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.

Ideas on an Aesthetics of Tonality

Here are highlights from Christian Schubart‘s Ideen zu einer Aesthetik der Tonkunst (1806) – describing the emotional qualities of different musical keys.

I had seen this before, and it seemed a bit random until I grouped the entries according to the mixolydian harmonic notes which they contain (instead of just listing them with the major and minor flavors of each key next to each other).  By doing this, we can contrast the passive, negative outlook for the Minor key against the robust, active expression of the same emotion in the Major key.

I also listed these major/minor groupings in order of musical fifths, starting with the keys related to our “magic” key of B-flat mixolydian, then its fifth – F, then its fifth – C, etc.  It’s interesting that Schubart’s findings closely match my own hypnotized synesthesia – with the emotional flavor of the keys getting steadily darker and less pleasant the more harmonically distant from B-flat they become – with the very last key in the cycle (A-flat major) actually described as “the key of the grave”!

Here we go:

Keys based on B-flat mixolydian mode:

  • Eb Major (Bb myx – F dor) – the key of love, of devotion, of intimate conversation with God.
  • C Minor (Bb myx – F dor) – declaration of love and at the same time the lament of unhappy love. All languishing, longing, sighing of the love-sick soul lies in this key

Keys based on F mixolydian mode:

  • Bb Major (F myx – C dor) – Cheerful love, clear conscience, hope aspiration for a better world
  • G Minor (F myx – C dor) – discontent, uneasiness, worry about a failed scheme; bad-tempered gnashing of teeth; in a word: resentment and dislike

Keys based on C mixolydian mode:

  • F Major (C myx – G dor) – Complaisance & Calm
  • D Minor (C myx – G dor) – Melancholy womanliness, the spleen and humours brood

Keys based on G mixolydian mode:

  • C Major (G myx – D dor) – Completely Pure. Its character is: innocence, simplicity, naïvety, children’s talk
  • A minor (G myx – D dor) – Pious womanliness and tenderness of character

Keys based on D mixolydian mode:

  • G Major (D myx – A dor) – Everything rustic, idyllic and lyrical, every calm and satisfied passion, every tender gratitude for true friendship and faithful love,–in a word every gentle and peaceful emotion of the heart is correctly expressed by this key
  • E minor (D myx – A dor) – Naïve, womanly innocent declaration of love, lament without grumbling; sighs accompanied by few tears; this key speaks of the imminent hope of resolving in the pure happiness of C major

Keys based on A mixolydian mode:

  • D Major (A myx – E dor) – The key of triumph, of Hallelujahs, of war-cries, of victory-rejoicing. Thus, the inviting symphonies, the marches, holiday songs and heaven-rejoicing choruses are set in this key
  • B Minor (A myx – E dor) – This is as it were the key of patience, of calm awaiting ones’s fate and of submission to divine dispensation

MY “BAD KEYS”:

Keys based on E mixolydian mode:

  • A-Major (E myx – B dor) – This key includes declarations of innocent love, satisfaction with one’s state of affairs; hope of seeing one’s beloved again when parting; youthful cheerfulness and trust in God.
  • F# Minor (E myx – B dor) – A gloomy key: it tugs at passion as a dog biting a dress. Resentment and discontent are its language

Keys based on B mixolydian mode:

  • E Major (B myx – F# dor) – Noisy shouts of joy, laughing pleasure and not yet complete, full delight lies in E Major
  • C# Minor (B myx – F# dor) – Penitential lamentation, intimate conversation with God, the friend and help-meet of life; sighs of disappointed friendship and love lie in its radius

Keys based on F# mixolydian mode:

  • B Major (F# myx – C# dor) – Strongly coloured, announcing wild passions, composed from the most glaring colours. Anger, rage, jealousy, fury, despair and every burden of the heart lies in its sphere
  • Ab Minor (F# myx – C# dor) – Grumbler, heart squeezed until it suffocates; wailing lament, difficult struggle; in a word, the color of this key is everything struggling with difficulty

Keys based on C# mixolydian mode:

  • F# Major (C# myx – G# dor) – Triumph over difficulty, free sigh of relief uttered when hurdles are surmounted; echo of a soul which has fiercely struggled and finally conquered lies in all uses of this key
  • D# Minor (C# myx – G# dor) – Feelings of the anxiety of the soul’s deepest distress, of brooding despair, of blackest depresssion, of the most gloomy condition of the soul. Every fear, every hesitation of the shuddering heart, breathes out of horrible D# minor. If ghosts could speak, their speech would approximate this key

Keys based on G# mixolydian mode:

  • Db Major (G# myx – D# dor) – A leering key, degenerating into grief and rapture. It cannot laugh, but it can smile; it cannot howl, but it can at least grimace its crying.–Consequently only unusual characters and feelings can be brought out in this key
  • Bb minor (G# myx – D# dor) – A quaint creature, often dressed in the garment of night. It is somewhat surly and very seldom takes on a pleasant countenance. Mocking God and the world; discontented with itself and with everything; preparation for suicide sounds in this key

Keys based on Eb mixolydian mode:

  • Ab Major (Eb myx – Bb dor) – Key of the grave. Death, grave, putrefaction, judgment, eternity lie in its radius.
  • F Minor (Eb myx – Bb dor) – Deep depression, funereal lament, groans of misery and longing for the grave.

Translated by Rita Steblin in A History of Key Characteristics in the 18th and Early 19th Centuries. UMI Research Press (1983). Plagiarised from various
(acknowledged) sources by Paul Guy

Of particular note, in relation to my own synesthesia:

  • B-flat mixolydian: I say “soul”/God – he says, “conversation with God”
  • F mixolydian: I say heart/body – he says, “aspiration for a better world
  • C-major: I say pure consciousness – he says, “children’s talk
  • G-major: I have always thought of as a key which embodies trees and nature, and he says “rustic”

We do disagree about E-major – but in his day, things were sometimes tuned down a little (A=515 Hz), so his E may be closer to my E-flat.  Also, he describes B-minor as “patient”.

But Schubart’s description of B major matches my personal experience with band break-ups catalyzed by songs played in the key of B – “Anger, rage, jealousy, fury, despair and every burden of the heart”.  That seems to sum up what I’ve seen when we’ve played songs in that key!

It has been suggested that Schubart’s attribution of emotion to certain keys was due to the slight variances in the intervals between the notes in the temperaments used in his day.  The confluence of his findings with mine – based on harmonic, just intonation – and not a “temperament” at all, to me, reinforces the notion that the vibrations themselves carry a certain emotional weight, based on their harmonic association with our magic vibrations of 7.2 Hz for B-flat, and 5.4 Hz for F.

These emotional annotations give us a palette of colour and emotion for pure musical expression according to the vibrations of nature.  Although, I’ll stick with my own!

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:  http://atlantic.org/sonic-ids/b-flat

And a snippet more about him from NPR:  http://www.npr.org/templates/text/s.php?sId=7442915&m=1

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.