10th April 2017

Music

 
Last Update completed April 10, 2017
April 10, 2017 : New page format, removed alot of previous ‘Measure’ content

There is no process of transmutation as such.
Transmutation implies changing one ‘thing’ into another ‘thing’.
This is not Nature’s way.
There is only ONE thing.
So, although I will continue to use the term ‘transmutation’,
I wish to define the term as “changing the state of one thing into another state of the same one thing”

Think of sodium as a particular condition, a particular motion of light. Gold is also a particular motion of light, as are all the expressions of elements.

It is an important goal to find a technique within WRC to explain
the physical differences between male and female bodies.
To express femaleness as the radiative half of the cycle make very little sense.

We are all familiar with the musical scale, d ra, mi, fa, so, la, ti, do. 8 notes, an octave.
Now, there is an interval between those notes which sounds and FEELS pleasant.
Note, the symbiotic relationship between the physical sound and the metaphysical feeling !

The tempered musical interval for the do, ra, mi, scale is as follows,
1(P1), 1.125(M2), 1.25(M3) , 1.333(P4), 1.5(P5), 1.6667(M6), 1.875(M7), & 2(P2)

 

For any given tone or fundamental (P1) the next tone in the sequence is P1 * 1.125, then P1 * 1.25 …
until we reach the octave tone of P1 * 2.

The full 13 note scale (Chromatic) intervals are as follows,
1(P1), 1.0594(m2), 1.1225(M2), 1.1892(m3), 1.1599 (M3), 1.3348(P4), 1.414(A4), 1.4983(P5),
1.5874(m6), 1.6817(M6), 1.7818(m7), 1.8877(M7) & 2(P2)

The full 13 note scale typical intervals are as follows,
1(P1), 1.06667(m2), 1.125(M2), 1.2(m3), 1.25(M3), 1.3333(P4), 1.4285(A4), 1.5(P5), 1.6(m6),
1.66667(M6), 1.77778(m7), 1.875(M7) & 2(P2)

The full 13 note scale typical intervals expressed as fractions are as follows,
1(P1), 16/15(m2), 9/8(M2), 6/5(m3), 5/4(M3), 4/3(P4), 10/7(A4), 3/2(P5), 8/5(m6),
5/3(M6), 16/9(m7), 15/8(M7) & 2(P2)

Chords, or a group of notes are made up as follows,

Major chord : 1,3, & 5 note in that keys scale (135), happy mood
Minor chord : 1, the flat 3rd, & 5 note of the scale, sad mood
Augmented chord : 1, 3 & sharp 5th note of the scale
7th chord : 1,3 & the flat 7th note of the scale.

The 12/13 notes of the full scale in C are
1C, 2C#, 3D, 4D#, 5E, 6F, 7F#, 8G, 9G#,10A, 11Bb, 12B, 13C
The 8 notes of the octave scale for C are
1C, 3D, 5E, 6F, 8G, 10A, 12B, 13C

Musical Relationships
Root Whole Whole Half Whole Whole Whole Whole
M2 M3 P4 m6 m7 M7 Octave
A B C# D E F# G# A
B C# D# E F# G# Bb B
C D E F G A B C
D E F# G A B C# D
E F# G# A B C# D# D
F G A Bb C D E F
G A B C D E F# G

The note E is its own keynote but when part of the B keynote octave the E note becomes a Perfect 4th. Every note has every possibility/related interval to every other note within itself.
This is a very important concept as it clearly indicates that every point contains the whole, and therefore can be manipulated to expose or reveal the whole.

Over-unity is achievable.
Over-unity does not imply something for nothing, it means more efficient than man’s present understanding.
Over-unity is not achievable using the current scientific mindset.
Over-unity is harmony with Nature.
Over-unity is achievable when the metaphysical is channeled into the physical.

The following discussion will combine the lever, the sea-saw and the pendulum model into one cohesive overview of WRC.

Fig : 1

Fig : 1a

Fig : 1 indicates the balanced motion of the inert gas condition. Because of this degree of balance the condition appears undivided and thus manifest as the first perceivable matter within our physical universe.
The motion is thus very close to Stillness itself.
As mentioned during our discussion on the Wave page, this undivided condition will be divided as a result of the shifting of the central fulcrum (F) towards one end, in this case (A).
During each generative half of the cycle, 4 (f1 -f4) efforts are made to shift the fulcrum (F) from the inert gas position to the lever extremity @ (A). If the original Mind Idea was defined as 100 units of potential with 100 units of length, then the inert gas as shown in fig : 1 represents a condition an octave above the spiritual universe.
We can say that fig : 1 is a representation of the note Helium !

Fig : 1b

The musical (sex paired treble/bass) notes are created as follows.
The inert gas condition is defined as the state of motion when La = Lb. The motion is thus balanced, and a SINGLE note is generated, each side of the fulcrum thus producing the same identical musical note/tone.
The +1 generative condition is now defined as the state of motion when the fulcrum (F) moves to f1 so that La < Lb.
This is a GROWTH condition for both sides of the divide. One side growing in treble tones while the opposite side is growing its bass tones.
An asymmetrical balanced condition is created. Two notes are now generated to indicate that division. The shorter La lever will thus produce a higher frequency AND higher pitch note relative to the La = Lb starting condition, while the longer Lb lever will simultaneously produce a lower frequency bass note of longer wavelength.

The +2 generative condition is defined as the state of motion when F moves to f2 and La << Lb. The imbalance is extenuated. The treble note (La) gains pitch and frequency, while the bass note (Lb) loses pitch and increases its wavelength. One can think of the lever length as the the wave length for the particular note. Shortening the wave length increases the frequency.

The +3 generative condition is defined as the state of motion when F moves to f3 and La <<< Lb. The imbalance is further increased. The treble note (La) gains once again in pitch and frequency, while the bass note (Lb) continues to lose pitch and increase its wavelength.

Fig : 2

The +4 generative condition is defined as the state of motion when F moves to f4 and La <<<< Lb. Maximum imbalance is achieved. The treble note (La) has reached the shortest wavelength and the highest pitch AND the bass note (Lb) has achieved the lowest pitch and the longest wavelength.
The area under the treble peak must continue to accommodate 50 units of potential and because the area is so small the manifestation of energy appears very high.
Likewise, the long wavelength bass note also accommodates 50 units of potential. But, because this potential is distributed over such a large area the energy appears very low.
In terms of thermodynamics, the low frequency bass note is necessary to FREEZE the hot center treble note in place.
This implies that any physical body male OR female must be composed of a hot positive core surrounded by a colder negative region.
Male AND female physical bodies manifest as a result of their own GENERATIVE cycle. They each decay by their own radiative cycle. I will attempt to clarify later in this content why WRC is so confusing on this one issue.

Notes to the left are lower tone bass notes relative to the hight tone notes to the right. If the central note C represents the inert gas starting condition then the +1 condition could now be defined as compression/generation from C -> D (treble)  AND radiative expansion from B <- C (bass), both of which are part of the growth cycle. The B <- C is a growth in reverse !
One again in terms of thermodynamics, one cannot have a condition of heat without its corresponding colder condition to hold it in place.
Current music is tuned to a fundamental frequency of 440hz, which is the frequency of the note A above middle C on a piano. This choice is not as harmonious as it once was.
Imagine, that the universe is broadcasting a signal at a particular frequency (which is not 440hz) but your radio is only tuned to 440hz ! You radio will remain silent and be completely unaware of the ‘ wave life’ surrounding it.
Imagine also, you could build a device that was now tuned to a universal sacred frequency.
That device might just hop off the bench as it locks in to a sympathetic Cosmic vibrational pattern.
Division creates two opposite but balanced conditions.
If the note F# is defined as the central inert gas fulcrum condition of an octave, then the locked potential positions (sexed mates) would develop as follows.

Fig : 3

Fig : 3a

Fig : 3b

Fig : 3c

Fig : 3d

The oscillating motion indicated in a typical +4 condition (C° to C’) is analogous to the oscillating pendulum model. A Thinking Mind appears to oscillate in Concentrative Thought within the dividing plane. This motion is then transferred out into the wave field as a sensed oscillating wave pattern.

The G note of Fig : 3a represents the compressive heating half cycle which is accompanied by a simultaneous cooling expansive half cycle expressed by the bass tone F.

Fig : 4

The reason carbon is a bi-sexual element is because there are two ways to arrive at the carbon condition.
Route 1 (assigned male ) ascends from C° through E, G, B to C’ while,
Route 2 (assigned female) ascends from C° through D, F, A to C’.
Both are ASCENDING, GENERATIVE, GROWING routes just as male/female (0 – 40 years) bodies grow.

Route 1 male expressions unwind via C’, A, F, D back to C°. This looks like the female cycle but in reverse. I believe this confused if not WR then certainly those who edited his manuscripts.
Likewise, route 2 female expression unwind from C’ back to C° via B, G, & E. This looks like the male cycle in reverse which I believe confused either WR himself or his editors.
When the scale is ascending from C°, E, G, B, to C’ physical maleness is expressed but when that same scale is DESCENDING then a switch occurs and this unwind scale represents the female radiative cycle.

In other words, if the note D represents a physical body, we know from Fig : 2 that that body is surrounded by its negative self a B note. Let the D note = the +1 element Lithium for instance !

Fig : 2a

So, what might its sex mate look and sound like ?
It must be The physical note B which is surrounded by its negative self the note D. This is how and why Lithium and Fluorine have an affinity for one another. Sex mates find balance because the positive core of one expression finds balance with the SAME expanded version surrounding its mate.

This sexed coupling is indicated in Fig : 2a.

 

Fig : 5

There is though, a very important lesson to learn here and it concerns how we interpret wave motion. The expansive, radiative cycle can only come into being after potential has accumulated. If heat (through centripetal compression) has not occurred then radiation cannot manifest.
This is why WR teaches that our sensing is only tuned to the radiative half of the cycle. If we examine a swinging pendulum to indicate the process of Mind Thinking, then then physical universe only appears to our sensing as the Thinking Process transitions from the higher octave C’ to the central fulcrum F, OR from the lower octave C* to the central fulcrum F.
Fig : 5 indicates the line trace for an oscillating pendulum, a Thinking Mind. The oscillating frequency contains every possibility.
The transition from F to C’ and from F to C* in the opposite direction is not sensed within the physical universe.

Fig : 22

Fig : 22a

Fig : 22 represents the generative followed by (sequential) the radiative cycle for physical maleness. The trend above and below the horizontal wave axis is the same.

Fig : 22a represents how two ascending wave can unite to complete a simultaneous waveform. Notice, how both route 1/2 are present and each one is ascending to maturity as all male/female adults do !
The octave note C’ contains within it all the notes of the octave.
The C’ octave condition of carbon contains therefore all the elements of the octave, just as the inert gas helium does !

Fig : 23a

Fig : 23

Once the octave condition has fully matured, then the radiative half of the cycle can commence.
Fig : 23 indicates this unwinding sequence.

Notice, how the ASCENDING scale for one half cycle becomes the DESCENDING scale for the radiative cycle !

 

Another way to express the above sequencing is indicated in fig : 24

Fig : 24

Fig : 24a

Fig : 24 alone will open the door to a sizeable portion of Walter Russell’s Cosmology. It indicates both the simultaneous and the sequential aspects of EVERY wave cycle.



WR teaches that sexed mates are inside-out and reversed opposites of each other, as indicated in fig : 24.

Fig : 24a highlights how two mature generative streams are necessary for union, and how they each reverse/inside-out to unwind back to the ground state of the inert gas.

Tip 2
Think of any wave form as a stairwell facilitating two-way motion. One side is ascending while the reverse side is simultaneously descending. During the generative growth cycle the ascending sequence is dominant. During the radiative half of the cycle, the ascending cycle is present, but the descending sequence is dominant. Don’t think of maleness as ascending with femaleness as descending this is not correct, though WR is not always clear in his explanation of the distinction between male/female physical bodies.
Remember, dominant descending is NOT the same as positive ascending. What I mean here is that the male descending unwinding scale a, f, d is NOT the same as the generative, ascending female cycle D, F and A !!!

Fig : 25

Fig : 25a

Read figs 25/25a as follows,
C, D, E, F, G A, B, C°, D, E, F, G, A, B, C’
Bass notes – Inert Gas – Treble notes

Fig : 25
Defined as Male physical body Ascending from C° to C’ via E, G, B

Fig : 25a Defined as Female physical body Ascending from C° to C’ via D, F, A
When division of the inert gas occurs, the male generative cycle is paired as follows,

+1 = treble D note + bass B note
+2 = treble F note + bass G note
+3 = treble A note + bass E note
+4 = treble C’ note + bass C note

the female generative cycle is paired as follows,
+1 = treble E note + bass A note
+2 = treble G note + bass F note
+3 = treble B note + bass D note
+4 = treble C’ note + bass C note

The direction of N or S is not associated with any particular note, rather the direction of N is DEFINED by the sequence of the notes.
Ascending notes point to North, the opposite direction is always south.
Descending notes point in the direction of south, and the opposite direction is always north. Notice how the ascending sequences E, G, and B imply the note B is the direction of north, but also the ascending sequence D, F, A implies the note A is the direction of north.
This is why WR is at pains to point out that division creates two positive anode conditions, one male (B) and one female (A).
See fig : 24.
So if fig : 25 was cut across the G middle note, the ascending/descending sequence is unaffected, and we continue to perceive N/S poles for each half.
The direction of north is always generative, ascending and centripetal, while the direction of south is always radiating, descending and centrifugal.

Fig : 26 will be further developed to reveal how spheres are formed.

Fig : 27 The unwinding cycle is shown in lower-case.

To finish this section we can now say the following about male/female physical bodies.

 

 

 

 

Fig : 28

Fig : 29

Fig : 30

Fig : 31

Fig : 30 radiation shown in lower-case blue always to the outside – to freeze red in place

Fig : 31 radiation shown in lower-case blue always to the outside – to freeze red in place Notice also the INSIDE-OUT relationship

Figs : 26/28/29/30/31 are all saying the same thing, although the radiative is expressed with a different orientation. WR is not always clear about this in his own drawings.

Tip 3
Imagine a 10 minute piece of music. The piece played at the correct tempo has rhythm, timbre, soul that induce an emotional response. Let’s define this standard 10 min. piece of music as 1 unit of light.
The notes comprising this piece of music appear out of silence and disappear into that same silence in a cyclic rhythmic fashion.
Now, let’s compress this piece of music from 10 minutes down to 1 second and allow it to play ! This unit of light has been compressed into the x-ray/gamma ray range. Exactly the same information is present which is delivered in 1 second rather than 10 minutes !
Imagine now, the emotional response this 1 second burst would produce !
Likewise, if that piece of music we extended from 10 minutes to 1 year ! Imagine that sound and consequent musical response !
Although all the information is present, albeit as very long wavelengths, all mood, tone, feel and soul would be lost to the normal ear !
Does this simple analogy not describe ALL OF CREATION ?

When the music is delivered in 1 second we experience x-rays, when delivered in 10 minutes we experience visible, audible information, and when delivered in 1 year we experience ELF. Space is not empty, nor is it a vacuum.