
Eb : 4th  if B-flat again (307.2 Hz)
And using a capo, these intervals move to other parts of the mode. e.g. the above tuning on a regular guitar, with the capo on the second fret makes your harmonic tuning be:
5th harmonic (F)
Tonic (Bb)
3rd harmonic (D )
6th harmonic (G)
2nd harmonic (C – minor mode)
5th harmonic – octave (F – for dorian mode)
So, having the open notes all being harmonics of the fundamental tonic of B-flat – you’re always ringing out something harmonic and beautiful, but, unlike my old open tuning, everything is essentially a 4th apart – except the interval from the 5th string to the 4th string – which is a major third. So, it’s easy to play, like regular “concert” tuning, but it’s all harmonically related.
That big 5th interval gap between the 6th string and 5th string in my old “open” tuning really became quite limiting – as well as the fact that everything was either the tonic, the 5th or the 3rd. So, great for knocking out power chords, but a bit limiting musically.
With this new tuning, I find jazzy 40s songs, Beatles, classical and interesting modal stuff just rings out.

Indian notes

Saw this on pg 203 of the World Is Sound (Nada Brahma) by Joachim-Ernst Berendt:

First note: SA – the soul
Second note: RI – the head (consciousness)
Third note: GA – arms
Fourth note: MA – chest (heart)
Fifth note: PA  – neck
Sixth note: DHA – hip
Seventh note: NI – feet

Interesting that under hypno, I had intuited that the first (B flat) is soul and the second (C) is consciousness.  Can’t say I was thinking about arms and legs for the rest of them – but interesting coincidence, which reinforces the notion of B-flat and C being the first two notes of nature’s scale.

I recommend the book too:

Anti clockwise

May I suggest that the very act of “clockwise” thinking and movement is the very thing that unravels our own personal, anti-clockwise vortex to the infinite and renders us twisted and abandoned on the roadside of cosmic consciousness. Run backwards round the track. Don’t look at the clock.