New Musical Theory Model Based on the Dodecahedron. We know about the circle of fifths. A quick review: In music theory, the circle of fifths (or circle of fourths) is the relationship among the 12 tones of the chromatic scale. It shows their corresponding key signatures. Also found arethe associated major and minor keys. Musical tones use 7 letters of the alphabet. They are A-B-C-D-E-F-G. These letters repeat over and over to encompass the full key signature span.
Mirrored Pyramid Makes an Octahedron. Look at a square based pyramid. An upside down pyramid can form an octahedron with it. See picture below. Now do this with the Great Pyramid of Egypt. The featured picture shows such a blueprint. See the featured picture. It is an excerpt from page 16 of my Staff of God, Volume II.
First, what is the Great Pyramid of Egypt? The Great Pyramid of Giza (also known as the Pyramid of Khufu or the Pyramid of Cheops) is the oldest and largest of the three pyramids. They are in the Giza pyramid complex bordering what is now El Giza, Egypt. It is the oldest of the Seven Wonders of the Ancient World. Also, it the only ancient wonder that remains largely intact. Feel free to read these two internal links. As will can see, I have written on subjects for quite a number of links.
|The Great Pyramid of Giza|
Now for the my most recent blog.
Mirrored Pyramid Reveals Intended Mathematical Wonders
The basis of a lost Golden Age was the 3 x 3 number square. It has countless hidden number codes. They were once understood and activated. An example of its use is in the featured picture.
- The radius height is 275 shorter Egyptian cubits. That radius has a circumference of 1728 cubits. Note the 3 x 3 number square gnomon. As pictured, 8 x 3 x 4 x 9 x 2 = 1728.
- The core number of the 3 x 3 number square is 5. The 5 cubit tip is missing from the tip. This blog shows its number square source.
- Circle’s diameter of 550 cubits is also numbered by the 3 x 3 number square. DSOworks.com gives ample instructions for discovering lost number codes. 55 is the average of any two opposite numbers as 49 + 61 = 110. They average 55. Similarly, you can find 110 in 16 different ways on this square. Zero as in 550, was not a recognized as an actual number. On the 3 x 3 number square it is a composite. It is the sum of any two sets of opposite numbers.
Ticking Antiquity Though the Prime Number Square. The inner workings behind this number square are responsible for ticking antiquity. Actually, it makes the entire cosmos tick. Though it seems simple, it is infinitely complex. I mean that literally. I now have over 430 blogs on DSOworks.com. Part of these are about music. Many are about ancient number squares. Number squares once bundled a Golden Age of Peace and Plenty. I’ve included a couple of internal links. Looking at these links first might give you a background.
Next, I will post an excerpt from my book, The Staff of God Volume II. It is from page 29. I believe most of the knowledge I gleamed was by Oquaga Lake. My duties there included playing piano for the Scott family shows and other revues. . I was their pianist for some 15 years. It is perched high in the Catskills. A matriarchal American Indian tribe once lived there. A female spirit from the Lennie Lenape was my instructor. As my book of poetry called The Oquaga Spirit Speaks describes her as such: “So much she needed an ear, she ignored my tranquility.”
Ticking Antiquity on Oquaga Lake
Number squares pair opposite numbers in the same system. Two opposite numbers achieve a state of balance through their addition. In the featured picture opposite numbers always total 10. However, doubling or tripling the numbers and totally them was ancient practice. Again, read the internal links. 1 + 9 = 10. Then 11 + 99 = 110. Then 111 + 999 = 1110. These totals straight number reads on the number square. An example being: 492 + 618 = 1110. Or 951 + 159 = 1110. With double numbers, 95 + 15 =110. However, if you read the numbers in curves, they go to infinity.
Musical Tradition Embraces Architectural Style. Obviously, Elvis is the star in the featured picture. Now, who is playing the Steinway concert grand in the beautiful setting below? That’s your blogger, David. So what does one have to do with the other? It’s the music that I’m playing. Basically, I love the style and taste of Elvis.
Here’s a story: One of my most popular piano arrangements, Aura Lea: Theme and Variations for piano, was composed in Toronto, Ontario. No matter where I play it – on the concert stage, for a private party or during the dinner hour – it always receives grand applause and some rather sizable tips. The arrangement is heart rendering; bringing back pleasant memories. One variation combines the theme with “Who’s Afraid of the Big Bad Wolf”; bringing two great American songs together. And, by the way, this composition has many showy virtuoso passages. Yes, choosing this number, Elvis proved once more that he was king.
How Musical Tradition Embraces Architectural Style
|Location||Boca Grande, Florida, USA|
|NRHP reference #||08000205|
|Added to NRHP||March 18, 2008|
Now for musical tradition, Aura Lea is one of the most beloved American songs and is arguably as popular as Amazing Grace. Our generation heard it with the words that Elvis sang as Love Me Tender. The melody has graced America over the last two centuries. The music was written by W.W. Fosdick and words by George R. Poulton during the Civil War in 1861. The sheet music cover is the original Confederate version, dated 1864. The 1st internal link me playing in New York’s Catskill Mountains.
It was at Scott’s Oquaga Lake House a few years back. However,their piano was “so, so.” Below is the link just recorded with me at the Inn. The difference in pianos is quite noticeable. It was videoed live and less than week ago, and just posted. Keep checking DSOworks.com for more and more upcoming events. Elvis understood the public pulse.
Live at the Gasparilla Inn!
Posted by DSO Works on Saturday, February 3, 2018
Floral Power is Found in a Godly Name. First I will introduce the flowers to be featured: The lily and the rose. Next to elaborate on the flower adjectives of this blog:
Flower child originated as a synonym for hippie. It described idealistic the idealistic young people. The original group gathered in San Francisco and the surrounding area during the Summer of Love in 1967. It was the custom of “flower children” to wear and distribute flowers or floral-themed decorations. They symbolized ideals of universal belonging, peace, and love. The mass media picked up on the term. They used it to refer in a broad sense to any hippie. Flower children were also associated with the flower power political movement. The ideas were originated by Allen Ginsberg in 1965.
Floral Power of the Rose and Lily
First, I would suggest looking at my internal link given below. It will shed some light on this blog:
- Five represents the strong petals of the rose. Picture is above and to the left. It has 13 weaker petals.
- Six represents the petals of a lily. Pictured immediately to the right.
Floral Power of the Lily and Rose in God’s Name
Here is the crux of this blog: Always have at least twice as much mercy as severity in judging others. Consider a specific Hebraic name for God. The name most often in the Hebrew Bible is YHWH (י ה ו ה). It is called the Tetragrammaton. In Hebrew, letters are read from right to left. (1) Yud is the equivalent of 10. (2) The first hei is 5. (3) Vav is 6. (4) The second hei is again five. How do we interpret the numbers of this code?
- Roses out number lilies by 2 to 1. The five petals of the rose are yin, The six of the lily are yang.
- Five represents mercy and forgiveness. Six represents judgement and severity.
- The first letter is the yud for 10. It is a fusion number of two numbers. Specifically, any two opposite numbers on the 3 x 3 number square total 10.
By letter/number count, mercy outnumbers severity as 2:1. There are 2 “heis” and only one “vav”. For us to be God-like is have this minimum ratio in our judgments and pronouncements. Should we strive for even more mercy, we enter into enter “sainthood” territory. God especially loves this ground. Number 10 is merely a number of fusion. Zero as an independent and real number is a relatively recent invention. Ancients thought of the “yud” as the number that fuses the yin and yang. Here is the fusion model in the 3 x 3 number square.
Numerical Personalities in Antiquity are Parallel. I just posted s blog about Stonehenge. The internal link is below. It is about the numerical arrangement of the pillars. The pillars in the various circles duplicate the essential numbers of an atom of iron. It is called Stonehenge Number Squares are Fairly Inclusive. Archaeology Archives – DSO Works
Here’s a quick summary and a few facts: Iron has 26 protons, 26 electrons and 30 neutrons. Its atomic weight is 56. For he identity of the element of iron at Stonehenge, read the above internal link. Then I will demonstrate the same pattern in the Tree of Life in the featured picture. Incidentally, number 26 is the numerical equvalent of “Yahweh” as spelled with Hebrew letters. In many ancient languages, letters doubled as numbers. This was called by the Greek name, gematria.
Numerical Personalities from the Tree of Life to Stonehenge
This equivalency would equate God with a fundamental force of nature as magnetic.
Now look at the featured picture. First, the two vertical outside pillars:Multiply the 1st two horizontal numbers on the outside pillars as (3 x 2). Then add it to the opposite pair pf (5 x 4). Total is 26. Next take the central pillar. Add its four numbers as 1 + 6 + 9 + 10 =26. Twenty-six, as the numerical essence of God, infuses the Tree of Life. Found in these two distinct ways, we number protons and electrons in iron. Next, multiply the last two extreme horizontal numbers as 8 x 7. We have 56. That is the atomic weight of iron. For the 30 neutrons, simply subtract as 56 – 30 = 26. Look once more at my internal link. The circles around the central 5 stones of Stonehenge duplicate these numbers. Stonehenge, the Tree of Life and an atom of iron have number sequences stemming from the 5 x 5 number square as pictured in the link. “So what?”, you might ask. I believe a new Golden Age can be initiated by the realization and activation of traditional number squares of antiquity. A Golden Age is marked by peace and plenty.
Stonehenge Number Squares Are Fairly Inclusive. Today I will feature its use of the 5 x 5 number square. It is pictured below. A lost and forgotten Golden Age was all about these number squares. I believe that with their reactivation, we can regain another such age. The blogs on DSOworks.com cover these number squares. They also are about how music enriches our lives. A Golden Age denotes a period of primordial peace, harmony, stability, and prosperity. Peace and harmony prevailed. People did not have to work to feed themselves. Earth provided food in abundance. Please keep the following in mind: The present way of thinking of numbers is that they represent impersonal quantities. Ancient civilizations animated numbers as words. Also numbers were thought of as musical in many ways:
- Harmony uses basic number ratios. The consonant harmonies were either 1:1, 1:2, 2:3 and 3:4 or sometimes 4:5.
- Higher number ratios were considered to be anywhere from mildly dissonance to dissonant.
Stonehenge Number Squares Included the Traditional 5 x 5 of Mars
11 24 7 20 3
4 12 25 8 16
17 5 13 21 9
10 18 1 14 22
23 6 19 2 15
Around the horseshoe are the remains of the outer sarsen circle, capped with lintels. There were probably once 30 stones in this circle. Set just inside the bank were 56 pits, known as the Aubrey Holes. About half of these have been excavated. They were marked in the 1920s with white concrete circles. The inner enclosure forms a horseshoe shape of five trilithons. Now to the 5 x 5 number square. The 5 trlithons also refer to the 5 x 5 number square. The numbers 1 to 25 total 325. Multiply the factors of this number as 3 x 2 x 5 = 30. That totals the Sarsen Circle stones.
Stonehenge Number Squares: Numbers defined relationships among many disciples. Ancients said, as with the large, so is the small. It is well established that the Stonehenge could predict the occurrence of ellipses. That is the large. The small is defining an atom of Iron. This element is defined by 26 protons and 30 neutrons. The atomic weight is 56. Iron is the significant element of nuclear fusion. Click on the internal link below.
On large scale, these numbers as stone markers can predict solar and lunar eclipses:
Hoyle proved that this could have been used to produce a much more reliable method of predicting eclipses as whenever the moon and sun markers are directly opposite each other and the other two stones occupy those same opposing points, an eclipse can be guaranteed.
In unity there is peace. I believe, for this purpose, it is about time to understand this ancient and forgotten use of number squares. This can create a happy fusion of the assorted elements of mankind.
Schubert Contrasts Beethoven as Freedom v. Structure. Most agree that Beethoven was the link between the Romantic and the Classical periods of music. Schubert’s life overlaps Beethoven’s. Schubert life was much shorter. January 1797 – 19 November 1828), He was an Austrian composer. Schubert died at age 31. But he was extremely prolific during his lifetime. His output consists of:
- Over 600 secular vocal works (mainly Lieder).
- Seven complete symphonies, plus sacred music, operas, incidental music.
- A large body of chamber and piano music.
Ludwig von Beethoven was baptized 17 December 1770 – 26 March 1827. He outlived Schubert by some 26 years. Schubert was born when Beethoven was 27 years of age. However Franz Schubert picked up the Romantic ball of composition and pushed it further. Classical music most often had significant development sections in a sonata, or symphony. Here the parts or pieces of a theme were developed to show off the composer’s ingenuity. Schubert’s themes resist “development. Most are complete in themselves. Alfred Einstein discusses also this topic in his Music in the Romantic Era. To quote him about Schubert: ” His themes have felicity in themselves. They resist dissection: development.”
How Schubert Contrasts Beethoven with the “Development” of his Themes
With Beethoven, any “side-stepping” keeps the theme in mind. His “digressions” are parallel paths to the theme. Schubert, in contrast, becomes involved in the mist of a beautiful melodic journey. Development is often not called for. To him it seems too intellectual.
Romanticism’s span was approximately from 1800 – 1850. It elevated folk art and ancient custom to something noble. Spontaneity became a desirable characteristic (as in the musical impromptu). Some of Schubert’s great creativity is to be found in with his Impromptus. In contrast to the Rationalism and Classicism of the Enlightenment, Romanticism revived medievalism . Elements of art and narrative perceived as authentically medieval. This was an attempt to escape population growth, early urban sprawl, and industrialism.
We Need a Return to Romanticism
We need the return of beautiful song once more. “Composing” today is created by formula. Many songs of today use only three harmonies. The three harmonies always appear in the same order. Their melody is about as limited as their harmony to three tones. Here is the point: When you feel constricted by difficult times, you need to “cut loose.” Singing or performing constricted music can make you feel even more hemmed-in. Our current composers need the style of the “beautiful melodic journey” of Schubert.
Sunken Cathedral Legend Parallels the Story of Atlantis. Some stories and legends just refuse to go away. One is the story of the Sunken Cathedral. The other is the story of Atlantis. I find the following parallel you are about to read is quite remarkable: Fans of both the Sunken Cathedral and Atlantis keep waiting for either or perhaps both to rise from the depths of the Atlantic. The sunken cathedral inspired many composers and artists. Monet made the painting below of the Rouen Catherdral. It could well have inspired Claude Debussy to compose his prelude entitled La Cathedrale engloutie.
FIRST, THE SUNKEN CATHEDRAL
The cathedral of Ys rests on the mythical city-island of Ys, located by Brittany in France (also spelled Keris). It daily rises from the ocean. Debussy’s music conveys the sounds that issue forth from the cathedral including bells chiming, priests chanting and its full-sized organ. The opening suggests church bells ringing in the distance and the clerics singing medieval chant. The middle section imitates the action of waves crashing on the cathedral. The story goes that the island was sunk by the Devil due to the rampant impiety on the island. For this expression in music, Debussy includes a featured place for the interval of the augmented fourth. This interval was called by the church the diabolis in music (the devil in music).
Atlantis also Fell Out of Favor with the Dieties
Atlantis (Ancient Greek: Ἀτλαντὶς νῆσος, “island of Atlas“) is a fictional island mentioned within an allegory on the hubris of nations in Plato‘s works Timaeus and Critias. It represents the antagonist naval power that besieges “Ancient Athens”. Athens was the pseudo-historic embodiment of Plato’s ideal state (see The Republic). In the story, Athens repels the Atlantean attack unlike any other nation of the (western) known world, It gives testament to the superiority of Plato’s concept of a state. The story concludes with Atlantis falling out of favor with the deities and submerging into the Atlantic Ocean.
The Sunken Catherdral Archives – DSO Works (I discuss my upcoming recording of one hour of the music of Claude Debussyon this internal link).
Finally come to the Gasparilla Inn and I will play the Debussy Prelude for you. I play there 6 nights weekly on the isle of Boca Grande.
Worldly Word Reveals Knowledge of Ancient Egypt. This blog is based on one word. It is the Hebraic word for “world.” עולם. How is this possible? In Hebrew letters doubled as numbers. This is also true of numerous Middle Eastern languages. There were no separate symbols for letters and numbers. They shared the same glyph. This commonality is called by a Greek term – gematria:
Gematria /ɡəˈmeɪtriə/ (Hebrew: גמטריא גימטריא, plural גמטראות or גמטריאות, gematriot) originated as an Assyro-Babylonian-Greek system of alphanumeric code or cipher. It was later adopted into Jewish culture that assigns numerical value to a word, name, or phrase. The belief was that words or phrases with identical numerical values bear some relation to each other or bear some relation to the number itself. It can apply to Nature, a person’s age, the calendar year, or the like…
So What’s with the Hebraic Worldly Word that Holds the Egyptian Remen?
The gematria of עולם which means world, is 146: Ayin is 70, vav is 6, lamed is 30 and mem is 40. Thus, 70 + 6 + 30 + 40 = 146. One remen = 14.6 inches. In antiquity numbers were freely multiplied by powers of 10. Their concept of nfinity is blogged about on DSOworks. Also the inch existed in ancient civilizations. John Michell discusses, in his View Over Atlantis, how the standard of weight in the ancient world was the cubic inch of gold. To verify this, simply go to the British Museum. A number of specimens from various regions are to be found there. How did the Egyptian remen also become the 146 gematria for Hebrew word for world as the standard of worldly word measure? As the Egyptian link, the answer is Moses. He would be well versed in Egyptian mysteries.