THEY are attempting to DENY us FOOD. Tit for tat, eh? We deny THEM our Energy, thus starving THEM to death. The moment we no longer subscribe to THEIR system of gold and gods and sin, they begin to eat themselves. Oh, yes, they are very cannabalistic. Jana is right: They will eat their young. 'Here, Leezard, Leezard...'
'Yes, Leezard, BITE into THIS 'taco':' "Any theory which cannot find a fitting place within the wave has no other place for it in Nature."
Now 'wave' goodbye to the Leezard....'Bye, Leezard...you just don't fit where we are going: Your heart is two sizes too small...'
------------------
HOW TO CHANGE THE WORLD BY SEEING IT THROUGH DIFFERENT EYES - OUR OWN!
http://www.svpvril.com/musicuni.html

It Really is a Musical Universe!

by Dale Pond

November, 1999

This article will appear in the Winter 2000 Edition of the

University of Science and Philosophy's quarterly magazine, The Cosmic Light

The Theory of a Musical Universe1<

"The universe consists solely of waves of motion." relates

Walter Russell in chapter 31 of A New Concept of the

Universe. Another way of saying this is: "There exists nothing

other than vibration." In Russell's statement lies the base for

his next blast at orthodoxy's belief in a material universe: "Any

theory which cannot find a fitting place within the wave has no

other place for it in Nature." Hard words for sure but can they

stand up to scrutiny? Is it possible to create a paradigm of

nature that is structured entirely on wave or vibration theory?

Investigating the pioneer work of John W. Keely's Sympathetic

Vibratory Physics2 would lead us to believe

this is so.

Logically speaking for such a paradigm to exist it would be

couched entirely in vibration terms and concepts and would evolve

from the simple to the complex addressing atomic phenomena all the

way through human activity. This author believes this can be done

albeit not exhaustively in so short a paper as this one. Inasmuch

as a premise voiced ought to be demonstrated it will herein be

shown how all vibration is intimately connected to all other

vibration thereby demonstrating 1) the interconnectedness of all

things and energies; 2) all things are they themselves built up

from simple vibration to complex chords using universal principles

of vibration alone; 3) there is no such thing as chaos in the

universe; 4) all things exist by virtue of harmony among the

vibrations that make it what it is; and 5) all things are

intimately connected by sympathetic

vibration.

 

Some of the information presented here was first published in

19913 and again in the author's book in

19944. This material represents the beginning of

the science side of the "science and philosophy" equation. The

universe vibrates from end to end and everything in it. Therefore

if we are to investigate and understand this awesome spectacle we

are obliged to investigate the nature of vibration.

 

If the universe were chaos there would be no harmony but only

degrees of chaos. All sound and vibration would be just plain

noise. Noise, therefore is unorganized vibration. But none can

doubt there is order recognizable throughout nature from the

uniformity of atomic structures and behaviors to spiral galaxies

whose swirling arms of orderly stars span light years and billions

of years of activity. This innate order has been long recognized,

researched and categorized and may be found in music theory. In

vibratory terms disorderly vibration can be organized in terms of

music principles. Therefore music is organized vibration or sound

set in orderly principles of structure and behavior. The

principles that make sound into harmonious music are the same

principles that govern all associating vibrations throughout the

universe - and that includes everything that there is. It will be

shown how any given vibration gives rise to a complex yet simple

series of subordinate vibrations known generally as harmonics and

these harmonics are relative to one another as are musical

intervals.

 

It is generally recognized that everything is a result of

vibration and each thing has its own chord of vibration or

vibration signature. This state of vibratory condition is

characterized in John Keely's Law of Corporeal Vibrations:

"All coherent aggregates when isolated from

like bodies, or when immersed or confined in media composed of

matter in a different state, vibrate at a given ascertainable

pitch." John Keely5

 

It is a well known and accepted fact that any vibration as in

a sound tone will give rise to its octave harmonics. These are the

harmonics generally acknowledged by science as multiples of 2,

which multiplication derives superharmonics, and divisions by 2

derive subharmonics. These types of harmonic products or results

of 2 are called octave harmonics. What is not so generally

acknowledged but nevertheless just as true is a tone will give

rise to harmonics not divisible 2 but divisible by other numbers

such as 3, 5, 7, etc. These other harmonics are developed from and

within the octave harmonic series first mentioned by the octave

harmonics interacting arithmetically with and among themselves and

with the fundamental. These spontaneously and naturally occurring

tones will add and subtract from each other in a perfectly orderly

manner giving rise to summation and difference tones sometimes

referred to as secondary, tertiary or higher harmonics. When these

summation tones are very powerful they are referred to as beat

tones or beat frequencies and are considered enharmonic. These

arithmetically derived harmonics are characterized in Keely's Law

of Cycles:

 

"Coherent aggregates harmonically united

constitute centers of vibration bearing relation to the

fundamental pitch not multiples of the harmonic pitch, and the

production of secondary unions between themselves generate pitches

that are discords, either in their unisons, or overtones with the

original pitch; from harmony is generated discord, the inevitable

cause of perpetual transformation." John Keely5

 

Vibrations are harmonious to one another when their aliquot

parts (factors and/or products) are the same. When these harmonics

form unisons or direct harmonic relations the two vibrating

aggregates and their chords of vibration are said to be

sympathetic to each other. This unison of frequency

dictates that what happens to one vibratorily happens to

the other simultaneously. In this case the vibrations of

each aggregate or chord and the vibrations active between each are

forming unisons or coincident harmonics and are therefore called

sympathetic vibrations. Vibrations are considered

enharmonic when their aliquot parts or factors are not similar.

Most vibrations will have similar factors and/or products and a

few dissimilar factors and/or products thereby giving rise to

varying degrees of harmony or dissonance whichever the case

may be.

 

In chart #1 we can see how this process works. Any harmonic

series or scale has a base frequency from which all its harmonics

are derived. This base tone is called its fundamental or key note.

In the chart a subharmonic of the musical note "C" is used as the

fundamental or foundation upon which are self-generated a series

of harmonics. This note has a frequency or rate of vibration of

256 cycles per second (cps) or a suboctave harmonic of middle "C".

The little squares contain a number representing the relative

amplitude or power of this note compared to the other notes soon

to be introduced. As a natural process of creative force this

fundamental tone will vibrate and this vibration will divide

itself into its own superharmonic of 512 cps (2 X 256) which will

in turn divide ad infinitum according to natural law. Concurrently

the number will also resonate and be sympathetic with subharmonics

of 128, 64, etc. This process of dividing into smaller and smaller

wavelengths is creative and evolutionary and

according to the Law of Harmonic Vibrations:

 

"All coherent aggregates are perpetually

vibrating at a period-frequency corresponding to some harmonic

ratio of the fundamental pitch of the vibrating body; this pitch

is a multiple of the pitch of the atomole [a subatomic

unit]." John Keely5

 

This new frequency of vibration is the octave harmonic of the

fundamental (2 X 1) and is shown placed in the 2nd octave row

directly above the first "C¹" vibrating on the 1st

octave row. The same process continues to unfold for virtually

uncountable octaves creating higher and higher frequencies in ever

more rising octaves. We will refer to this second "C" as

"C²" and so forth for each octave. So far so good, we

have a harmonic series born from the lone "C" stretching into

infinity both above the progenitor as superharmonics and below it

as subharmonics. So in the beginning there was One....

C¹ is the creator of C² which is the created

and so forth. This family of "Cs" are all related by number and

this relationship of number can be discovered by factoring and

multiplying.

 

256 factors into: 1X2X2X2X2X2X2X2X2. With this it can be seen

the "C" family "gene" (factors) is constructed of a 1 and eight 2s

or reduced to simply 1 and 2.

 

The number 1 will be seen to be shared by all other numbers

since all numbers contain 1. One is the ultimate Progenitor having

its essence in every thing that was created from it. Therefore One

permeates all vibrations equally everywhere and is sympathetic to

them all equally.

 

Vibrations are dynamic things not unlike living things.

They are creative and evolutionary simultaneously. They are active

and prolific in their dynamics as are their harmonic offspring.

These discrete tones of the harmonics interact with each other as

they intermingle. Being primarily number oriented they will, in a

very natural way mix, merge and divide among themselves just like

living cells as detailed in the Law of Cycles already mentioned,

the Fibonacci series or Golden Mean and according to the Law of

Harmonic Pitch:

 

"Any aggregate in a state of vibration

develops in addition to its fundamental pitch a series of

vibration in symmetrical sub-multiple portions of itself, bearing

ratios of one, two, three, or more times its fundamental pitch."

John Keely5

 

C¹ will add its numerical value to C²

and create a third number: 768 cps, which in terms of "Cness"

means little. But in relative terms it can be seen the 768 is 3

times the original C¹ of 256 cps while 512 cps is 2

times the Creator pitch. These terms of degrees of

relativity are then 3 is to 2 as 768 is to 512 . The 3:2

(768:512 reduced to their least common denominators) ratio is a

musical ratio of a Perfect Fifth. In this first ratio of

spontaneously created harmonics we can see how a base tone gives

rise to a naturally occuring harmonic that is identical to two

musical notes representing a perfect musical interval of a Perfect

Fifth.

 

768 factors into: 1X2X2X2X2X2X2X2X2X3. The "G" family "gene"

is contructed of a 1, eight 2s and a 3. Reduced down we see a

Fibonacci connection to the "C" family being 1 + 2 = 3 thus

deriving all three "genes" or originating substance of the family.

The Fibonnacci series was developed as a result of analysis of the

reproduction rate of rabbits, living things. And in these musical

notes we see the same genre of self-replicating activity playing

throughout the universe.

 

The next harmonic to be born of the intermingling of the lower

tones is the rate of 1280 resulting from the additive summation of

512 cps to 768 cps. As an additional impetus to life 1280 is also

given more life force by adding in the energy of the 1st harmonic

of G being 1536 - C¹ = 1280. This naturally derived

rate of vibration is equivalent to the musical note "E". E is a

musical Major Third above the patriarchal family of C and a Minor

Third below the matriarchal family of G.

 

Interestingly these three first notes derived from a

fundamental form the Great Triadic Chord of C, E & G long

considered as the most harmonious of all chords. This chord is

formed of musical Minor and Major thirds combining to form a

Perfect Fifth. This author believes this natural process is

revealed allegorically in the first few chapters of Genesis

demonstrating the seven intervals of creation resulting from

Divine Voice (sound) and Light then evolutionary steps forming the

material existence of Adam (C) and Eve (G), i.e., man and

woman. In other words, Genesis is an ancient and enlightened

scribe's attempt at detailing and conveying what they perceived as

this creationist and evolutionary process of life becoming and

being what it is - a rhythmic vibratory dance, oscillating and

undulating motions governed by the rules of music development.

Please notice the intimate connection of threes to nature as

regarded by both Russell and Keely:

 

"The seceret of man's ability to control his

universe lies in the knowledge of the tonal octave wave and its

field. Therefore know the wave in all of its simplicity of

three-times-three in numbered effect, multiplied to infinite

complexity but still not passing beyond the three-times-three of

man's easy comprehension." Walter Russell, A New Concept of the

Universe, page 56.

 

"Rotation arises through the harmonic

interactions of the dominant and enharmonic modes of vibration, in

the ratio of 3:9." John Keely, Snell

Manuscript

 

E's "gene pool" is again different from its progenitors:

 

1280 factors into: 1X2X2X2X2X2X2X2X2X2X5. This "gene pool"

reduces to 1, 2 and 5 wherein we can see the harmonious connection

to the C and G families in the 1 and 2 being common "genes" or

factors of multiplicity which establish a degree of "sympathy" or

harmony between tones. And the Fibonacci aspect is seen again: 1 +

2 = 3 and 2 + 3 = 5.

 

Next in line of procreation is "D" having 2304 cps. The "D"

family of harmonics are created from a merging of G¹ +

G² = 2304 and C³ + E¹ = 2304 . D

is therefore offspring of several combinations of progenitor tones

and has relatively high power of 16.

 

2304 factors into: 1X2X2X2X2X2X2X2X2X3X3. D's gene pool

reduces to 1, 2 and 3 same as the G family just a musical and

harmonic Fifth away. While E is a musical third from its parents C

and G while D is only a musical Second away. A third in musical

terms is considered more harmonious a relationship than a Second

which is considered somewhat discordant. The reason for this is

the closeness of the numbers. The ratio of numbers in a Second may

be so close that when they subtract from one another there arises

a slight difference which can become a beat tone and it is this

difference that gives rise to the perceived "harshness" of sound

of a chord made of these two tones when played together. This new

beat tone may have a factor set of numbers not wholely similar to

its prgenitors. One could liken this "marriage" of Second tones to

an interfamilial one wherein offspring may be "aberrant" in

formation and or activity. When sounded sequentially one after the

other there is a degree of harmony but together they do not make

harmonious music due to the enharmonic character of the beat

tone.

 

Another interesting harmonic born of this process of evolution

of harmonies is an interval close to the note F. An arithmetically

derived Perfect Fourth (3:4) above C⁴ (2048) would

yield F at 2730.6 which would be enharmonic. However a naturally

occuring summation tone of C⁴ (2048) + G¹

(768) yields 2816 (F) which coincides with a musical Perfect

Fourth derived from C⁴ (2112) when A=440. What this

shows is the "pedigree" of a number determines how its harmonics

will interface with itself being then harmonious or discordant to

some degree. By simply shifting the fundamental by a digit or two

changes the degree of concordance. But this area of music and

harmony excedes the scope of this brief paper. This conversion

from naturally occuring harmonics to artifically derived musical

intervals7 is outside the scope of this short

discussion. The writer wishes to simply present the idea that all

sounds or vibrations when considered as a fundamental will yield a

complex series of octave and nonoctave harmonics following the

rules that govern music development which are in reality an

attempt to mirror naturally occuring activities among

vibrations.

 

There is another kind of additive and subtractive synthesis

going on in vibrations as they interact. This summation or

difference is in the POWER of the vibrations. Throwing a pebble in

a calm pool of water will give rise to concentric rings of waves

expanding outward. The rings of waves possess two basic wave

characteristics. Each ring is composed of a raised portion of

water and a sequential portion of lowered water each portion being

above and below the normal level of the water respectively. If

another pebble is thrown into the water a second series of

concentric rings will arise. The two series of rings will

interact. Where the crest of a wave meets another crest of a wave

from the other ring series the two crests will add their height to

each other thereby creating a momentary increase in height above

the unadded portion of each wave. And where a trough meets a

trough the reverse will be true. In sound waves this adding and

subtracting will occur with harmonics and harmonics of harmonics

resulting in quite complex wave configurations.

 

The Proof

 

All good theories require a proof before they can be accepted.

In our case of musical octave and nonoctave harmonics arising from

all vibrations we can present a model.

 

In November 1989 Sound & Vibration6

magazine published an interesting article on Chladni wave plate

modes and frequencies. The latest technology was used to record

and tabulate this intriguing phenomenon. The aim was to find the

various naturally occuring frequencies and modes of a vibrating

square plate when forced to vibrate thus revealing its natural

frequencies or modes of resonance.

 

In finding the interrelationships of the vibratory activities

along the lines of our theory a table of these naturally occuring

frequencies and modes was prepared, see chart #2. Common music

note intervals are compared along with the various modes and

frequencies discovered. It is very interesting to see that the

naturally occuring frequencies when compared one to

another, as is done with musical pitches to derive intervals,

all fall very close to known musical intervals7!

 

Ratio : Ratio	MUSICAL INTERVAL	DECIMAL	DIFFERENCE
		EQUIVALENT
Mode 3 : Mode 2
1472 : 1207 cps		1.219...
6 : 5	Minor Third	1.2	.019
5 : 4	Major Third	1.25	.031
Mode 4 : Mode 3
2105 : 1472 cps		1.430...
64 : 45	Diminished 5th	1.4222	.0078
36 : 25	Diminished 5th	1.44	.01
Mode 2 : Mode 1
1207 : 817 cps		1.477...
36 : 25	Diminished 5th	1.44	.037
3 : 2	Perfect 5th	1.5	.023
Mode 4 : Mode 2
2105 : 1207 cps		1.743...
125 : 71	Augmented 6th	1.736...	.007
7 : 4	Harmonic 7th	1.75	.007
Mode 3 : Mode 1
1472 : 817 cps		1.801...
9 : 5	Tonic 7th	1.8	.001
15 : 8	Major 7th	1.875	.074
Mode 4 : Mode 1
2105 : 817 cps		2.576...
5 : 2	Major 10th	2.5	.076
8 : 3	Perfect 11th	2.666...	.09
	©copyright	Dale Pond,	1990-1999

Chart 2

 

Taking just two modes by way of example, "Mode 3" and "Mode

2," we see the difference between these two numbers is only

19/1000ths greater than a Minor Third. The difference between this

naturally occuring interval and a Major Third is only 31/1000ths.

The differences of some of the other numbers are even closer to an

accurate musical interval. This becomes significant when a

vibration of 1207 cycles per second in the Mode 2 pattern could

generate a Mode 3 pattern at 1472 cps by simply increasing the

1207 cps by a musical third, a simple arithmetic

procedure.

There would be no complicated mathematical calculation

required to calculate or predict this new frequency. The

right-brain art of music would win out in its simplicity (chart

#3). In other words, the right brain simplicity would succeed

easily over the left brain complications (chart #2). Even more

significant is the grasp we would weld over a complicated subject

(chart #4). This simple insight gives us the Holy Grail of

science: Predictability. The resultant frequencies can be

accurately predicted before attempting the experiment. Thus

instead of finding a series of unrelated frequency numbers we find

a highly relative and organized phenomenon - pure harmony where

chaos was thought to be.

 

Musical intervals are the distances between pitches (relative

frequencies). An interval is the amount of change (Delta) between

the pitches. The frequencies can be set up as algebraic variables

set to a given difference in quantity just like symbolic notes

on a staff. See chart #3. It would then be easy to determine

the resultant secondary frequencies and modes from this

fundamental number by using the decimal values given above or

simply marking another note symbol a musical third, fifth, etc.

accurately representing a harmonic naturally derived. In other

words: when given a vibrating plate of these dimensions and

characteristics it would be a simply matter to predict its

vibrational behavior using these musical intervals and

understandings. An in-depth, left-brain, time-consuming and

expensive analysis would not be required.

 

Thus we can see our theory as stated earlier is accurate in

its concept, execution and in the information it yields. Proving

then, it really is a Musical Universe! which is both

created and evolved from its vibratory root of One

demonstrating there is no conflict between concepts of a

created universe and theories supporting material

evolution. Both these concepts work hand in hand to

manifest, choreograph and present the spectacle of beauty,

structure, dynamics, utility and love seen all around us. Genesis

records God as having said Light into Being but perhaps it

would be more accurate to say God sang Light into Being as

the prelude to our Cosmic dance?

 

References

 

1 http://www.svpvril.com

 

2 Keely

and His Discoveries

Clara Jessup Bloomfield-Moore

http://www.svpvril.com/svpweb2.html

 

3 The

Journal of Sympathetic Vibratory Physics

Volume V, Issue 3, page 8

http://ww.svpvril.com/svpweb2.html

 

4 Universal

Laws Never Before Revealed: Keely's Secrets

http://www.svpvril.com/svpweb2.html

 

5 http://www.svpvril.com/fortylaw.html

 

6 Sound & Vibration magazine

Acoustical Publications, Inc.

27101 E. Oviatt Rd.

P.O. Box 40416

Bay Village, OH 44140

(216) 835-0101

 

7 Complete list of these intervals can be found

in:

http://www.svpvril.com/musint.html

 

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