Neolithic Number Eight Permeates the Great Pyramid of Egypt. Also the modern piano keyboard. Here’s how.
First use of eight (8). The featured picture illustrates an octahedron. It is a symmetrical, eight-faced, triangulated figure. All angles at their corners are 60°. Bisect the featured picture across the square at the center. The bisected octahedron then becomes two square based pyramids. The above I call the positive. The below I call the negative. All square base pyramids imply an attached equal and opposite pyramid. The mere existence of any square base pyramid, implies a counterpart. Granted, the Great Pyramid of Egypt has differing angles. It uses isosceles triangles. But, the extra four reverse-faced pyramid is still implied. When they are joined, the square bases become internal. They literally disappear. There no longer is a separated square base. We have our first usage eight. As, 4 faces (postive) + 4 (negative) faces = 8.
2nd Usage of Neolithic Number Eight
Each side of the square base measures 440 shorter Egyptian cubits. Shorter cubits are 1.718…feet. A more encompassing measure is the Great Cubit. It measures 55 shorter Egyptian cubits. Thus each side of the Great Pyramid of Egypt is 8 Great Cubits. 440⁄ 8 = 55. Reference John Michell, The View Over Atlantis. Therefore the Great Pyramid is 8 x 8 Great Cubits.
Neolithic Number Eight and Musical Octaves on the Piano Keyboard
Last, but not least. We will tie the Great Pyramid into concert note A-440 and its octaves. Its essential measures come from octaves of the concert note A 440. A higher octave doubles the vibrations per second. The lower octave cuts them in half. The lowest note on the 88-keyed piano is “A”. It vibrates 27.5 times per second. On the Steinway below, it is the furthest note to the left.
The musical keyboard of a Steinway concert grand piano
Here’s the connection. The height of the Great Pyramid is 275 cubits. Neolithic builders freely multiplied and divided by 10’s. This is because 10 ten was considered a synthetic number in antiquity. Reason: It totaled any two opposite numbers on the 3 x 3 number square. Diagram is below. 4 + 6 = 10. Or, 9 + 1 = 10. Etc. We now have the following:
The note A, underneath Steinway’s name, vibrates 440/per second.
The lowest note on the piano, also an “A” vibrates 27.5 /second.
The length of any side of the square base on the pyramid is 440 cubits.
The height of the truncated Great Pyramid of Egypt is 275 cubits
Suite Sonata or are Sonatas No Longer Sweet? In my blog this means is the sonata form no longer sweet or in vogue? Let’s define our two featured terms. Firstly, I must state that by sonata, I mean the sonata form. Here are the two terms with definition:
Suite: In music, a suite (pronounce “sweet”) is a collection of short musical pieces which can be played one after another. The pieces are usually dancemovements. The French word “suite” means “a sequence” of things, i.e. one thing following another. In the 17th century many composers such as Bach and Handel wrote suites. In the Baroque period, a sonata was for one or more instruments almost always with continuo. A continuo is mostly not used in the sonata form of the classical area. A continuo means a continuous base line.
Sonata form, also known as sonata-allegro form, is an organizational structure based on contrasting musical ideas. It consists of three main sections – exposition, development, and recapitulation – and sometimes includes an optional coda at the end. In the exposition, the main melodic ideas, or themes, are introduced. After the Baroque period most works designated as sonatas specifically are performed by a solo instrument, most often a keyboard instrument, or by a solo instrument accompanied by a keyboard instrument. Quite frequently, the older baroque “sonata” was performed by a group of instruments. The term evolved through the history of music, designating a variety of forms until the Classical era, when it took on its own specific importance.
The Sonata form was, in a way, a rebellion against the musical vehicle of the suite. Styles in fashion, furniture, music, manners etc, change in cycles. The earlier Beethoven sonatas used the sonata form. His later extended sonatas are more of the freer Romantic era. Most agree that Beethoven was the transition composer that launhced that Romantic era of music.
Suite Sonata or Are Sonatas no Longer Sweet?
I predict that styles, taste and music, the Suite will rise above other forms. Suites are perfect form carrying beautiful melodies. Each number in a suite can carry its own melody. This was the practice of the romantic era. The Holberg Suite by Grieg is such an example. As a composer, I love the form of sites. Here are 2 examples of my compositions:
The Dance of the Zodiac- with numbers for each of the 12 zodiac signs.
The Ringling Suite- inspired by paintings at the John Ringling Museum in Sarasota, Fl.
The Elemental Suite depicting the ancient belief in Earth, air, fire and water as elements.
Conclusion on Suite Sonata -The future will give sweets to the Suite.
Glamorous Returns for Dress and the Arts. Even with the Great Depression, the 1930’s was the era of escapism and glamour in the arts. Hollywood starlets adorning billboards. It was also the golden age of of radio entertainment. I worked with David Rubinoff and His violin. He was featured on the Eddie Cantor radio program in the 1930’s. His music and style were glamour personified.
Glamorous returns with the beauty with ladies clothing styles. Simple classic, flowing lines. Nothing elaborate. You could almost say simplicity makes the style: Just as the lyrics of Irving Berlin declare in “Play a Simple Melody”.
Won’t you play some simple melody
Like my mother sang to me
One with a good old-fashioned harmony
Play some simple melody
Yes, beautiful is back. Romanticism is back. J.S. Bach and counterpoint are back.- Both were popular in the Romantic era of Music.- Melody is back. Three cheers! How about the Berlin lyrics of A Pretty Girl is Like a Melody?
A pretty girl is like a melody
That haunts you night and day
Just like the strain of a haunting refrain
She’ll start upon a marathon
And run around your brain
Glamorous Returns At Last!
Why do we need glamour now? First, it is not an overly expensive style. Unless, of course, you buy designer. The patterns use simple lines. For a competent sewer, that means less time spent on complicated lines and seams. When times are tough, as they are now, the last thing we need is the grundge look. Go to any major metropolis. With so many homeless, it is common to spot so many that have the look of hardship. It was even more commonplace in the early 1930’s. The depression originated in the United States, after a major fall in stock prices that began around September 4, 1929, and became worldwide news with the stock market crash of October 29, 1929 (known as Black Tuesday). Between 1929 and 1932, worldwide GDP fell by an estimated 15%. We need happy. We need melody. We need pretty girls. We need glamour once more. No more doldrums.
Requiem for Rock and Roll with the Passing of Chuck Berry. Charles Edward Anderson “Chuck” Berry (October 18, 1926 – March 18, 2017) was an American guitarist, singer and songwriter and one of the pioneers of rock and roll music. With songs such as “Maybellene” (1955), “Roll Over Beethoven” (1956), “Rock and Roll Music” (1957) and “Johnny B. Goode” (1958), Berry refined and developed rhythm and blues into the major elements that made rock and roll distinctive. The quote below is from NYT dated March 18, 2017:
Berry in 1957
Requiem for Rock and Roll
The following is an excerpt from the New Yorks Times. This quote below is from NYT dated March 18, 2017. Jon Pareles, a music critic for The New York Times, reflects on the pioneering music and attitude of the rock legend Chuck Berry. ” While Elvis Presley was rock’s first pop star and teenage heartthrob, Mr. Berry was its master theorist and conceptual genius, the songwriter who understood what the kids wanted before they knew themselves.”
As a teenager, I, David, was ousted from Rock and Roll central. I had an interview at Motown with Marvin Gaye. At the time I was giving Motown’s attorney’s children piano lessons. My compositions have always been melodic to the “nth” degree. Rhythm was in. Melody was okay, but quite secondary. Bottom line: Times are now difficult. The public needs beautiful once more. Kind of like the early 1930’s. Think of “Stardust.” It was the leader song that gave the 20’s rhythm songs their requiem. Here’s what most people do not realize: Rock and roll has outlasted the entire era of classical music. The heyday of classical style was 1750 to 1800. That is 50 years. This included Mozart, Haydn and early Beethoven. Above is a picture of Chuck Berry. It is dated 1957. That is 60 years ago. The only thing for sure is change. I unhumbly state: “Watch for my music. I intend to be at the forefront of the new style with new and beautiful music. This is not only as a piano player, but as a composer”. My wife, Sharon Lesley Ohrenstein is the book writer and lyricist. Shortly, our new musical “Golden Roads” will be making an appearance. In this free youtube presentation Sharon is singing and being interviewed. I am at the piano. In the meanwhile you can hear me play on vintage Steinways at the Gasparilla Inn on the exotic isle of Boca Grande. This is my 8th season. I’m under contract until April 16. Watch this short interview and excerpt from Golden Roads. Enjoy the new sound we are presenting and get on the bandwagon. There’s room for everybody.
Triad Trinity and Temples Play Tick-Tack-Toe. Musical Temples Become a Reality in Tick Tack Toe Design. Here’s how: Right below is a blurry picture of the tick tack toe board blueprint that includes the basis of both the Holy Temples in Jerusalem. The First Temple based on the middle row of 3 vertical boxes. That corresponds to the pictured middle, vertical row of the C – E – G triad. On the 3 x 3 number square, that relates to 9-5-1. The Second Temple was built to include the entire nine-boxed tick tack toe board. The 2nd temple extends the dimensions of the 1st to the left and right of 9-5-1. The First Temple was 60 x 20 cubits. According to the Tanach (Hebrew for Bible), he 2nd temple becomes 60 x 60 cubits.
Judaism and much of the beliefs of sacred antiquity springs from this 3 x 3 board. It becomes apparent when the boxes are filled with numbers one to nine arranged so that any row of three totals 15. These 9 boxes, in a parallel way can also hold the 9 tones of the primary triads that define a key.The triad trinity is named (Vertically left to right) tonic, dominant and sub dominant. In the key of “C”, the tonic is C-E-G. It rests on the central vertical row of the number square pictured below. Thus:
The triple-boxed shape of the 1st Temple is likened to the middle 9-5-1 row of the 3 x 3 square.
The dominant of G-B-D occupies the same position as the 2-7-6 to the right.
The sub-dominant of F-A-C. occupies the same position as 4-3-8 to the left.
When used in combination, a triad trinity can be seen as outlining the boundaries of the 2nd Temple. They also define the primary triads of C major. The grid can hold the three primary triads of any key signature. These three key defining triads comprise 9 tones altogether.
Triad Trinity is, Top to Bottom and Vertically Left to Right- Sub Dominant, Tonic, Dominant
So Where else in the Grid Do We Find the Concept of Musical Temples?
The same grid that was the foundation of the two Jerusalem Temples sets the basic diatonic musical interval of the fifth by vibrations per second. They are A-440 and E- 660. Take the numbers two at the time. Go around the perimeter either way. Here is how to find the A-440: 49 + 92 + 27 + 76 + 61 + 18 + 83 + 34 = 440. Here is how to find the E- 660. You get the same sum either vertically or horizontally. (49 + 35 + 81) + reversed as 94 + 53 + 18) + from the other side: (29 + 75 + 61) + and again reversed (92 + 57 +16) = 660.
The basic musical interval from which ancient and modern musical systems is the musical 5th. Our more modern music uses key signatures of the Circle of Fifths. Ancient music used individual tones derived by the actual fifth. The key or core number of the 3 x 3 number square is 5. Any other number placed in the center destroys its symmetry. This is the basis of its sacred order.
So How Did I Discover This Approach to the Trinity of Triads?
There is an American Indian spiritual presence on Oquaga Lake in the Catskill Mountains. For years I had been the piano player at Scott’s Oquaga Lake House. This spirit would accompany me on walks in wilderness. I call on it by the name of the Oquaga Spirit. On my product page of DSOworks I have some 80 of her poems. It is called, The Oquaga Spirit Speaks. I also have a free thumbnail of me reading the spirit’s poetry. It is on the front page.Here is a sample couplet: If it’s life you wish to live and enjoy to the marrow, then get thee a walking stick and hear the morning sparrow.
Octahedron Unifies Space Time in Ancient Cultures. It does so from an Earthly viewpoint. First of all, what is an octahedron? It is one of the 5 regular polyhedrons. The other 4 are the tetrahedon, icosahedron, cube and dodecahedron. However you view any one of them, it is totally symmetrical. . Together they are also called the Five Platonic Solids. How is the octahedron identified? By its number corners, edges and faces. It has the following:
These total 26 topological features. See the featured picture above
The octahedron has a non- identical twin brother (or sister). It is called a cube. They don’t look alike. But consider this. The cube has:
The twelve edges are the same in both. Whereas, the number of faces and corners trade places. They are as closely connected as twins. The octahedron pictured below contains a cube. The 6 corners of the octahedron have their points touching the center on the 6 faces of the cube. For that reason, they are called dual polyhedrons.
So How is it That the Octahedron Unifies Space Time?
Unfortunately, the Egyptian Library at Alexandria was burned down. Its wisdom describing prehistory was destroyed. Both the cube and octahedron were considered to be harmonious figures. This thought actually goes back to at least 11,000 B.C. Why harmonious? Because of the numerical relationship of its topology.
12 is one-third greater than 8
6 is one-third less than 8.
Eight is the number that defines the musical octave. That is the most harmonious and fundamental overtone of the entire overtone series. Guy Murchie thoroughly explains this in his two volumes of The Music of the Spheres.
How Does This Knowledge Date Back to Prehistoric Times?
The holiest sites of antiquity were designed as cubes or square base pyramids. The square base upright pyramid is found in the top half of the octahedron. Although the bottom half is not there, it is implied. As a cube, the Biblical Holy of Holies was set in back third of Solomon’s Temple. The total rectangular perimeter of the temple was 60 x 20 cubits. The 20 x 20 cubit back third becomes cubic. Also, the Ka-aba in Arabic literally means, cube.
Much of the world order of antiquity was destroyed. The cause was invaders from Afghanistan. The invaders were called Kurgans. Riane Eisler discusses this her The Chalice and the Blade.
What was the purpose of these Holy Sites? – To spread harmony and peace throughout the world. This was effected by their geometric harmony. Since many were destroyed, war has ensued. In unity we find peace. In division we find war. The octahedron unifies space time. It defines space as a geometric form. How does it define time? Each vertex of the regular triangles holds 60°. The 4 upper triangles of the octahedron have a total of 12 vertices. 12 x 60° = 720°. The lower 4 triangles total 12 vertices. They also total 720°. The upper 4 triangles represent the 720 minutes in 12 hours of daytime at the equinox. The lower 4 triangles represent 720 minutes contained in 12 hours of nighttime also marked by the equinox.
Conclusion: Look for harmonious models. Base civilization on these models. Peace follows. The ancients did in through geometry. The same can also help us today.
Musical Undercurrents Are About to Surface. The following sequence attaches itself to musical styles:
A style begins with the 1st generation.
The 2nd generation literally buries the style of the 1st. It has a new concept for music.
The 3rd generation of style buries the 2nd. It then resurrects the ideas from the 1st.
Here’s how it has worked in our western music history. Let’s begin with the Baroque Era:
J.S, Bach culminated the Baroque Era of counterpoint. It transitioned to a simpler style around 1750.
The Rococo era and early classical were the next musical trends. They used a melody and accompaniment approach. Simplicity was preferred.
The Romantic Era came with Beethoven’s middle and later works. This was after 1800. Bach, counterpoint and complexity came back into vogue.
Baroque Musical Undercurrents Resurfaced Romantic Era
In music, the BACH motif is the motif, a succession of notes important or characteristic to a piece, B flat, A, C, B natural. In German musical nomenclature, in which the note B natural is written as H and the B flat as B, it forms Johann Sebastian Bach‘s family name. One of the most frequently occurring examples of a musical cryptogram, the motif has been used by countless composers, especially after the Bach Revival in the first half of the 19th century.
How Do the Musical Undercurrents Apply to Today?
Either rap, puck and rock and roll have have been in the forefront of popular music from Elvis in the 50’s to the present time. This is about 65 years. It has outlasted the earlier Rococo and early classical styles of European western music. Inevitably, music with strong melody, like in the 1930’s, will resurface as a main thrust. Rhythm, of course, always must be there, regardless of style. Our new musical, Golden Roads, is avant guard in this respect. Yes, it also has the element of counterpoint. I say, welcome to another return of the Romantic Era.
Civilization Has a Key Number – Six Hundred and Sixty (660). It is mostly known as the number of feet in a furlong. In the featured picture distances for horses are usually marked by furlongs. A furlong is a measure of distance in imperial units and U.S. customary units equal to one-eighth of a mile, equivalent to 660 feet, 220 yards, 40 rods, or 10 chains. Six hundred and sixty also specifies a musical tone: Diatonic E in vibrations per second. Ancient instruments have been unearthed. We know how their tones vibrate.
In Civilization the Furlong and Farming Once Went Together With Racing Horses
Originally a furlong represented the distance that a team of oxen could plow a furrow (a long shallow trench in a field), on average, before they had to rest. This was also the length of an acre, which in Anglo-Saxon times was considered to be 40 × 4 rods (660 × 66 feet). A furlong appears to have been used as a horse racing measurement because in early days racing took place in fields next to ground that had been plowed. Therefore, the distance could be assessed quickly by comparing the racetrack with the number of furrows made in the neighboring plowed field.
Where Does Number 660 Stem From?
660 appears in two prominent ways. I was shown this by an American Indian spirit around Oquaga Lake. The poetry she spoke to me is below. When she made her introduction, our family was residing at Bluestone Farm. It said: “If you wish to know the secrets of antiquity, erase the lines on this number square. Read them by three or two numbers at the time. Do it as I will show you. At that time I was a full time pianist for the Scott family on Oquaga Lake
The same 660 can be reached with the double digit vertical totals when added in a similar manner.
660 is a Prominent Feature of the 5 Platonic Solids
The hidden 660 also runs parallel to the 5 Platonic solids. The core number is “5”. Of the solids, the tetrahedron has 4 faces. The cube has 6. An octahedron has 8 faces. The Dodecahedron has 12. The icosahedron has 20. Add them together by their squares: 4² + 6² + 8² + 12² + 20² = 660. If you studied the blogs, here is what becomes apparent: Neolithic priests knew the 3 x 3 number square as the stamping mill of the Universe.
Characteristic numbers where converted into set musical tones. Our A-440 comes also from this square. Add the perimeter two numbers at the time. Overlap them: 49 + 92 + 27 + 76 + 61 +18 + 83 + 34 = 440. Treating the numbers diagonally in the same way gives you the same total again. The ratio of the musical 5th for civilization is set out by this number square:
660/440 = 3/2 which is a diatonic fifth.
660 and 440 were made congruent with diatonic A and E by our ancestors.
Conclusion: Making our civilization harmonious was key to the founders of culture. The musical fifth is a “perfect” interval. Let us reinfuse our culture with “harmonious peace” as referred to by the Oquaga Spirit:
Career – Circumstances that Bolstered Beethoven’s. Here is a brief summary of his accomplishments from Wikipedia: Ludwig van Beethoven (baptized 17 December 1770 in Bonn – 26 March 1827 in Vienna) was a Germancomposer. He wrote classical music for the piano, orchestras and different groups of instruments. His best-known works are his third (“Eroica”), fifth, sixth (“Pastorale”) and ninth (“Choral”) symphonies, the eighth (“Pathetique”) and fourteenth (“Moonlight”) piano sonatas, two of his later piano concertos, his opera “Fidelio”, and also the piano piece Für Elise. When he was a young man, he was a talented pianist. Beethoven was popular with the rich and important people in Vienna, Austria, where he lived.
So, What Bolstered His Career?
Obviously, he played for rich and important people. But, he also held his music in the highest of esteem. Higher than even the royalty, At the time he lived in Vienna. It was the day of the amateur pianist. Aristocrats played the piano. They had a conception of how difficult mastery was. Prince Ferdinand Josel Lobkowitz was one of three that guarenteed him a life long income as long as he stayed in Vienna. This Prince had his own quartet. He played music all day long. Archduke Rudolph was a pianist who took lessons with Beethoven himself. He contributed to his income. The 3rd was Prince Ferdinand Kinsky. He loved vocal music. The times, Beethoven’s location and his incomparable genius launched his carrer. You could say, the right person at the right time. If the times are not quite right for you, be patient. Times also change in cycles. We are over due for lots of wonderful new happenings in the arts.
I have a special connection to Beethoven. It is being 5 generations removed by teaching lineage. Beethoven taught Carl Czerny. Czerny taught Franz Liszt. Liszt taught Emil von Sauer. Sauer taught my piano teacher, Mischa Kottler. I studied with Kottler for some 15 years. One of Beethoven’s inventions, I was told, was the prepared thumb. Also, the 2 note phrase was used to “divide and conquer” many difficulties. Enjoy my youtube presentation called the Paris Piano connection. You can hear me play 6 nights weekly at the Boca Grande Gasparilla Inn. I have a just newly reconditioned 1924 Steinway concert grand. This will be my 8th year of 6 nights weekly from Dec. 20 – April 14, 2017. I also have a couple of openings for piano lessons in Sarasota. The Beethoven tradition of my lineage of teachers must be kept alive!
Now for the big question: Musicians have had a difficult time making ends meet. How was he able to accomplish do so and quite well? He composed for royalty. In addition he conducted the court orchestra for Austrian Prince Esterhazy. For most of creative musical output, Haydn was indeted to Esterhazy. Here’s what most do not know: He was treated as a servant. When he went to concerts in Esterhaz or Eisenstadt, he was required to dress in a lackey’s costume. This is documented on page 12 in the book below. His humility saved him. He knew where his bread was buttered and “played ball.”
YES, THERE WAS A REBEL HIDING IN HAYDN!
Once in a while the rebel was aroused in him. This came across in his Farewell Symhony. It is entitled Symphony No. 45 in F-sharp minor. Esterhazy had kept the orchestra working beyond their specified calendar date. Instead of making a direct appeal to adjourn for the season, Haydn put his request into the music of the symphony. At his instructions, during the final adagio each musician artfully stops playing. He wrote it in such a manner that toward the end, the musicians would one-by-one stop, snuff out their candles, and walk off stage. At the movement’s conclusion there were just two muted violins left on stage. These were played by Haydn himself and his concertmaster. The Prince got the idea of what he needed to do. He adjourned the orchestra. Conclusion, Follow Haydn’s example: Even in protest be gentle and polite. You’re more apt to get the results that you want, or atleast a compromise.