The principles of harmonics which are well-known to the musician are the very same principles which govern the laws of physics, though this is very little realized at present. All octaves of energy, whether within the range of human investigation or beyond it, are the same. Each octave varies from the next only in scale and the amount of energy required to sustain the oscillation.
I have developed the chart shown below in Figure 1 to help you appreciate this more deeply. In it you can examining a full range of 100 octaves beginning from 1 cycle per second all the way up through 1,267,650,600,228,229,401,496,703,205,376 Hz (or a million billion billion cycles per second).
I have not tuned my chart to Standard Pitch where A = 440Hz. I have instead used Scientific Pitch (also known as Philosophical Pitch) where Middle C = 256 Hz and where A = 426.|6| Hz. (Note that some add the closed cycle 6 to the open cycle portion and call this, erroneously, A = 432Hz). I have shifted down from Standard pitch because the mathematics underlying Scientific Pitch are perfectly aligned with Foundational Mathematics while Standard Pitch produces many irrational values suggesting a kind of dissonance or lack of alignment with the fractality of the Conscious Field itself.
Figure 1. - 100 Octaves of Light
In high octaves of light, far higher then Gamma Rays, light condenses into the 10 Octaves of Matter. For more about this topic, see my earlier writing:
http://www.alexpetty.com/2011/07/20/the-periodic-table-of-the-light/
Beyond the Octaves of Matter begin the Octaves of Lower Astral Light. This point in the energy scale marks the borderline between human spirituality and western science.
“As above, so below”.
As the vibrations of light oscillate to ever higher rates, light extends further and further into subtler levels of the conscious field, which is to say that it extends into ever higher vibrations of consciousness.
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In what follows, I will be working from 256 cycles per second as my root tone.
.:.
[...] 7 Major Tones of Light 7 Major Tones of Light – YouTube Analysis of 7 Major Tones of Light See: The Music of Matter | Energy Research for full details [...]
You should consider F as the root of the generating scale not C. Your frequencies are also incorrect because your generating them arithmetically not geometrically. F should be 1hz, C 3hz, G 9hz, A 5hz, E15hz, D27hz, B45hz these are generated from the primes 2,3 and 5. Refer to D.C Ramsays
Scientific Basis and Build of Music available from Dale Ponds SVP website for more light. Colours should also be different A Violet,B Ultraviolet, C Red, D Orange, E Yellow, F Green, G blue. Refer to Harmonies of Tones and Colours by F.J Hughes also available from SVP website. Incidentally I have nothing to do with SVP website I have however purchased these books and studied them so that is why I recommend them.
@Luke
I appreciate your comments but I respectfully disagree.
My work therefore apparently varies from the gentlemen you referenced (whose efforts I am unfamiliar with).
The assignment of letter names to the notes is arbitrary so we can put that aside for a moment. The main issue at hand is that consciousness builds up form and breaks it down through doubling and halving. 1 to 2, 2 to 4, 4 to 8, 8 to 16 so on (and its reverse). According to my work, there is a direct connection here between our observation of embryonic mitotic division (as a good fundamental example of the growth of form in the conscious field) and the manner in which octaves expand and contract into ever increasing or decreasing ranges of light. These are two expressions of the same foundational dynamic. All becomes clear when you understand the nature of matter to be wholly vibratory and particulate reality to be illusory (ie. when you pierce the veil of the unreality of integers). Also, according to my work, 2, 3 and 5 are not prime numbers at all, rather, they are what I have called structural numbers. 7 is the first true prime number. Before you dismiss this, please refer to my earlier writings:
http://www.alexpetty.com/2010/06/06/mapping-the-terrains-of-consciousness-with-foundational-mathematics/
http://www.alexpetty.com/2009/11/15/on-numeric-magnetism-and-the-fundamentals-of-primality/
1 cycle per unit time, which is also arbitrary to scales of time and amplitude, is the correct place to start when setting out to the determine the range of frequencies for a given scale. Even this is arbitrary however, though the units of the English measuring system and Western musical theory are already deeply tied to sacred geometry which is intrinsically connected to consciousness and the cosmic borders of the human experience.
Now as for the assignment of the notes (pitch names and colors names), the frequencies of sound and light will themselves tell you how to tare the scale. One can readily find my mapping of this to agree with the empirically derived values and convention.
-Alex
Alex
The problem with your table is that you begin your scale with the Tonic C as the root or unit whereas it should be the Subdominant F. When the root of the tonic is made the generating root of the ratios ascending notes will be produced foreign to the scale intended. As music as a system grows out of itself initial errors are therefore compounded. The other problem is that you generate the notes of the scale arithmetically and not geometrically from 2,3 and 5. The difference between the two series does not show until 7 is reached. This means notes will be produced higher or lower then they should be. For example you show F as 42.6hz whereas it should be B 45hz and you show A as 26.6hz whereas it should be D 27hz when F is made the root of the scale.
When you say the assignment of letters to notes is arbitrary I disagree. Because music is a system each note has its own character from different amounts of levity or gravity just like elements have their place within the periodic table. I do not understand what you mean by peircing the veil of the unreality of integers. In my understanding Pythagoras established the basis for western music harmony upon whole numbers and their ratios. Which is what’s beautiful about Ramsay’s system that all the notes in the Major scale are whole numbers. When you say that 2,3 and 5 are not prime numbers I also disagree because they cannot be factored by other numbers besides 1 which is the definition of a prime number. They may well be “foundational numbers” which is what they are in music but they are also primes. In using these numbers in music the power of 2 is only used in it first power to obtain the octave likewise 5 is used in its first power only whereas 3 is used as second and third power ie squared and cubed. For example F as 1 to first power gives C3 squared gives G9 cubed gives D27. F 1 times 5 gives A5 times 3 gives E15 x3 gives B45.
Mathematicians have done a disservice to music by the arithmetic generation of the scale because they do not understand the Laws that govern music. In particular the Law of Duality within music which is the Major and its inverse relation to the Minor scale. The minor scale is generated from geometric ratios descending as opposed to ascending in the Major. Curiously the Major vibrations are the Minor string lengths and vice versa, both values multiply together to the sum of 720 which is the octave of degrees within a circle. As you are comparing matter to music this duality within the musical system is born out in Walter Russells formula of locked potentials each element having different degrees of gravity and levity the same as musical notes depending on their position within the scale. Walter Russell also points out the Law of Duality operating within the periodic table where he shows the Majors Lithium, Sodium and Potassium with their relative minors of Fluorine,Clorine and Bromine in their union they cancel each other into their salts. Sodium Chloride etc. Where its within my understanding I shall try to point out error when I see it. In the end the ear should be the final judge of Music.
Fascinating work Alex. I am particularly interested in your refutation of A=432hz.. Could you perhaps elaborate on that a bit? In many ways A as 432hz makes sense to me but the work you’ve done here seems pretty undeniable.. Really looking forward to your insight on the matter.
best regards,
Ben
Just wanted to comment that I find your approach and your way of thinking of thought experiments rather intriguing, please keep it up
You may be interested to read up on the work of Dr. Hans Jenny in the field of Cymatics if you have not done so already.
@Gianmarco
I was first acquainted with Cymatics in 1987.
This field of research was for me at that time a very eye opening body of information!
It’s implications are profound and yet, somehow inexplicably overlooked by the majority of those involved in scientific investigation.
The Universe is a vibratory construct fashioned from Light and the apparent particulate nature of things is merely illusory; a way of seeing this vast sea of vibratory Light through the prism of the Human body equipped with its 5 human senses.
-Alex