Musical Backbone of the Cosmos is a Number Square.Musical unity of the cosmos issues forth from the 3 x 3 number square. Notice that 8 boxes surround the central box in the featured picture. Be it ancient or modern, the number 5 is the crux of tones or key signatures:
In antiquity 8 the tones of the scale were derived from a series of ascending fifths. For example, “C” to “G” or “G” to “D”.
In modern times (today) key signatures are derived from a circle of 5ths. In music theory, the circle of fifths (or circle of fourths when approached backwards) is the relationship among the 12 tones of the chromatic scale, their corresponding key signatures, and the associated major and minor keys. More specifically, it is a geometrical representation of relationships among the 12 pitch classes of the chromatic scale in pitch class space. *On ascending 5 tones to a new key signature, a new sharp is added that is 5 tones higher than the previous sharp. For example, G major has one sharp. It is an F#. D major has 2 sharps. It maintains the F# from the key of “G”. D major adds new C#. Note: F#,G,A,B,C#. Counting “F”, then “C” is 5 letter names higher.
Musical Backbone Set in the 3 x 3 Grid
Music comes in 8 bar segments. In the same way, on the featured picture boxes and their numbers, they are paired by opposites. For example, any boxed number and its opposite boxed number always totals ten. This includes 2 + 8. Or, 3 + 7, etc. Two paired boxes total 8 lines. This is at 4 lines per box.
In music the first 4 bars are called antecedent
The second 4 bars are called consequent
A complete musical song form typically uses 32 bars segments. These are described by AABA. Each letter (A or B)represents 8 bars of music. Likewise, 8 boxes are encompassed by the circle on the featured picture. That makes for 32 lines: 4 (lines per square) x 8 squares = 32 lines.
Here is one for those who believe this blog is simply a “slight of hand.” Go around the perimeter. That is, the numbers surrounding the central “5”. Use two numbers at the time in either direction as follows. You get the same total. Here is the clockwise direction. 49 + 92 + 27 + 76 + 61 + 18 + 83 + 34 = 440. The ancients tuned to A-440. We tune to A-440.
A number of blogs on DSOworks show the unity of the arts and sciences. They demonstrate how this is effected through the above featured number square. We know the way to peace. Why not follow the road signs? It’s that easy.
Neolithic Periodic Chart is Number Squares. Do number squares point to the existence of a super advanced civilization? Did Atlantis once exist? Was this knowledge destroyed whe the library at Alexandria was burned down? Anyone with a mathematical mind should say yes to all the above. Study the two number squares of the featured picture. Each of the number squares had a planetary association.
The charactertistic number is what any two opposite numbers total. Any two opposite numbers on the 9 x9 square above total 82. This number number square of the Moon defines the atomic number of the ash of nuclear fission. That is lead-82.
The characteristic number on the 5 x 5 number square is 26. Iron has a 26 atomic number. Iron defines the limits of nuclear fusion on stars. When enough iron is fused at the core of a star, the star explodes. That is what creates the heavier elements.
What’s So Special About This Aspect of the Neolithic Periodic Chart
These numbers (26 and 82) point out a relation of fission to fusion. It does so as the ratio of a circle to a diameter. The number π is a mathematical constant, the ratio of a circle‘s circumference to its diameter, commonly approximated as 3.14159. It has been represented by the Greek letter “π” since the mid-18th century, though it is also sometimes spelled out as “pi” (/paɪ/).
The circumference of a circle is slightly more than three times as long as its diameter. The exact ratio is called π. π is commonly defined as the ratio of a circle‘s circumferenceC to its diameterd:
Let’s look once more at the two characteristic numbers. 1st on the 9 x 9 we have 82. Then on the 5 x 5 we have 26. Next, 82÷26 = 3.1538461…Using number squares, this becomes a close approximation of pi. Pi = 3.14159…What is even more remarkable is how the 3 x 3 number square ties into the formula. Look at the middle vertical column.
The top number is 9. When squared, it becomes the basis of the 9 x 9 square.
Just underneath we have the central 5. It becomes the basis of the 5 x 5 square.
The 1 represents the atomic number of hydrogen. Number one is unchageable by squaring. It is the the basic building block of all the elements. The central 9-5-1 column of the 3 x 3 number square is animated in the fisssion-fusion process by their squares. Ancients knew this. It’s about time we did.
Greco-Hebraic Bond by Number 3168. This “3168” figure is virtually ubiquitous throughout the ancient world. John Michell discusses 3168 in City of Revelation. Chapter VII is entitled: 3168, the Perimeter of the Temple. He also discusses how the number ties into measurement. Here is a brief excerpt.
31,680 inches = ½ mile.
31,680 feet = 6 miles
31,680 furlongs (660 feet) = radius of the Earth (3,960 miles).
By an ancient science called gematria, the Greeks equated 3168 with “Lord Jesus Christ.” See City of Revelation p.82. This is found in the ancient Greek practice of equating numbers and letters called gematria. Hebrew does the same. So do many ancient languages.
Greco-Hebraic Bond is Quite Unique
In my featured picture above we have the blueprint and numbers of “the ancient temple plan.” Here we find the Greco-Hebraic bond. This is a source of ancient building. The idea was to draw on the numbers of this blueprint. Whatever units of measure you used didn’t matter. The idea was to draw on the numbers. It could be numbers in shorter Egyptian cubits (1.718 feet) , Palestinian cubits (2.107 feet) , English yards (3 feet) or even megalithic yards (2.72 feet). Please notice the outer hexagon numbers 528 on each side. Multiply number 528 by the 6 sides of the hexagon and we have: 528 x 6 = 3168.
You are probably wondering how or where I discovered this ancient temple plan. I found it on beautiful Oquaga Lake. While I was hiking, the Oquaga Spirit offered me the vision in the featured blog picture. This spirit has became a part of my life. This is true even when I am away from Oquaga Lake. I’ve memorized every poem this spirit has dictated. I recite the poems to myself daily. The result was the poetry book entitled, The Oquaga Spirit Speaks. From the Greco-Hebraic bond to wisdom about number squares, the spirit freely offered knowledge to me. In turn I am sharing her knowledge with you.
Fourfold Celebration While You’re on the Subject. Why fourfold? The answer goes back to at least Mesolithic times. That is, 9,000 B.C. Number squares were at the basis of ancient cultures. The 1st possible odd number square is 3 x 3. It has one number at its center. Then comes 4 x 4. It has 4 numbers at its center.Below are the classic outlays of these number squares.
Genesis 1:1 is based on these 2 number squares. God described everyday of creation in the Torah as “good”. In Hebrew the letters double as numbers. An example: There was no separate “A” and #1. The Hebrew “aleph” “אָ”,was both “A” and #1. In this manner, the word for good, Tov, totals 17. Look up the Greek word, gematria. It defines the common shared symbols by number and letter. In Genesis everyday of creation is described “Tov”. (good), טוֹב. it is formed by the math 4 x 4 number square. Any row of 4 numbers totals 17. Also:
All potentialities for creation lie at the 4 fold core of this number square;
The numbers 1 to 16 total 136. Add them one after the other.
Now look at the square’s 4 central numbers. Cross multiply each set. Then add them. As- (10 x 7) + (6 x 11) = 136.
Next consideration. The he 3 x 3 number square defines limits. It confines as it is, at least on appearance, the smallest number square. On the last day of creation, God used the adjective “very” with the word, good.
“טוֹב “מְאֹד, “Very” has a 45 gematria.
Genesis I: 31 And God saw every thing that He had made, and, behold, it was very good. And there was evening and there was morning, the sixth day. Very “מְאֹד” in Hebrew has a 45 gematria. The numbers 1- 9 total 45. It defines the 1-9 square of three. God limits by this number square. Fourfold blossoms into full potential. The 3 x 3 number square is the smallest. When creation is finished, God draws on the 3 x 3. It limits. Thus, the final day is described as: טוֹב מְאֹד. “Very good.” He created, but he also stopped.
The Fourfold Celebration of Black Elk
Fourfold is at the basis of the vision of Black Elk. We find another fourfold celebration, He was from the Sioux Oglala tribe. Here is a small excerpt from one of my earlier blogs. For the full story click on the blue heading.
Black Elk was a medicine man for the Oglala Sioux Indians. He related his story to John Neihardt. In 1932 Neikhart published Black Elk Speaks: This is an excerpt.“Younger brother,” he said, “with the powers of the four quarters you shall walk”… (quote from an ancient grandfather speaking to Black Elk in Chapter 3 of Black Elk Speaks). Never overlook the wisdom of our own American Indians.
In the featured picture we have L. to R. : Ann Rutherford, Red Skelton, and Diana Lewis in the film Whistling in Dixie (1942)
Here’s How Music Lightens in “Whistle While You Work”. The lyrics by Larry Morey say it all!
Just whistle while you work
And cheerfully together we can tidy up the place
So hum a merry tune
It won’t take long when there’s a song to help you set the pace
And as you sweep the room
Imagine that the broom is someone that you love
And soon you’ll find you’re dancing to the tune
(Spoken: Oh, no, no, no, no! Put them in the tub)
When hearts are high the time will fly so whistle while you work.
In the year 2017 I often ask, where did whistling go? It was commonplace in the 1950’s. After, it seemingly dropped off the face of the Earth. So many people are now facing difficult times. Expenses are exceeding income. We need relief. Melodic music and whistling can offer that. In the 1950’s whistling annoyed me. Now I am thrilled when I hear someone whistling. I am a pianist by trade. Saturday night I was playing at the Gasparilla Inn. My selection was the Sound of Music. I was playing the Lou Singer arrangement. Suddenly, one of the customers started whistling. I couldn’t have been happier. My attitude had dramatically changed. I doubled up on my musical expression. .
As a Composer, I Champion a Return to Melody and Whistling
The proof of the pudding is in the tasting. Sample my compositions at this special event:
Meir’s Golden Roads: A Special Engagement
March 24 @ 11:00 am – 12:30 pm
$18.00 – $23.00
Meir’s GOLDEN ROADS: A One Woman Musical About Golda Meir. This original musical was written by the performers: Sharon Lesley Ohrenstein, singer, actor, librettist; and David Ohrenstein, pianist- composer. From Golda’s dream to its realization, Sharon plays multiple characters. Zion, in Shakespeare’s style in an actual spirit He is not only an idea. See how Zion becomes her guide and true love.
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:
Melodies Linger and Last Like all Good Things. A pleasant memory always stays with you. So does a beautiful melody. Beautiful melodies give rise to whistling or even humming. The whistler feels the need to outwardly express the tune within. Now I ask my reader: When is the last time you heard someone whistling. When I grew up in the 1950’s everyone seemingly whistled. This was true at a bus stop, in a drugstore or just by random pedestrians. I would go so far as to even say that whistling is a sign of a happy civilization.
Rubinoff Fell in Love With Beautiful Melodies
The violinist I worked with, Rubinoff, (featured picture) was good friends with Irving Berlin. He met Irving Berlin at soirees given on Sunday evenings by Victor Herbert, then conductor of the Pittsburg Symphony. At the time, beautiful melodies captured the imagination of the American public (circa 1910). So did the new fad, ragtime. Comparing the two styles he told Rubinoff: “Ruby, melodic music goes from your head straight to your heart. Ragtime goes straight from your head to your feet”. Berlin and Rubinoff loved both typres of music. Rubinoff said time and time again about countless melodies: “That’s the most beautiful melody I ever heard.” When he saw a beautiful girl, he would say the same. Here is an excerpt of lyrics from a song by Irving Berlin that also expresses this dual love relationship. It is Berlin’s 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
You can’t escape, she’s in your memory
By morning, night and noon
She will leave you and then come back again
A pretty girl is just like a pretty tune
I was also told a quatrain on Oquaga Lake. It is from my poetry book, The Oquaga Spirit Speaks. The American Indians loved the lake. It is all about how in difficult and challenging times, melody gives a feeling of solidity.
Time is just like music Do not play too fast. Speed burns too quickly, While melodies linger and last.