Earthmusic a la planet Earth

Earthmusic -Each Planet Has a Musical Motif as per Kepler

Earthmusic results from  each planet Having its own musical motif as per Kepler. He analyzed the speeds of the planets at various parts of their orbits. Then he translated their ratios into musical tones. Wait ’till you read about the Earth’s. Perhaps that might explain the hardships we seem to have here.  It will all be in my upcoming book, Music Under the Zodiac. One of its goals is to present musical therapy in a new light. The following quote from my book is based on information found in Guy Murchie’s Music of the Spheres. 

How Do Planets Have Musical Motifs or Melodies?

Image result for Free Picture of Johannes Kepler

Johannes Kepler (1571- 1630) actually came up with melodies for each planet by computing their velocities at different parts of their orbits. These ratios were then changed to ratios of musical tones. Earth’s tones were “mi, fa, mi”. In Latin he said it stood for “miseria, famina miseria”. It translates to misery, famine and more misery. Mercury was the soprano, Venus a contralto, Mars was the falsetto tenor, while the giant planets of Jupiter and Saturn were deeply bass.

How can we, on planet Earth, can change the tune?  By giving our own personal melodies more dimension. Too many so called “Melodies” of today’s compositions consist of two different notes. Punk and rap music are sources of such genres. On a good day, they might have three notes. Or, Heaven forbid, four. Our melody needs more breath and scope. Melody needs contour and contrast. Just look at Hoagy Carmichael’s best musical seller, Stardust, for example: Here’s the story: The  rhythms of the 1920’s had taken top billing in music. Nobody wanted to publish Hoagy Carmichael’s Stardust. It had long phrases of beautiful melody. Then, the Great Depression Hit. We had misery, famine and more misery. The very next year, Stardust become a number one hit. It took dust from a star, or Stardust, to counter the misery on our planet during the Great Depression  that began in 1929. How ironic!

EARTHMUSIC  (or lack of it) WAS COUNTERED BY HOAGY CARMICHAEL’S STARDUST-  Hoagy at Work.

304221_actual-crp

One Musical Hoagy Please? (click on to hear Hoagy play Stardust.)

Taurus give the ensemble its backbone.

Taurus as Relates to Musical Ability and Preferences

Taurus as Relates to Musical Ability and Preferences, I am trying to feature music, as it relates to the zodiac, as a part of my blogging. I am currently working on a book entitled Music Under the Zodiac. Its main thrust is a complete and new discovered musical therapy system by key signature. I know that nowadays any price is difficult  to afford. If you attend to my blogs regularly, of course whatever is there is free. You will at least have a taste of some of the chapters. It will sell for $2.99 when it becomes available.

Taurus     (April 21-May 20)

Portrait of Pyotr Ilyich Tchaikovsky

Taurus composer Tschaikovsky had solid orchestration and beautiful melodies.
Taurus: An Arch Genius Taurus Composer was Tschaikovsky

The Type of Music Preferred for Listening

 Listener:  This sign, in contrast to Aries, likes slower and melodic music. Keep in mind that while Aries is ruled by the dynamic planet, Mars; this next sign is ruled by the planet of beauty, Venus. Tchaikovsky’s Romeo and Juliet and the Overture of 1812 are two melodious selections that those born under this second sign of the zodiac would enjoy. In today’s vernacular it can be expressed as hard rock for Aries versus soft for Taurus. This “bullish” sign has great  inner resources. The music can be slower, but yet an added firmness gives interest to the pace.

Preferred Instruments and Performing Style of Taurus

Performer:  Because the ruling element of  this sign is earth, this person is the grounded rhythmic anchor of any group. Thus, Taurus does well in ensembles be it a band, with chamber music, a Broadway ensemble or of course, an orchestra.

In opposition to Aries, those born under this sign are usually not naturally a showmen. Rather, they provide the solid base on which a group may be built.  Instruments of interest for Taurus are the double bass, bass guitar, tuba, baritone, or bassoon- all “foundation instruments”. The melodic percussion section, like the xylophone or marimba, are also of interest. Of course you can add any instrument that is played with beautiful melody. Unlike Aries, this second sign of the zodiac  prefers to practice at a slower tempo. This is fine at first but, if the music specifies, increase your speed. For this purpose the metronome is helpful.

 

Edgar DegasL’Orchestre de L’Opera, (1868) Bassoons appeal to those born under this second zodiac sign of spring.  They are, what I call, a “foundation instrument”- the backbone of any group.

Taurus loves the lower fondation instruments like the bassoon
Bassoons are among the “foundation” instruments that appeal to those born under the zodiac sign of Taurus .This sign is the first “earth” sign”.

This sign can develop a fine technique.  By nature, they are diligent workers. Taurus has a spiritual inclination that draws him to fine arts. This is true of all people with Venus as their “ruling planet”. Happy Birthday!

 

Nocturnes of Chopin are Still Highly Cutting Edge in Novelty

Nocturnes by Chopin are still Highly Cutting Edge in Novelty .  This is true even by today’s standards.  One of the nocturnes written by Chopin will serve for today’s blog: It is Opus 37, No. 2. Chopin goes from one key signature to the next, quickly. Like a great painter,constantly changing he colors. Yet the entire work holds together beautifully. This opus is like a musical kaleidoscope of harmonies. They shift continually.  Chopin was highly experimental. No matter what key this nocturne goes into, he changes the sharps and flats- not the key signature. Throughout the entire score, you see the “F#”, which here denotes the key of G major. In most music, same key signature with continual modulations by “accidentals” rarely happens.  As I fascinatingly practice this work, the continual “F#” really stands out against, say, six flats. Yet,  the work hangs together for an unforgettable aesthetic experience.

All About  Nocturnes

Generally they have a calm feeling. Surprisingly, an Irishman, John Field (1792-1837), is said to have originated the form. Today the Nocturne’s lingering melodies are almost totally abandoned in favor of music that has short rhythmic outbursts. A fairly recent exception is the Harlem Nocturne. The Duke can thank the Irish fellow and Polish fellow for the form title. They have long melodic lines with ornaments. Often they are played with rhythmic freedom. The nocturne was even favored a century early by composers. It was called the notturno. It spelled out nighttime entertainment. The pieces were generally light, short, and meant to be played outdoors. The Moon, of course, was the featured background. Even Haydn wrote a set of notturnos for the king of Naples in 1790.

My Prediction for Nocturnes

Long melodic lines have been on the “outs” for decades. Everything is cyclic. They will return sooner rather than later as an art form. Beautiful is coming back. Take heart. The cycle of beautiful is only about 50 years overdue. Right now I am offering piano lessons in Sarasota. Here is an update: Beginning Dec 20th 2017 I will  play 6 days weekly on their new reburbished 1924 Steinway Grand. It has the sweetest sound of any piano on Earth!  Thank you master technician Larry Keckler for rebuilidng the piano!

Duke Ellington’s Harlem Nocturne – YouTube

https://www.youtube.com/watch?v=uIkekMoEQY4

Nov 11, 2009 – Uploaded by TheYellowTelevision

Duke Ellington and his Orchestra’s rendition of the jazz classic,Harlem Nocturne.

Mix – Chopin Nocturne – No 12 in G Major Op 37-2YouTube

A musicalmile

Musicalmile is a Masonic Unit of Measure

Musicalmile is a Masonic Unit of Measure. Ancient tones of the diatonic musical scale are well known and defined. Their numbers by vibrations per second were also used for  measure. Issac Asimov, for one,  lists these tones in On Physics. Guy Murchie, in Music of the Spheres, lists the same numbers. Every single tone was used in for measure in the Neolithic goddess culture construction.  The general practice was to translate vibrations per second to units of measure that characterized a particular culture. Ancient Greek writers allude to this tradition. They call call architecture frozen music. Goethe elaborates on this quote:

REVEALING THE MUSICALMILE AND OTHER MEASURES FROM ANTIQUITY

Johann Wolfgang von Goethe

“Music is liquid architecture; Architecture is frozen music.”

Johann Wolfgang von Goethe

Here are some tones of the diatonic scale. Vibrations per second of the ascending  diatonic scale in the key of “C” . I’ve blogged about a master temple plan that was made from musical numbers. The Indian Oquaga Spirit gave me a vision of the design.  The list below from the sources given above:
  • Middle “C” vibrates to  264 times per second.
  • D” vibrates to   297 times per second.
  • E –  vibrates to  330 times per second.
  • F – vibrates to 352 times per second.
  • G – vibrates to 396 times per second.
  • A – vibrates to 440 times per second.
  • B – vibrates to 495 times per second.
  • C –  vibrates to 528 times per second.

These numbers were freely multiplied by 10 when larger measurements were desired. Thus, we have the musicalmile.  Many of my blogs are about number squares. The characteristic number of the 3 x 3 square is 10. Any two opposite numbers around the perimeter total 10. Antiquity favored such associations. The 3 x 3 number square was “the grain of mustard seed.” Also, it was considered the numerical square of  the ancient god of engineering, Saturn,  par excellence. Read my blogs on DSOworks.com

The musicalmile ( as 528 yards) finds expression by number at the Great Mosque of Akbar
The Great Mosque of Akbar in Turkey translated diatonic C/528 vibrations per second to a perimeter of 528 yards. An ancient Masonic tradition has survived.

Why bother with all this? At one time civilization had harmony and peace. Lack of warfare was not uncommon in goddess cultures. They existed  before 4350 B.C. Riane Eisler covers the subject in The Chalice and the Blade. We are about to return to a Golden Age of peace and plenty. Music will lead the way. That’s why King David was a musician first. Over time, I will blog about sites built by music. Part of this return to a Golden Age is to rebuild or refurbish “musical” sites. We must create a greater awareness of what music and harmony can do for mankind.

 

 

 

Mirrors: The Music is the Mirror

Mirrors: The Music is the Mirror. Dancers practice with mirrors. Mirrors are also  part of musical intervals. First, any interval when added to its “inversion” totals nine.  Tonal qualities of intervals are also inverted when the tones are reversed. . Every major interval, when inverted becomes, a minor interval. Every augmented interval, when inverted, becomes a diminished interval.  Interval assume their opposite by sound. Inversion means to reverse the order of the notes. For example, with C to G; when inverted, we  have G to C. The fifth is defined by C to G (G-A-B-C-D or five tones, a 5th). Its inversion to a fourth is defined by G-C (G-A-B-C or 4 tones, a 4th).   The total of the sample of these two inverted intervals is: 4 + 5 = 9. Only perfected intervals do not change quality when inverted. They remain perfect.

Mirrors are part of the Quality and Quantity of Musical Intervals

  • Octave (8)  inverts to a unison (1), or vice versa (8 +1 = 9)
  • 2nd inverts to a 7th as 2 + 7 = 9
  • 3rd inverts to a 6th as 3 + 6 = 9
  • 4th inverts to a 5th as 4 + 5 = 9

When intervals are inverted, their tone qualities also invert. Thus we have:

  • Any major interval becomes a minor when inverted. Conversely any minor interval becomes a major.
  • Any diminished interval becomes augmented when inverted. Conversely, any augmented interval becomes diminished.
  • Only one type of interval remains the same when inverted: The Perfect Interval. In this manner the perfect unison inverts to a perfect octave ( 1 + 8 = 9) The perfect  fifth inverts to a perfect fourth (5 + 4 = 9).

The Five Regular Polyhedrons Behave Exactly As Musical Intervals

Related image

 

  • The octahedron “inverts” to a cube. Look at these two figures. The octahedron fits into the cube. Its six corners can bisect the six mid- faces of the cube.
  • In a similar way, the icosahedron fits into the dodecahedron. The 12 corners of the icosahedron can bisect the 12 faces is the dodecahedron.
  • The tetrahedron is the only “perfect interval” of the 5 regular polyhedrons. It is the only figure which can inscribe itself in itself: A smaller and up-side-downed tetrahedron is inscribed by the tetrahedron’s 4 corners into the four faces of its self-dual tetrahedron. When these points are connected. The tetrahedron inside is then up-side-down.
Mirrors in Ballet and Music
With Musical Intervals, the Music is the Mirrors

Finally, musical intervals and the Platonic solids share the “rule by nine”.  Again, look at the overall picture. The unison is the basic musical interval. The tetrahedron is the basic regular polyhedron. This is for the following reason:

  • A tetrahedron has 4 triangles. At 180 degrees/triangle, the total degrees is 4 x 180 = 720.
  • The polyhedron with the greatest number of degrees is the dodecahedron with 6,480. This is exactly 9 x 720 = 6,480.
  • Conclusion: Musical intervals and the five regular polyhedrons of geometry share the rule of nine. The also share the principle of inversion. Music mirrors geometry.

Therefore, our music mirrors the 5 regular polyhedrons to perfection. When you play music, you are working with the same material that our cosmos is made of. Check out DSOworks.com for many more blogs.

Our opera Octavian and Cleopatra is about the love that could have been between Octavian and Cleopatra and how he became a great ruler because of her

Love Describes Music, God and Creation

 

BLOWING THE COVER OFF OF THE MEGALITHIC YARD

BLOWING THE COVER OFF OF THE MEGALITHIC YARD

Where did the measure of 2.72 foot megalithic yard, re-discovered by Professor Alexander Thom of Oxford University in the 1960’s,  really come from?  Thousands of years ago, Plato called 272 the number of harmony. John Michell writes about the subject in his City of Revelation.  Thom found this unit at at 600 sites located in  England, Scotland, Wales and Brittany. In the 1900’s, Jay Hambridge discovered  that the megalithic yard was an extension of the Egyptian remen:  The 1.2165 foot remen x square root of 5 = 2.72 feet. Hambridge uncovered the source of numerous ancient measurements by multiplying the Egyptian remen by the square roots of 2,3, 4,5 etc.

MUSIC AND MEASURE

I discovered that many older  measurements, including those that Hambridge uncovered are found in the 3 X 3 square pictured above. It was the cornerstone of ancient builders. In my blog on Genesis tunes to A-440, I talk about the hidden number codes. Please follow the numbers on the tick-tack-toe board above: By single digits the perimeter totals 40 as:  4 + 9 + 2 +7 + 6+1 + 8+ 3 = 40.  But overlapping double digits, the total becomes 440 as: 49 + 92 + 27 + 76 + 61 + 18 + 83 + 34 = 440 (we still tune to A-440). Overlapping the digits, three at the time, corner to corner, we have 2220 as: 492 + 276 + 618 + 834 = 2220. The formula for deriving the megalithic yard from this number square is: P1 (40) + P2(440) + P3 (2220)/(divided by) P3(2220)  times the square root of the central number,5. 

THE 3 MATHEMATICAL GEMS ARE HERE

The 3 X 3 magic square can have some different number arrangements, as books on number squares illustrate. John Michell, states that the above diagram is the traditional way it is viewed, Now why is the traditional solution important? Because, other key megalithic measures and mathematical amazements are found when looking at the bottom row horizontally: As the numbers across the bottom are 816 or in reverse 618 we find:  (1) One megalithic rod = 81.6 inches (2) One megalithic inch = 0.816 inches. When these three figures are reversed as 618, magically, the Golden Section appears. Ancient sites around the globe  used the 1 to 1.618 ratio for construction. After they were constructed by the Golden Section, they were measured by megalithic units. This will be the subject of future blogs. Jericho was such a site.  .618 is  diminutive expression of the Golden section: 1/1.618…= o.618…  Finally the megalithic yard as 2.72 references another mathematical gem: the exponential factor of growth: 2.72 is a close approximation that expresses the limits by which systems can grow. I will save the appearance of pi for another blog. Thank you for your patience.

Two stars of David are a part of an ancient universal temple plan

Music and Temples

ARCHITECTURE BY THE OLD DIATONIC MUSICAL SCALE 

Music and Temples: David gave Solomon a musical blueprint to build a holy temple How did David come by it?  It goes back to Moses. He acquired it from former Egyptian rulers. Then Moses passed it on to the leaders of Israel. It illustrates how musical tones were connected to the arts and sciences by common number.  At the crux of the design are six circles that surrounded a central circle; all of equal diameter. The diameter of each of the 7 circles is 352. This number also  defines the old (pre-well tempered)  musical tone- “F” in vibrations per second of the diatonic scale.  Issac Asimov lists the vibrations per second of these tones in his book, On Physics.  Guy Murchie lists the same tones as having the same vibrations per second in his treatise:  The Music of the SpheresThe types of units by which temples were measured could vary from culture to culture. They could utilize Egyptian remens, Palestinian cubits, Roman paces, or even the English yard- but the numbers had to be the same as the musical tones. The picture of the plan with the digits came into my mind as I was hiking around Oquaga Lake. Here is what its looks like:

SO WHERE ARE MORE MUSICAL TONES FOUND?

On the plan,(1) EG = FC = 440 which defines the musical tone “A”. (2) LK = FE = RQ = 352 which defines the musical tone “F”. (3) DG = DC which defines “C”. (4) DG = FC = 792 which defines the octave higher tone “G”.  This plan, steeped in music tones, was used by builders and masons, at one time, in order to keep order and harmony in the world. In my decades of study, I’ve researched measurements of holy sites. Major sites everywhere are built by musical tones. I believe this discovery could provide all with a uniting vision and purpose. This makes the study of music, and in my case, composing music and playing the piano, quite relevant.  Also relevant is my piano instruction for those who are genuinely interested in leaning to play the piano. We collectively need to put the muse back in music. Otherwise, we might just end up with the “ic” part.

 

 

 

MUSIC AND MATH: ONE HELPS THE OTHER

MUSIC AND MATH: ONE HELPS THE OTHER

Being a musician, I developed an aptitude for numbers. Parents should know that study after study concludes that whether playing an instrument or singing ; music greatly increases a child’s aptitude for mathematics. When music is practiced before school, it raises the  IQ as much as 10% for the entire school day. In its effect,  practicing music is like a multiple vitamin for the brain.  An example is Albert Einstein, arguably the smartest man ever, who prided himself on playing the violin.

                            THE CIRCLE OF FIFTHS AND THE DODECAHEDRON

Our music of equal temperament helped to create what’s called  a Circle of Fifths.  Every time you ascend five tones in  the first scale you can arrive at the new scale that hold the next key signature. After  twelve scales by fifths, you complete an entire cycle and go back to the beginning key. You could easily frame the  12 keys of the Circle of Fifths on the 12 regular pentagons that make up the dodecahedron (see picture below),  Not only the modern well-tempered scale; but the ancient diatonic scale was based on a series of ascending fifths with a final lower fifth from the starting tone. 5 solids that are regular: a numerical parallel.

 

HOW THE SCRIPTURE — USES NUMBERS

Music and Math: One helps the other, and how this helped me:  I believe that because of my work with music, I was able to uncover a unique number code.  Its use was first discovered by  emperor Yu, a ruler of China  about 2,000 BC.   The  5 Platonic solids, pictured below, are totally patterned by code that I discovered.  The code is hidden in a 3 x 3 number square, which in China is called  Lo shu. The way to crack  the lo shu code is  found in Isaiah 45:2-3: “I will go before thee, and make the crooked places straight. I will break in pieces the gates of brass, and cut asunder the bars of iron. And I will give you the treasure of darkness and hidden riches of secret places, that thou mayest know that, I the Lord, which call thee by thy name, am the God of Israel.”

Related image
Our Musical Circle of Fifths can be superimposed on the each of the 5 vertices of the 12 pentagons of the dodecahedron. As these are the only 5 possible regular polyhedrons that can exist, these solids define a unique system of balance. Our music based on the Circle of Fifths shares this  property with the dodecahedron and can therefore bring a sense of balance to us.

SURROUND YOURSELF WITH MUSIC

I believe that my years with music through formal education, private lessons and working with great concert artists,  helped me to develop the mathematical side of my thinking. I talk about the Lo Shu, pictured below, on my blog about the  The Mysteries of Music Unearthed by Tick-Tack-Toe. Incidentally, the Bible is pointed in the use of  scripture number  to reveal its preference for this ancient magic square: Not only is 45 the chapter number in which Isaiah’s reference occurs,  but 45 totals  the numbers in this number square (1 + 2+ 3 + 4 + 5 + 6 + 7 + 8 + 9 = 45). While  2 + 3 ( the two verses in chapter 45) whose numbers when added together = 5. I think that sharply defines of the number square.

 

Image result for Numbered Chinese Lo shu diagram with the numbers

 

“E-660” in Feet Measured the Glastonbury Abbey

“E-660” in Feet Measured the Glastonbury Abbey- Turning the numbers of vibrations per second of the old diatonic musical scale into the numbers of linear measures is  one my themes. It demonstrates how builders in antiquity sought to construct by the beauty of musical tones, poetic though it be.  Most cannot grasp this concept. We are trained by birth to look for differences. The computer, to my knowledge, also does not grasp metaphors very well.  As the popularity of poetry has faded, so has metaphor.

 

Image result for Glastonbury Abbey in England free painting of photo
The Abbey blueprint was first conceived in the vessel of the fish (vesica piscis) of two overlapping circles each with a 660 foot diameter
Related image
The length of the vesica is defined by BA and the width by PO. The Abbey was placed in the turquoise area of the vesica.

 

BUILDING BY NUMBERS OF MUSICAL TONES

In a remote undocumented time, builders used the numbers of musical tones for construction. Consider: John  Michell, in his View Over Atlantis, explains how 660 was taken by builders to represent the diameter of the Earth.  It measures the number of feet in one furlong.  Furthermore, one 660 foot furlong equals 7.920 inches. On a inch to mile basis it closely replicates the average diameter of the Earth.   This gives the measure of the Earth a tonal or music point dimension. And so it was- in a former age of peace and plenty. The Abbey (image above) first had its dimensions sketched in the vessel of the fish (vesica piscis).  The vesica of Glastonbury’s blueprint is the turquoise oval part in the center to center overlapping circles. Each circle has a 660 foot diameter. Any vesicas ratio of length to width length to width is always the square root of three to one. Across many cultures it is considered sacred. It outlines the shape of a fish, so it is also a significant Christian symbol. Historically it has been used by most religions by the builders of sacred sights  throughout recorded history.

THE INTERVAL OF THE MUSICAL FIFTH

John Michell, in his works, describes how the Abbey was conceived as the English Jerusalem. Its design  was section off into 74 foot squares laid out in a 9 X 4 pattern. The church was placed on a section of this pattern  Musically, the complete patter reduces reduces to 3 x 2 which is the sound ratio of the two tones of  musical fifth. Michell describes how if a circle with radius 660 feet is struck from the center of the 74 foot system of squares, its circumference passes through the sacred abbey fish pond. Further down its marks Glastonbury’s Catholic church. In a future blog, I will relate how 660 refers directly to the five Platonic solids in a remarkable way.