Music

This page was last updated on January 26, 2016.

This page is dedicated to Chris Mayville

This page will attempt to apply the qualities of musical theory (tonal character, intervals) to the different states of motion or locked potentials of matter. The content will examine the octave relationship of anodes to cathodes and whether the progression through those octaves are ascending or descending. My approach to this content appears to be in constant flux, though the basic narrative remains unchanged.

(fig : 1)

(fig : 1a)

Fig : 1 indicates how a single Idea of Mind is unfolded as a 2D negative and a 3D moving image in then produced from that 2D negative.

In order to induce motion the wave forms (50) extend like levers in opposite direction from the central fulcrum. The fulcrum remains still.

This division occurs within a single wavefield. The purpose of union between adjacent wavefields is to recombine the wave form and in so doing reestablish the original (100) unit length. Division implies creation of an octave condition, dividing as it does the 100 unit length into two equal lengths (50).

Fig : 1a shows how the wave intervals which are marked out in plane are transferred to motion. There appears to be symmetrical distribution each side of the fulcrum, although the nodes appear unequally spaced on each side of the fulcrum.

A standing wave is produced when a string is allowed to vibrate between two nodes. This is termed the fundamental frequency.

(fig : 2)

From a WRC perspective we can assign the following properties to the standing wave condition represented by fig : 2.

fig : 2 implies interaction BETWEEN wavefields
the metaphysical Idea of the musical note/tone was divided into two nodes (when applied to a single wavefield)
the nodes represent fixed, unmoving points of Stillness
motion exists inside the area of the vibrating string
each node though fixed, acts as a transmitter and received of the disturbance
a standing wave is produced when the projections/reflections are in phase
the vibrations above/below the horizontal plane are symmetrical
when the nodes are at their maximum distance apart, the standing wave indicates the inert gas condition
for the inert gas, the displacement, or disturbance above/below the horizontal wave axis is minimal, see fig : 3

(fig : 3)

Because the disturbance is so slight, the inert gas properties and characteristics remain closely aligned with Stillness itself. If we assign a value of 100 light units to this inert gas condition, then these unit will be spread out over a very large area, this results in a condition of low temperature, long wavelength, and low density all characteristic of the inert gases.

Just to be clear, these two nodes of fig : 3 are the centers of adjacent wavefields, they are not in the same wavefield.

and

(fig : 4)

Fig : 4 highlights that as the E/W poles compress, the N/S extend, expressing this condition with more electrical activity and increased physical properties. The pitch or tone has now increased as the available string length between the purple nodes has decreased. The 100

units of potential are now forced into a smaller space and as a result they react to increase their density, heat and shorten their wavelengths.

Now if we continue to develop this model by adopting the intervals marked out in fig : 1a we can complete the union of two half wavelengths of 50, to reestablish the overall 100 length albeit shared between two wavefields, thus lowering the expression by an octave. Doubling the string length, reduces the pitch.

We know that any circle can be described in terms of degrees, minutes or seconds of arc. 360°, 21600 " or 1,296,000 ' of arc.

I will define a musical octave as a 360° turning from the lower note C° to the octave note C'.

The musical intervals can now be defined as follows.

Note	Interval	Interval (2)	Degree	Minutes	Seconds
C°		1	0	0	0
D	Whole	1.125	45	2700	162,000
E	Whole	1.25	90	5400	324,000
F	Half	1.3333333	120	7200	432,000
G	Whole	1.5	180	10800	648,000
A	Whole	1.666667	240	14400	864,000
B	Whole	1.875	315	18900	1,134,000
C'	Half	2	360	21600	1,296,000

The concept of a universal unit of linear measure may not be very well founded simply because a nautical mile on Earth is a different measure/dimension to a nautical mile on the moon, although the definition of a nautical mile being equal to 1 minute of arc remains universally valid.

If this is true then sacred number should be evident in spherical geometry. For example, the speed of light has been defined as

186,624 linear miles/sec. This reduces to 162,000 Earth nautical miles/sec.

The slope angle of the Great Pyramid at Giza is 51.84 degrees which reduces to 51°50"24', and expressed in seconds = 186624 seconds !

51.84 is related to the precession of the equinox (25920 years), the slope angle at Giza and the speed of light.

In short, comparison of dimension between the Earth and any other solar/galactic body should be carried out in seconds of arc rather than an Earth bound definition of liner/nautical measure.

(fig : 14)

The idea of arranging the notes as a circle of 5ths is important because after a primary note is struck, it will immediately ring its own octave, but the next harmonic to sound is the 5th note of the scale. This may be denoted as a 1, 5, 2 triad.

The note sitting next to C in the chromatic scale is of course C#, but the 5th note of C is the note G. Another reason why arranging the notes in circle of 5th (red ) is because they form a continuous loop. The 5th note of F is C and the cycle continues to loop indefinitely.

Notice the relationships of the notes of fig : 13 and that of fig : 14. The paired notes of fig : 13 appears at diagonal opposites in fig : 14.

But, there are some other interesting geometric synchronicities hiding in fig : 14.

There commonality of notes manifesting every 60° as indicated in fig : 15.

(fig : 15)

(fig : 16)

(image taken from http://dharma-documentaries.net/

light-darkness-and-colours-goethes-theory-of-colours)

An obvious connection to the Newton/Goethe colour wheel becomes apparent. Bb, F#, & D opposed by G#, C, & E.

Notice also, the inside out symmetry between G/C# and C#G at 30°/210°, A/D# at 90°/270°, or B/F at 150°/330°. If the opposed notes of

fig : 15 turned inside-out and outside- in it would appear as a stable unchanging structure.

Now, WRC clearly advocates the inside-out, outside-in relationship between positive and negative expressions. Like a windsock blowing inside out. If that sock was red on the outside and blue on the inside, the inverse would be blue to the outside and red on the inside.

(fig : 17)

Does fig : 17 not indicate the 'mirroring' internal planes of symmetry as proposed by WR and propagated by the cubic wave field. In other words, if fig : 17 was dynamically oscillating inside-out and outside-in it would appear as a very stable structure.