RENAISSANCE OF RESONANCE by Jim Doney Mandalatrece
Reading Code:
1. The word the has been changed to tha in this work. It can provoke a definite change in our reading perception. Tha implies tha ancient sound of Ahh which resonates in our central chakra tha heart.
2. Tha word Constellation simply defines tha almost infinite combinations of visual geometric relationships resulting from tha creative placement or configuration of tha bridges placed on tha exact Pythagorean harmonic points of each string of tha Pythagorean Kanon
3. If you havent yet clicked on tha Listen Page please do so before you begin reading about the Kanon.
If what they say is true - A picture is worth a thousand words - then - A song is worth a thousand thoughts
Tha Pythagorean Harp* or Kanon** as it was referred to by tha original Pythagoreans is an acoustic musical string instrument which may be likened to a sonic cosmic map indicating where we may find our unique inner song, and be ever more in harmony with our emotional, sacred, and energetic bodies through the healing nature of sound. By using tha laws of harmonics according to Pythagoras, we activate in each one of us our personal sonic code relating to our unique DNA. In tha Here and Now, we create a new song each and every time we play.
As you study these Pythagorean musical laws, you can listen to tha revelation of an intuitive, subjective yet precise mathematics within tha strings of the Pythagorean harp. Rhythm, tonal vibration, and harmony are actually tha source of tha creation of mathematics and not tha other way around, as many people think.
This musical instrument is an adaptation of tha original Pythagorean Monochord. Although tha monochord by definition has only one string, according to Pythagoras tha One Universe beholds Many Worlds. Although containing several strings the Pythagorean Harp or tha Kanon is still referred to as a monochord because the strings have tha same length and thickness, a subtle yet obvious difference from all the other stringed instruments we are familiar with. This creates a unique form of Pythagorean magic which sonically can aid greatly in our contemporary search for the understanding of cosmic reality. This begins with looking within and utilizing these resonance laws as a tool for self/ harmonization.
As you study these Pythagorean musical laws, you can listen to tha revelation of an intuitive, subjective yet precise mathematics within tha strings of the Pythagorean harp. Rhythm, tonal vibration, and harmony are actually tha source of tha creation of mathematics and not tha other way around, as many people think.
This musical instrument is an adaptation of tha original Pythagorean Monochord. Although tha monochord by definition has only one string, according to Pythagoras tha One Universe beholds Many Worlds. Although containing several strings the Pythagorean Harp or tha Kanon is still referred to as a monochord because the strings have tha same length and thickness, a subtle yet obvious difference from all the other stringed instruments we are familiar with. This creates a unique form of Pythagorean magic which sonically can aid greatly in our contemporary search for the understanding of cosmic reality. This begins with looking within and utilizing these resonance laws as a tool for self/ harmonization.
My discoveries began when I was 26 years old listening to a lecture by Professor Robert Gottlieb in 1976 on tha theme The Music of the Spheres while attending The Evergreen State College in Olympia, Washington, USA.
According to Gotlieb Pythagoras's monochord was Pythagoras's most important legacy- his experience of sonic mathematics functioning as a bridge between music and tha cosmic mechanisms, thereby utilizing numerical codes to understand universal creation in musical terms first, then secondly as number, and thirdly as geometry and astronomy. It has been said that Pythagoras’s last words to his disciples upon dying were "study tha monochord".
After Professor Gottlieb's lecture Tha Music of the Spheres, he lent me his four-stringed monochord, also referred to by tha original Pythagoreans as a Tetrachord (Translated 4 Strings). That night I experimented till the break of dawn, improvising with a pair of chopsticks. Since then I have been totally fascinated by tha Monochord, tha Kanon and tha Pythagorean Mysteries. I have developed over tha years a pedagogy of Pythagorean music theory that applies to
Self/Harmonization, Resonance Healing and Alternative Music Education utilizing this instrument. In my process of evolution, I have designed three models of the Pythagorean Harp, each with their progressive step by step, simplistic learning challenges; with four, seven, and thirteen equal-length strings. They generally (but not always) use moveable bridges in order to divide tha strings at the Pythagorean harmonic points. Tha Harps are performed with a pair of sticks and sometimes a violin bow. Two or three harps may also be played in ensemble or performed by one person.
According to Gotlieb Pythagoras's monochord was Pythagoras's most important legacy- his experience of sonic mathematics functioning as a bridge between music and tha cosmic mechanisms, thereby utilizing numerical codes to understand universal creation in musical terms first, then secondly as number, and thirdly as geometry and astronomy. It has been said that Pythagoras’s last words to his disciples upon dying were "study tha monochord".
After Professor Gottlieb's lecture Tha Music of the Spheres, he lent me his four-stringed monochord, also referred to by tha original Pythagoreans as a Tetrachord (Translated 4 Strings). That night I experimented till the break of dawn, improvising with a pair of chopsticks. Since then I have been totally fascinated by tha Monochord, tha Kanon and tha Pythagorean Mysteries. I have developed over tha years a pedagogy of Pythagorean music theory that applies to
Self/Harmonization, Resonance Healing and Alternative Music Education utilizing this instrument. In my process of evolution, I have designed three models of the Pythagorean Harp, each with their progressive step by step, simplistic learning challenges; with four, seven, and thirteen equal-length strings. They generally (but not always) use moveable bridges in order to divide tha strings at the Pythagorean harmonic points. Tha Harps are performed with a pair of sticks and sometimes a violin bow. Two or three harps may also be played in ensemble or performed by one person.
*Technically speaking this instrument is not a member of tha harp family, although through activating Pythagorean harmonic points it sounds very harp/like, thus my reason for calling it a “harp”. It's basic construction does however resemble many other ancient as well as modern instruments which also have: wooden boxlike cavities with resonating strings which may be tonally separated by movable bridges; and triggered by striking the strings with sticks, or sometimes bowed or plucked. Examples: Dulcimer, Santoor, Koto, Salterio, to name a few. There is an ancient similar Turkish instrument called a Qanun which dates back to about 1,500 years after Pythagoras’s time and today is still an active and evolving tradition. Is it possible there is a link here with tha ancient Kanon of the Pythagoreans?
**According to Nicomachus the Pythagorean tha name of this musical instrument of tha Pythagoreans is tha Kanon (The Manual of Harmonics pg. 61, IBSN 0- 933999-43-7, 100 AD).
The definition of tha word kanon in ancient Greek (Pythagoras’s time) signifies: undisputed law.
The definition of tha word kanon in ancient Greek (Pythagoras’s time) signifies: undisputed law.
I believe Pythagoras’s real message to humanity is tha revelation to activate tha ancient practical secrets of self/ harmonization: utilizing rhythm, vibration, and harmonic resonance according to tha ancient laws of tha finely tuned
rainbow musical modes.
These special tones as created on a Pythagorean Kanon are quite unique compared to other stringed instruments because they amplify the pure overtones and undertones (tha harmonics) of tha perfect resonance of octaves, 4ths and 5ths. By tuning the Kanon to a perfect Pythagorean Scale instead of your contemporary equal temperament all the notes become harmonically related with each other.
Tha exactly tuned Pythagorean Overtones create a precise wheel of intervals utilizing tha exact 3/2 proportion which are actually tha sonic resonant representations of tha geometric symbol known as Tha Flower of Life which mirrors the laws of Universal Creation at its Source. When properly utilized on a Pythagorean Kanon they actually reference us to where it is we are going in space and time. And tha Pythagorean Undertones utilizing tha 2/3 proportion represent the Universal Anti-matter, and refer us to where it is we are coming from in space and time.
Tha practical formula as practiced on a Pythagorean Harp is activated by creating a unique constellation each time you play. By choosing one of 9 or thirteen harmonic points on each of tha strings that utilize small pyramid like bridges and then by intuitively tuning tha tension of each of tha strings you begin to design your cosmic map which relates to your innate ability for self-harmonizing according to your unique DNA. Thus we create a bridge to tha understanding of creation as it applies to all of tha Muses and also can provide us enhanced harmonic abilities in dealing with our relationships, our physical and emotional balance, as well as our actions. Contrary to tha version of the incorrect “Pythagorean” triangle taught to us in school, the real Cosmic Triad as practiced by the original Pythagoreans is actually a model of universal creation, the sonic source of the geometric figure the Flower of Life. This Cosmic Trinity in action is a sonic map of the essential creative access codes revealing to us a practical understanding of the universal force field and how from it Yin(2) and Yang(3) generate all life and movement, as well as our ability to actualize exponential growth utilizing this Creative Harmonic Science.
rainbow musical modes.
These special tones as created on a Pythagorean Kanon are quite unique compared to other stringed instruments because they amplify the pure overtones and undertones (tha harmonics) of tha perfect resonance of octaves, 4ths and 5ths. By tuning the Kanon to a perfect Pythagorean Scale instead of your contemporary equal temperament all the notes become harmonically related with each other.
Tha exactly tuned Pythagorean Overtones create a precise wheel of intervals utilizing tha exact 3/2 proportion which are actually tha sonic resonant representations of tha geometric symbol known as Tha Flower of Life which mirrors the laws of Universal Creation at its Source. When properly utilized on a Pythagorean Kanon they actually reference us to where it is we are going in space and time. And tha Pythagorean Undertones utilizing tha 2/3 proportion represent the Universal Anti-matter, and refer us to where it is we are coming from in space and time.
Tha practical formula as practiced on a Pythagorean Harp is activated by creating a unique constellation each time you play. By choosing one of 9 or thirteen harmonic points on each of tha strings that utilize small pyramid like bridges and then by intuitively tuning tha tension of each of tha strings you begin to design your cosmic map which relates to your innate ability for self-harmonizing according to your unique DNA. Thus we create a bridge to tha understanding of creation as it applies to all of tha Muses and also can provide us enhanced harmonic abilities in dealing with our relationships, our physical and emotional balance, as well as our actions. Contrary to tha version of the incorrect “Pythagorean” triangle taught to us in school, the real Cosmic Triad as practiced by the original Pythagoreans is actually a model of universal creation, the sonic source of the geometric figure the Flower of Life. This Cosmic Trinity in action is a sonic map of the essential creative access codes revealing to us a practical understanding of the universal force field and how from it Yin(2) and Yang(3) generate all life and movement, as well as our ability to actualize exponential growth utilizing this Creative Harmonic Science.
PYTHAGOREAN MUSIC THEORY
THA THREE LAWS OF RESONANCE
THE INCORRECT “PYTHAGOREAN TRIANGLE”
Today, as is incorrectly taught us in school and yet according to Plato and Aristotle, it was Pythagoras who had discovered tha mathematical formula which gives us a solution to tha length of the largest side of a right triangle (a squared + b squared = c squared). Not so. This so called “Pythagorean Triangle” was in fact utilized by tha Babylonians since at least 1000 years before Pythagoras’s lifetime (“Lost Discoveries, The Ancient Roots of Modern Science – from tha Babylonians to the Maya”pg. 7 by Dick Terese ISBN 0-684-83718-8).
It may be (according to a contemporary, popular Lebanese author Karim El Koussa who wrote Pythagoras,the Mathemagicion (ISBN 978-1-934597-16-3) that Pythagoras’s father and his mother were both Phoenicians from the great Mediterranean city of Soudon. According to this theory, Pythagoras, a Phoenician - not a Greek, grew up in the great city of Soudon as a todler and later, as a young boy, his family settled on the Greek island of Samos. Why then have we not been taught this in school? Have we been duped into believing that Pythagoras tha "Greek" was tha first philosopher and mathematician in the world in order to (incorectly) give tha Occidental World credit for creating “civilization"?
The Real Pythagorean Triangle as I have researched it is a Hermetic/Chinese/Essenic resonance code essential to tha practical application of tha harmonic mathematics transmitted to Pythagoras probably through tha Essenes who were then still practicing tha musical secrets of Solomon. We are just now (2600 years later) beginning to understand tha possibilities of using this extremely simple resonance formula using a Pythagorean Kanon which I believed was secretely used in the Pythagorean Ceremonies and possibly many thousands of years before Pythagoras according to recent information concerning tha great ancient civilizations that predate Greece. Pythagoras’s musical secrets were not discovered by him but recovered by him- connecting tha still living Hermetic secret traditions of his time.
We know Pythagoras’s musical knowledge was transmitted only by himself directly and in secret to his disciples.
My personal opinion is that his practical music teaching was at tha source of all his cosmic knowledge. Pythagoras was a sort of musical avatar with a knowledge kept so secret that until now we are finally ready as an evolving civilization to receive this special gift of quantum resonance or practical string theory.
One of tha undisputed laws of Pythagoras was his Law of Silence. Pythagoreans never wrote anything down. His disciples were required to participate in a a 4 year practice of absolute silence before being considered to be allowed entrance to tha Inner Temple of Mysteries where I believe tha Universal Laws and Harmonic Principles were demonstrated by Pythagoras to his Inner Temple Disciples; not utilizing tha written word but revealed on tha musical instrument known as tha Kanon, or Pythagorean Harp, and since they (the Pythagoreans) never wrote anything down, tha Kanon was in effect their secret living Bible, expressing tha 3/2 Yin/Yang Cosmic Law of 3 limit mathematical acoustic nature which never changes within an ever changing constellation by altercating the many small individual movable bridges and by also altercating the tension of each string either up or down in frecuencies matching exact Pythagorean harmonics. Tha result is a radiant cosmic sonic creation of tha Pythagorean Rainbow Modes. That is to say tha music spontaneously composed and intuitively created on the Kanon always changes (similar to jazz improvisers and world music virtuosos today) yet uniquely with the 3/2 spiraling Pythagorean scale where tha underlying unchanging principle of harmony are the 3 laws: tha monadic principle of a vibrating string ,tha law of doubling( the octave), and tha sacred 3/2 interval which uniquely transforms source energy into an infinite spiral at tha quantum and cosmic level of creation.
After a vow of 4 years of silence in order to join Pythagoras’s inner circle I believe his disciples actually could keep a secret hence the confusion in our contemporary theoretical body of historical music relating to Pythagoras. Perhaps he actually understood and could practice an ancient Hermetic sonic formula relating to a spiritual science which reveals access for humanity to tha portal of spherical time, as well being a primary catalyst to promote lucid dreams, galactic and inter-dimensional travel, experiences of life after death, perfect health, abundance, and divine miracles.
Today, as is incorrectly taught us in school and yet according to Plato and Aristotle, it was Pythagoras who had discovered tha mathematical formula which gives us a solution to tha length of the largest side of a right triangle (a squared + b squared = c squared). Not so. This so called “Pythagorean Triangle” was in fact utilized by tha Babylonians since at least 1000 years before Pythagoras’s lifetime (“Lost Discoveries, The Ancient Roots of Modern Science – from tha Babylonians to the Maya”pg. 7 by Dick Terese ISBN 0-684-83718-8).
It may be (according to a contemporary, popular Lebanese author Karim El Koussa who wrote Pythagoras,the Mathemagicion (ISBN 978-1-934597-16-3) that Pythagoras’s father and his mother were both Phoenicians from the great Mediterranean city of Soudon. According to this theory, Pythagoras, a Phoenician - not a Greek, grew up in the great city of Soudon as a todler and later, as a young boy, his family settled on the Greek island of Samos. Why then have we not been taught this in school? Have we been duped into believing that Pythagoras tha "Greek" was tha first philosopher and mathematician in the world in order to (incorectly) give tha Occidental World credit for creating “civilization"?
The Real Pythagorean Triangle as I have researched it is a Hermetic/Chinese/Essenic resonance code essential to tha practical application of tha harmonic mathematics transmitted to Pythagoras probably through tha Essenes who were then still practicing tha musical secrets of Solomon. We are just now (2600 years later) beginning to understand tha possibilities of using this extremely simple resonance formula using a Pythagorean Kanon which I believed was secretely used in the Pythagorean Ceremonies and possibly many thousands of years before Pythagoras according to recent information concerning tha great ancient civilizations that predate Greece. Pythagoras’s musical secrets were not discovered by him but recovered by him- connecting tha still living Hermetic secret traditions of his time.
We know Pythagoras’s musical knowledge was transmitted only by himself directly and in secret to his disciples.
My personal opinion is that his practical music teaching was at tha source of all his cosmic knowledge. Pythagoras was a sort of musical avatar with a knowledge kept so secret that until now we are finally ready as an evolving civilization to receive this special gift of quantum resonance or practical string theory.
One of tha undisputed laws of Pythagoras was his Law of Silence. Pythagoreans never wrote anything down. His disciples were required to participate in a a 4 year practice of absolute silence before being considered to be allowed entrance to tha Inner Temple of Mysteries where I believe tha Universal Laws and Harmonic Principles were demonstrated by Pythagoras to his Inner Temple Disciples; not utilizing tha written word but revealed on tha musical instrument known as tha Kanon, or Pythagorean Harp, and since they (the Pythagoreans) never wrote anything down, tha Kanon was in effect their secret living Bible, expressing tha 3/2 Yin/Yang Cosmic Law of 3 limit mathematical acoustic nature which never changes within an ever changing constellation by altercating the many small individual movable bridges and by also altercating the tension of each string either up or down in frecuencies matching exact Pythagorean harmonics. Tha result is a radiant cosmic sonic creation of tha Pythagorean Rainbow Modes. That is to say tha music spontaneously composed and intuitively created on the Kanon always changes (similar to jazz improvisers and world music virtuosos today) yet uniquely with the 3/2 spiraling Pythagorean scale where tha underlying unchanging principle of harmony are the 3 laws: tha monadic principle of a vibrating string ,tha law of doubling( the octave), and tha sacred 3/2 interval which uniquely transforms source energy into an infinite spiral at tha quantum and cosmic level of creation.
After a vow of 4 years of silence in order to join Pythagoras’s inner circle I believe his disciples actually could keep a secret hence the confusion in our contemporary theoretical body of historical music relating to Pythagoras. Perhaps he actually understood and could practice an ancient Hermetic sonic formula relating to a spiritual science which reveals access for humanity to tha portal of spherical time, as well being a primary catalyst to promote lucid dreams, galactic and inter-dimensional travel, experiences of life after death, perfect health, abundance, and divine miracles.
THE REAL SONIC PYTHAGOREAN TRIANGLE IS EQUALATERAL, REPRESENTING THE TRINITY WHICH DESCRIBES UNIVERSAL CREATION IN MUSICAL TERMS.
We now may have found tha First Piece of tha Quantum Puzzle:
In The Beginning was tha Word:
“Resonance”
We now may have found tha First Piece of tha Quantum Puzzle:
In The Beginning was tha Word:
“Resonance”
THE LAW OF ONE
The Law of One is referred to by tha Pythagoreans as tha Monad. The Chinese referred to it as tha Tao or the Way of Silence whence the Resonance of Creation or Pythagoras’s idea of tha Universal Monochord comes from. The Physicists have now discovered Dark Energy which is mathematical proof of what tha Chinese knew thousands of years ago - that tha nothing in space is actually something (actualy 96% of the energy in our universe): in other words tha Tao or Source Field of energy itself. Tha Monad expresses Tha Cosmic All and Everything. It is most effectively represented by tha Monochord , a one stringed instrument used by tha Pythagoreans which sonically mirrors tha source field of multi/universal creation. In musical scale terminology it represents tha Tonic or Principal Key Note of tha Harmonic Pythagorean Modes.
The Law of One is referred to by tha Pythagoreans as tha Monad. The Chinese referred to it as tha Tao or the Way of Silence whence the Resonance of Creation or Pythagoras’s idea of tha Universal Monochord comes from. The Physicists have now discovered Dark Energy which is mathematical proof of what tha Chinese knew thousands of years ago - that tha nothing in space is actually something (actualy 96% of the energy in our universe): in other words tha Tao or Source Field of energy itself. Tha Monad expresses Tha Cosmic All and Everything. It is most effectively represented by tha Monochord , a one stringed instrument used by tha Pythagoreans which sonically mirrors tha source field of multi/universal creation. In musical scale terminology it represents tha Tonic or Principal Key Note of tha Harmonic Pythagorean Modes.
THE LAW OF TWO
.. Tha Law of 2 Yin (Tha Law of Doubling) or in common musical terms Tha Law of tha Octave. This is tha phenomena we have known about throughout tha ages. Any frequency, for example, tha musical note A at 222hz ,will be lower in pitch and at the same moment be equal to A 444 and therefore also equal to A 888 and so on (doubling in one direction or halving in the other direction) to infinity: The psychological and cosmological implications to this concept are vast. It implies 2=1 which our solidly accepted real world perceived by our other non-auditory senses does not compute. 2=1 is tha musical solution to the enigma of quantum mechanics: ”is tha smallest microcosmic reality a wave? or a particle? or both”. Music does show us the real truth, and if only used correctly can reveal to us that separation is unity. Applying tha Law of the Octave we can access any supersonic frecuency or even minute waves and particles on the infinite spiral of creation by using the formula 1=2=4=8=16=32=64=128=256 to infinity and applying that theory backwards from whatever sonic or even super/sonic frequency (or forward from a slower than sound frecuency like an electromagnetic field for example) , until it returns to us becoming an audible listening frequency that we can apply on tha Pythagorean Harp.
The Duad expresses the number 2, The Yin Principle. It represents the Bridge of the Universal Monochord which divides the monadic string in two equal parts, becoming the twin octaves of the original monadic key note. These twin vibrations demonstrate the harmonic Law of the Octaves, that tha number 2, the Cosmic Doubler and Separator is actually and paradoxically equal to tha number 1. Therefore tha proportional points on the monochord which demonstrate tha law of the Duad are 1/1 (as previously explained), 2/1, 4/1, 8/1, and inversely 1/2, 1/4, 1/8. Any of these points intuitively chosen by setting a bridge on selected strings of a Kanon will provide harmonic grounding when creating a constellation. This sonic phenomena relates biologically to tha negative charge (also charged with dark energy because of its special cosmic relationship with the One ) and also the grounding end of the axis of our bodies toroidal electromagnetic biofield. We can receive that ground straight from the exact center of the earth and on through our first 3 chakras and settling into our heart chakra which is located in the exact center of our electromagnetic biofield.
Hence The # 1 and the #2 set the stage for tha multitude of creation to begin:
.. Tha Law of 2 Yin (Tha Law of Doubling) or in common musical terms Tha Law of tha Octave. This is tha phenomena we have known about throughout tha ages. Any frequency, for example, tha musical note A at 222hz ,will be lower in pitch and at the same moment be equal to A 444 and therefore also equal to A 888 and so on (doubling in one direction or halving in the other direction) to infinity: The psychological and cosmological implications to this concept are vast. It implies 2=1 which our solidly accepted real world perceived by our other non-auditory senses does not compute. 2=1 is tha musical solution to the enigma of quantum mechanics: ”is tha smallest microcosmic reality a wave? or a particle? or both”. Music does show us the real truth, and if only used correctly can reveal to us that separation is unity. Applying tha Law of the Octave we can access any supersonic frecuency or even minute waves and particles on the infinite spiral of creation by using the formula 1=2=4=8=16=32=64=128=256 to infinity and applying that theory backwards from whatever sonic or even super/sonic frequency (or forward from a slower than sound frecuency like an electromagnetic field for example) , until it returns to us becoming an audible listening frequency that we can apply on tha Pythagorean Harp.
The Duad expresses the number 2, The Yin Principle. It represents the Bridge of the Universal Monochord which divides the monadic string in two equal parts, becoming the twin octaves of the original monadic key note. These twin vibrations demonstrate the harmonic Law of the Octaves, that tha number 2, the Cosmic Doubler and Separator is actually and paradoxically equal to tha number 1. Therefore tha proportional points on the monochord which demonstrate tha law of the Duad are 1/1 (as previously explained), 2/1, 4/1, 8/1, and inversely 1/2, 1/4, 1/8. Any of these points intuitively chosen by setting a bridge on selected strings of a Kanon will provide harmonic grounding when creating a constellation. This sonic phenomena relates biologically to tha negative charge (also charged with dark energy because of its special cosmic relationship with the One ) and also the grounding end of the axis of our bodies toroidal electromagnetic biofield. We can receive that ground straight from the exact center of the earth and on through our first 3 chakras and settling into our heart chakra which is located in the exact center of our electromagnetic biofield.
Hence The # 1 and the #2 set the stage for tha multitude of creation to begin:
THE LAW OF THREE
… Thus enters the Law of 3 (Yang). . .interacting with Yin and initiating tha
Infinite Spiral of tha Sonic Rainbow, mirroring creation: pure yin/yang rainbow of resonance gestated by utilizing a continuous series of perfect 5ths 3/2 or a continuous series of perfect 4ths ( fifths backwards) 2/3 and so on till infinity. It represents the energy axis of our toroidal electro bio-magnetic field. It is tha place where we receive light from above through our crown chakra and settling in to the heart chakra where we spontaneously resonate our personal and unique song always in tha moment – Tha Now, never performing a premeditated melody or harmonic sequence.Tha important thing to understand here is that by simply using this resonant source energy formula utilizing a Pythagorean Kanon we can access a genuine holistic and balanced creative sonic consciousness, in contrast to the intellectual left brain belief system that music education is currently employing. Harmonic practice could provide the bridge between Science and Spirituality and potentially reactivate all our 12 human DNA strands if we choose to evolve.
One of our most important limitations today is how contemporary civilization has been thoroughly indoctrinated with our current 12 tone equal temperament tuning system which is non harmonic . By non harmonic I mean in reference to tha common known fact that our tempered scale tones do not coincide with tha natural overtone and undertone series - including and even beyond tha Pythagorean 3 limit. Our modern equal temperament tuning system fails to purely activate these Pythagorean frequencies or even any of the natural just harmonic series of our clasical sacred tradition. In fact the continual indoctrination of tonal control in some form or another as applied to occidental music history dates back at least to tha time of Aristotle.
The True Pythagorean Scale generates a thirteen note scale, and since it actually only uses 12 of the 13 notes it in many ways resembles our 12 note chromatic scale used today. It also may be reconstructed using whole steps (9/8) obtained by tha formula (3/2x3/2)/2 and half steps at (256/243) obtained by tha formula (1x2x2x2x2x2x2x2x2/1x3x3x3x3x3 in order to construct the Rainbow Modes which resemble our diatonic scale and the 7 Greek modes with 7 notes each. A Pythagorean 13 note scale is created by spiraling 6 perfect 5ths (3/2 up from the fundamental tonic) and 6 perfect fourths (2/3 down from tha tonic). Tha two end notes of this spiral cycle of 13 notes (with tha tonic in the center) are our near equivalents to tha augmented 4th and the diminished 5th in our tempered scale which in this case are no longer tempered and equal. That difference describes an interval which is not normally played and is referred to as tha "Pythagorean Comma" which is 23.46 cents (almost 1/4th of our equal tempered 1/2 step. By theoretically and symbolically continuing this spiral we create a resonant road to infinity. This illusive number which is precisely 531441/524288 should be celebrated as the perfect geometric portal to infinity and studied as profoundly or even more so than tha numbers of pi and phi, the golden mean ratio and other special harmonic numbers. There are many secret and special qualities of this magic ratio which I believe will be revealed to us in time. However almost all musical experts past and present have mistakenly claimed that this number is and always has been an enigma.They insist that the Pythagoreans were terrorized by this comma. I am sure that neither Pythagoras nor his followers were ever terrorized by this incredible fact of nature. Tha beauty of this comma is hidden in that very mystery. It contains the secret of our resonance underlying biology, electromagnetism and tha quantum field.This Spiral doesn’t close to make tha circle of fifths as does our equal tempered chromatic scale. Reaching tha13th interval in the cycle of Pythagorean fifths it instead spirals on to infinity just like nature herself. It is tha formula of creation itself. The numbers 1, 2 and 3 generate the geometric pattern we call the Flower of Life.
To Recapitulate:
The Monad, The Duad, and the Triad then express the Trinity, The Active Yang Principle in Action. The Triad symbolically represents The Many strings of a Harmonic Kanon, a multi stringed instrument utilizing strings of equal thickness and length, and numerous moveable bridges. This was the musical instrument used in secret by the Pythagoreans that I am now attempting to reactivate today. The Pythagorean Harp is capable of activating all of tha Pythagorean Rainbow Modes, utilizing exponents of the number 3 Yang as it relates proportionally to tha exponents of tha number 2 Yin (the pure double of the cosmic 1 Monad) thereby creating a spiraling sonic rainbow with an infinite creative capacity which models the cosmic principles of yin and yang. In other words, the Pythagorean Kanon is a creative harmonic laboratory mirroring cosmic creation. By programming positive emotional intentions the harmonic points of the strings are activated on the Kanon. Our constellation is created by positioning the movable bridges on selected strings by intuitively choosing any one the harmonic points: 3/2, 3/1, 6/1, 2/3, 1/3, 1/6 for each chosen string.
… Thus enters the Law of 3 (Yang). . .interacting with Yin and initiating tha
Infinite Spiral of tha Sonic Rainbow, mirroring creation: pure yin/yang rainbow of resonance gestated by utilizing a continuous series of perfect 5ths 3/2 or a continuous series of perfect 4ths ( fifths backwards) 2/3 and so on till infinity. It represents the energy axis of our toroidal electro bio-magnetic field. It is tha place where we receive light from above through our crown chakra and settling in to the heart chakra where we spontaneously resonate our personal and unique song always in tha moment – Tha Now, never performing a premeditated melody or harmonic sequence.Tha important thing to understand here is that by simply using this resonant source energy formula utilizing a Pythagorean Kanon we can access a genuine holistic and balanced creative sonic consciousness, in contrast to the intellectual left brain belief system that music education is currently employing. Harmonic practice could provide the bridge between Science and Spirituality and potentially reactivate all our 12 human DNA strands if we choose to evolve.
One of our most important limitations today is how contemporary civilization has been thoroughly indoctrinated with our current 12 tone equal temperament tuning system which is non harmonic . By non harmonic I mean in reference to tha common known fact that our tempered scale tones do not coincide with tha natural overtone and undertone series - including and even beyond tha Pythagorean 3 limit. Our modern equal temperament tuning system fails to purely activate these Pythagorean frequencies or even any of the natural just harmonic series of our clasical sacred tradition. In fact the continual indoctrination of tonal control in some form or another as applied to occidental music history dates back at least to tha time of Aristotle.
The True Pythagorean Scale generates a thirteen note scale, and since it actually only uses 12 of the 13 notes it in many ways resembles our 12 note chromatic scale used today. It also may be reconstructed using whole steps (9/8) obtained by tha formula (3/2x3/2)/2 and half steps at (256/243) obtained by tha formula (1x2x2x2x2x2x2x2x2/1x3x3x3x3x3 in order to construct the Rainbow Modes which resemble our diatonic scale and the 7 Greek modes with 7 notes each. A Pythagorean 13 note scale is created by spiraling 6 perfect 5ths (3/2 up from the fundamental tonic) and 6 perfect fourths (2/3 down from tha tonic). Tha two end notes of this spiral cycle of 13 notes (with tha tonic in the center) are our near equivalents to tha augmented 4th and the diminished 5th in our tempered scale which in this case are no longer tempered and equal. That difference describes an interval which is not normally played and is referred to as tha "Pythagorean Comma" which is 23.46 cents (almost 1/4th of our equal tempered 1/2 step. By theoretically and symbolically continuing this spiral we create a resonant road to infinity. This illusive number which is precisely 531441/524288 should be celebrated as the perfect geometric portal to infinity and studied as profoundly or even more so than tha numbers of pi and phi, the golden mean ratio and other special harmonic numbers. There are many secret and special qualities of this magic ratio which I believe will be revealed to us in time. However almost all musical experts past and present have mistakenly claimed that this number is and always has been an enigma.They insist that the Pythagoreans were terrorized by this comma. I am sure that neither Pythagoras nor his followers were ever terrorized by this incredible fact of nature. Tha beauty of this comma is hidden in that very mystery. It contains the secret of our resonance underlying biology, electromagnetism and tha quantum field.This Spiral doesn’t close to make tha circle of fifths as does our equal tempered chromatic scale. Reaching tha13th interval in the cycle of Pythagorean fifths it instead spirals on to infinity just like nature herself. It is tha formula of creation itself. The numbers 1, 2 and 3 generate the geometric pattern we call the Flower of Life.
To Recapitulate:
The Monad, The Duad, and the Triad then express the Trinity, The Active Yang Principle in Action. The Triad symbolically represents The Many strings of a Harmonic Kanon, a multi stringed instrument utilizing strings of equal thickness and length, and numerous moveable bridges. This was the musical instrument used in secret by the Pythagoreans that I am now attempting to reactivate today. The Pythagorean Harp is capable of activating all of tha Pythagorean Rainbow Modes, utilizing exponents of the number 3 Yang as it relates proportionally to tha exponents of tha number 2 Yin (the pure double of the cosmic 1 Monad) thereby creating a spiraling sonic rainbow with an infinite creative capacity which models the cosmic principles of yin and yang. In other words, the Pythagorean Kanon is a creative harmonic laboratory mirroring cosmic creation. By programming positive emotional intentions the harmonic points of the strings are activated on the Kanon. Our constellation is created by positioning the movable bridges on selected strings by intuitively choosing any one the harmonic points: 3/2, 3/1, 6/1, 2/3, 1/3, 1/6 for each chosen string.
The natural tendency for expansion of creation is represented by this tenfold Pythagorean triangle of which the secret of the music of the trinity is amplified and reveals the potential harmonics of cosmic creation.
Every diagonal starting from any of the 10 numbers leaning to the left is yin or the law of doubling. Every diagonal starting from any of the 10 numbers leaning to the right is yang or the law of tripling. Theoretically it continues in a similar fashion on to infinity.
Sacred Geometry, Numerology, and Astrology
are then gestated by these resonant laws. Water is its conduit. Gravity and electromagnetism describe it.
The harmonic laws of tha True Pythagorean Scale represent these creative kanons and when activated on tha Pythagorean Harp transform into a representative model of tha sonic spiral of tha space/time/multi-dimensional continuum.
All laws and harmonic principles were demonstrated by Pythagoras on tha musical instrument known as tha Kanon, or Pythagorean Harp ,and since they (tha Pythagoreans) were to never write anything down, the Kanon was in effect their secret Living Bible, expressing tha 3/2 Cosmic Laws of mathematical acoustic nature which never change within an ever changing radiant cosmic sonic creation by always initiating new constellations. In past times and as reactivated in tha present, tha music spontaneously and intuitively created on the Kanon always changes - yet tha underlying principles of 1,2 and 3,that is tha Tao, Yin and Yang never change. It is tha sacred 3/2 interval which uniquely transforms source energy represented by the number 1 into an infinite spiral at the quantum and cosmic levels of creation.
The Pythagorean Three Limit Lambdoma
The sonic harmonic numbers in actuality expand infinitely. This chart includes all the harmonic intervals which apply to universal creation utilizing the formula 2= yin and 3= yang.
ANCIENT SOLFEGGIO FREQUENCIES AND 432hz
There has been quite a lot of debate about tha discovery or rediscovery of ancient practices utilizing particular frequencies that may in tha near future replace or at least provide a strong alternative to tha 12 notes we are generally using in contemporary times. We have actually only been using what we call the chromatic scale in tha Occident for about 200 years. Before that we used just intonation and even before that probably for thousands of years tha scale we now refer to as tha Pythagorean Scale was used although mostly in secret. Sacred music of the early Christians used primarily tha Pythagorean Scale.They learned it through tha Tonal Secrets of tha Temple of Solomon as passed on to Pythagoras by tha Essenes. The Pythagoreans, because of an ongoing threat of musical persecution kept their secrets for generations after he died. Plato was able to recover some of tha sonic history yet distorted and mixed with the current microtonal/practices of the common theoretical teachings of the day. However, I believe the Essenes as well as Pythagoras in Croton, Italy, affected the early Christians by passing on the Pythagorean Rainbow Modes as were consequently used prolifically in the sacred music of early Rome.The pure 3/2 generated scale became the standard until the use of just intonation.
Very few people know that Just Intonation was forcefully propagated by Pope Gregory in the 10th century. Just Intonation is an ancient hauntingly beautiful group of modes. Yet it is removed from the perfect yin/yang spiral of the Pythagorean Rainbow Modes by utilizing the number 5 (as well as 3) as a source harmonic.
Creation itself (The Trinity or Triad of Creation) is not generated in a linear fashion by utilizing tha musical interval 5/4. The Pythagorian trinity is simply 1,2,and 3, the absolute reflection of creation: Tao,Yin, and Yang. Understanding this today is very difficult because of the obviously beautiful sounds created by the Gregorian Chants and other subsequent music using just intonation. It is especially beautiful to us today because it is much more in tune than our currently used equal tempered system which denies the natural harmonics completely. Just intonation music is naturally harmonic music and follows the natural harmonic series however it cannot provoke acension , profound healing, and DNA reactivation as do tha Pythagorean Rainbow Modes.The Church knew this and at that point in history we almost lost tha true sacred Pythagorean Rainbow Modes. By utilizing tha linear 5/4 interval Pope Gregory knowingly broke the Solomonic Triniy Codes. Solomon, tha Essenes, tha Pythagoreans, and the first true Essenic Christians used 3 limit music as Ascension Codes.
Pope Gregory instigated 5 limit music to be utilized only as an aid to worship.
So in the 10th century AD the Pythagorean scale was then considered by Pope Gregory to be Pagan and of Satan and was officially and effectively outlawed by tha Church. Although punishable by death some very brave musicans kept tha Pythagorean Rainbow Modes alive until they finally resurfaced again historically by an important and esoteric Christian movement in Avignon France from the 12th to 15th century resulting in their breakaway from the Roman Church.They elected their own French line of Popes in defiance of Rome.
Yet again there was a political re-takeover by Rome. In the 15th century this resulted in the Church again condemning the Pythagorean Scale along with tha mysterious Ancient Solfeggio Frequencies recently rediscovered in modern times by Dr. Joseph Pulio and revealed in several books by Dr. Leonard Horowitz and now hailed by tha Love Frequency 528 hz movement today. It is my strong feeling that tha legendary 152 missing pieces of solfeggio music cited by Horowitz pertain to the Vatican violating intentionally an unbroken continued lineage of sacred healing music secretly carried on by adepts since even before and including Pythagoras: tuning their principal tonic notes (of the Pythagorean Rainbow Modes) to one of tha Ancient Solfeggio Frequencies. Each of the Solfeggio Frequencies (expanded in contemporary times to 9 from tha original 6 Frequencies) have an intention to be used by tha composer or improviser in a transcendent and healing manner:
174 hz - Foundation Frequency
285 hz - Quantum Cognition
396 hz - Removing Fear and Guilt
417 Hz – Breaking up Crystallized Emotional Patterns. Erasing Karma and Undoing Situations.
528 Hz – Love Frequency DNA Integrity and Repair. Divine Miracles
639 Hz – Whole Brain Quadrant Interconnectedness. Connecting and Healing Relationships.
741 Hz – Intuitive States & Non-Linear Knowing. Awakening Intuition.
852 Hz – Pure love: Unconditional Love and Returning to tha Spiritual Order.
963 hz - Angelic Communication
I have done ongoing extensive research tuning my Pythagorean Harps for years utilizing tha Ancient Solfeggio Frequencies (each one used as a tonic note in order to create tha Pythagorean Rainbow Modes).Tha music I create is based on tha intentions of tha Ancient Solfeggio Frecuencies and their modal "cousins" as constructed by perfect Pythagorean fifths and fourths. Tha music which I hope you are listening at this moment 'Cultura que Cura was created in this way using tha Pythagorean Harp tuned to Pyhagorean Harmonic Modes utilizing tha Ancient Solfeggio Frecuencies as tonic resonances .I highly recommend their use to all of my students of tha Kanon. In depth study of tha Solfeggio Frequencies exposes a list of interesting profound sonic relationships. One example reveals that certain of tha Solfeggio Frequencies are in exact Pythagorean 4/3 ratios. 396 hz relating to tha emancipation of Fear and Guilt is exactly 3/4 to tha famous 528 hz Divine Miracles and Genetic Repair. So for example when tuned precisely both frequencies are compatible simultaneously using 2 different Rainbow Modes. A very powerful tool.
Another important ancient frequency that has come to play in modern times is the 432 hz frequency. Modern science tells us that it is related to the frequency of electromagnetism in the ionosphere and of the earth itself (discovered during the experiments of Nicola Tesla). Our alpha waves are related to 432hz. It is also one of the numbers on the 3 Limit Pythagorean Lambdona. I and others have tuned the Pythagorean Harps to that frequency with astonishing results. There have been recent studies confirming their use in the construction of sonic chambers of many Pyramids and ancient temples worldwide aligned to this frecuency as well as to 111 hz . 111 utilizing tha Law of Octaves we have the tone A at 444hz or C at 528hz!
Yet another important scientific discovery which aligns with Pythagoras reflects a complete treatise on Planetary Frequencies discovered and compiled by Hans Cousto. In tha near future I plan to tune my Kanons to these frequencies!
I am certain tha Pythagoreans, Tibetans, Egyptians, Mayans, Atlanteans, Pleiades, Arcturians,and many others know of these musical frequencies and possibly many others that will be revealed to us or rediscovered in time.
I am not of tha opinion that we should only tune to 432hz or only to tha standard 440hz, or only tha love frequency 528hz. And for that matter I am not of tha opinion that we should all play only tha Pythagorean Scale on a Pythagorean Harp. For thousands of years we have been controlled by what frequencies we have been allowed access.
Let us begin anew by revealing this new/ancient knowledge and by simply acknowledging this opportunity as a gift.
There has been quite a lot of debate about tha discovery or rediscovery of ancient practices utilizing particular frequencies that may in tha near future replace or at least provide a strong alternative to tha 12 notes we are generally using in contemporary times. We have actually only been using what we call the chromatic scale in tha Occident for about 200 years. Before that we used just intonation and even before that probably for thousands of years tha scale we now refer to as tha Pythagorean Scale was used although mostly in secret. Sacred music of the early Christians used primarily tha Pythagorean Scale.They learned it through tha Tonal Secrets of tha Temple of Solomon as passed on to Pythagoras by tha Essenes. The Pythagoreans, because of an ongoing threat of musical persecution kept their secrets for generations after he died. Plato was able to recover some of tha sonic history yet distorted and mixed with the current microtonal/practices of the common theoretical teachings of the day. However, I believe the Essenes as well as Pythagoras in Croton, Italy, affected the early Christians by passing on the Pythagorean Rainbow Modes as were consequently used prolifically in the sacred music of early Rome.The pure 3/2 generated scale became the standard until the use of just intonation.
Very few people know that Just Intonation was forcefully propagated by Pope Gregory in the 10th century. Just Intonation is an ancient hauntingly beautiful group of modes. Yet it is removed from the perfect yin/yang spiral of the Pythagorean Rainbow Modes by utilizing the number 5 (as well as 3) as a source harmonic.
Creation itself (The Trinity or Triad of Creation) is not generated in a linear fashion by utilizing tha musical interval 5/4. The Pythagorian trinity is simply 1,2,and 3, the absolute reflection of creation: Tao,Yin, and Yang. Understanding this today is very difficult because of the obviously beautiful sounds created by the Gregorian Chants and other subsequent music using just intonation. It is especially beautiful to us today because it is much more in tune than our currently used equal tempered system which denies the natural harmonics completely. Just intonation music is naturally harmonic music and follows the natural harmonic series however it cannot provoke acension , profound healing, and DNA reactivation as do tha Pythagorean Rainbow Modes.The Church knew this and at that point in history we almost lost tha true sacred Pythagorean Rainbow Modes. By utilizing tha linear 5/4 interval Pope Gregory knowingly broke the Solomonic Triniy Codes. Solomon, tha Essenes, tha Pythagoreans, and the first true Essenic Christians used 3 limit music as Ascension Codes.
Pope Gregory instigated 5 limit music to be utilized only as an aid to worship.
So in the 10th century AD the Pythagorean scale was then considered by Pope Gregory to be Pagan and of Satan and was officially and effectively outlawed by tha Church. Although punishable by death some very brave musicans kept tha Pythagorean Rainbow Modes alive until they finally resurfaced again historically by an important and esoteric Christian movement in Avignon France from the 12th to 15th century resulting in their breakaway from the Roman Church.They elected their own French line of Popes in defiance of Rome.
Yet again there was a political re-takeover by Rome. In the 15th century this resulted in the Church again condemning the Pythagorean Scale along with tha mysterious Ancient Solfeggio Frequencies recently rediscovered in modern times by Dr. Joseph Pulio and revealed in several books by Dr. Leonard Horowitz and now hailed by tha Love Frequency 528 hz movement today. It is my strong feeling that tha legendary 152 missing pieces of solfeggio music cited by Horowitz pertain to the Vatican violating intentionally an unbroken continued lineage of sacred healing music secretly carried on by adepts since even before and including Pythagoras: tuning their principal tonic notes (of the Pythagorean Rainbow Modes) to one of tha Ancient Solfeggio Frequencies. Each of the Solfeggio Frequencies (expanded in contemporary times to 9 from tha original 6 Frequencies) have an intention to be used by tha composer or improviser in a transcendent and healing manner:
174 hz - Foundation Frequency
285 hz - Quantum Cognition
396 hz - Removing Fear and Guilt
417 Hz – Breaking up Crystallized Emotional Patterns. Erasing Karma and Undoing Situations.
528 Hz – Love Frequency DNA Integrity and Repair. Divine Miracles
639 Hz – Whole Brain Quadrant Interconnectedness. Connecting and Healing Relationships.
741 Hz – Intuitive States & Non-Linear Knowing. Awakening Intuition.
852 Hz – Pure love: Unconditional Love and Returning to tha Spiritual Order.
963 hz - Angelic Communication
I have done ongoing extensive research tuning my Pythagorean Harps for years utilizing tha Ancient Solfeggio Frequencies (each one used as a tonic note in order to create tha Pythagorean Rainbow Modes).Tha music I create is based on tha intentions of tha Ancient Solfeggio Frecuencies and their modal "cousins" as constructed by perfect Pythagorean fifths and fourths. Tha music which I hope you are listening at this moment 'Cultura que Cura was created in this way using tha Pythagorean Harp tuned to Pyhagorean Harmonic Modes utilizing tha Ancient Solfeggio Frecuencies as tonic resonances .I highly recommend their use to all of my students of tha Kanon. In depth study of tha Solfeggio Frequencies exposes a list of interesting profound sonic relationships. One example reveals that certain of tha Solfeggio Frequencies are in exact Pythagorean 4/3 ratios. 396 hz relating to tha emancipation of Fear and Guilt is exactly 3/4 to tha famous 528 hz Divine Miracles and Genetic Repair. So for example when tuned precisely both frequencies are compatible simultaneously using 2 different Rainbow Modes. A very powerful tool.
Another important ancient frequency that has come to play in modern times is the 432 hz frequency. Modern science tells us that it is related to the frequency of electromagnetism in the ionosphere and of the earth itself (discovered during the experiments of Nicola Tesla). Our alpha waves are related to 432hz. It is also one of the numbers on the 3 Limit Pythagorean Lambdona. I and others have tuned the Pythagorean Harps to that frequency with astonishing results. There have been recent studies confirming their use in the construction of sonic chambers of many Pyramids and ancient temples worldwide aligned to this frecuency as well as to 111 hz . 111 utilizing tha Law of Octaves we have the tone A at 444hz or C at 528hz!
Yet another important scientific discovery which aligns with Pythagoras reflects a complete treatise on Planetary Frequencies discovered and compiled by Hans Cousto. In tha near future I plan to tune my Kanons to these frequencies!
I am certain tha Pythagoreans, Tibetans, Egyptians, Mayans, Atlanteans, Pleiades, Arcturians,and many others know of these musical frequencies and possibly many others that will be revealed to us or rediscovered in time.
I am not of tha opinion that we should only tune to 432hz or only to tha standard 440hz, or only tha love frequency 528hz. And for that matter I am not of tha opinion that we should all play only tha Pythagorean Scale on a Pythagorean Harp. For thousands of years we have been controlled by what frequencies we have been allowed access.
Let us begin anew by revealing this new/ancient knowledge and by simply acknowledging this opportunity as a gift.
Muses
Professor Robert Gotleib was a teacher and advisor of mine back in 1977 while I attended The Evergreen State College in Olympia, Washington. I created for myself at Evergreen a 5 year degree program majoring in alternative music education in search of a new synthesis of learning music based on tha integration of Jazz, East Indian tonal and rhythmic concepts with Shona tribal music, Greek modal theory, and occidental musical theory . At an informal session at his home one afternoon in 1976 Professor Gotlieb revealed to me his research on the actual meaning of the word Muses in tha Pythagorean’s time. According to Gotlieb tha word muse simply and unequivocally meant music.This implies that Pythagoras, by publicly speaking to the community in Croton, spoke of the Muses in a very different context than the Platonic propaganda would take us to 180 years later. What Pythagoras really implied in his teachings was that everything from tha microcosm to tha macrocosm as well as parallel dimensions: is resonance, vibration, rhythm, and harmony. In Pythagoras‘s words in his day: then tha Muses were
“Tha Music of Mathematics, Tha Music of Astronomy, Tha Music of Poetry, Tha Music of Painting, Tha Music of Sculpture”, and etc.
In other words he developed a pedagogy where tha 3/2 Rainbow Modes are at tha center of tha knowledge teachings and become tha chief catalyst to human harmonic evolution, and an essential source to the harmonic understanding of mathematics.
The Pythagorean folklore of the Muses as goddesses began with Plato. Platonic based Pythagorean Muses may be symbolically sexy and romantic but intentionally or not they take music out of the center of the Pythagorean True Sonic Matrix of Creation, where 2 is equal to 1 and 3 is tha catalyst for infinity and replace it with tha left brain non harmonic mathematics,where 1=1, 2=2, and 3=3 which is still evident today in our contemporary education and extremely so even in our contemporary music education.
In a kind of reverse plagiarism Plato gave credit to much of his own writings as Pythagorean. Music was subverted to a place in his school as a separate elective just like in our current education system. It is a great lie we have been duped with in school that abstract mathematics (according to Plato’s interpretation of Pythagoras) is at tha core of all science and reality as we know it. Simply not true. We know now that it is Sound . Music is at tha source of creation. Not mathematics . Mathematics must be used only with Harmonic Ethics and then may we access the new quantum map and frequency codes for our Harmonic Reactivation. Humanity is now on a collision course to self-destruction if we continue to believe in abstract mathematics and hard (non harmonic) science. Actually, as I believe, and according to Pythagoras, Rhythm, Resonace, and Harmonic Mathematical Science are tha most reliable source teachings and create tha Harmonic Bridge to Mathematics, Geometry, and all the other Arts and Sciences.
Professor Robert Gotleib was a teacher and advisor of mine back in 1977 while I attended The Evergreen State College in Olympia, Washington. I created for myself at Evergreen a 5 year degree program majoring in alternative music education in search of a new synthesis of learning music based on tha integration of Jazz, East Indian tonal and rhythmic concepts with Shona tribal music, Greek modal theory, and occidental musical theory . At an informal session at his home one afternoon in 1976 Professor Gotlieb revealed to me his research on the actual meaning of the word Muses in tha Pythagorean’s time. According to Gotlieb tha word muse simply and unequivocally meant music.This implies that Pythagoras, by publicly speaking to the community in Croton, spoke of the Muses in a very different context than the Platonic propaganda would take us to 180 years later. What Pythagoras really implied in his teachings was that everything from tha microcosm to tha macrocosm as well as parallel dimensions: is resonance, vibration, rhythm, and harmony. In Pythagoras‘s words in his day: then tha Muses were
“Tha Music of Mathematics, Tha Music of Astronomy, Tha Music of Poetry, Tha Music of Painting, Tha Music of Sculpture”, and etc.
In other words he developed a pedagogy where tha 3/2 Rainbow Modes are at tha center of tha knowledge teachings and become tha chief catalyst to human harmonic evolution, and an essential source to the harmonic understanding of mathematics.
The Pythagorean folklore of the Muses as goddesses began with Plato. Platonic based Pythagorean Muses may be symbolically sexy and romantic but intentionally or not they take music out of the center of the Pythagorean True Sonic Matrix of Creation, where 2 is equal to 1 and 3 is tha catalyst for infinity and replace it with tha left brain non harmonic mathematics,where 1=1, 2=2, and 3=3 which is still evident today in our contemporary education and extremely so even in our contemporary music education.
In a kind of reverse plagiarism Plato gave credit to much of his own writings as Pythagorean. Music was subverted to a place in his school as a separate elective just like in our current education system. It is a great lie we have been duped with in school that abstract mathematics (according to Plato’s interpretation of Pythagoras) is at tha core of all science and reality as we know it. Simply not true. We know now that it is Sound . Music is at tha source of creation. Not mathematics . Mathematics must be used only with Harmonic Ethics and then may we access the new quantum map and frequency codes for our Harmonic Reactivation. Humanity is now on a collision course to self-destruction if we continue to believe in abstract mathematics and hard (non harmonic) science. Actually, as I believe, and according to Pythagoras, Rhythm, Resonace, and Harmonic Mathematical Science are tha most reliable source teachings and create tha Harmonic Bridge to Mathematics, Geometry, and all the other Arts and Sciences.
HISTORY OF AN ASCENDED MASTER
A similar but somewhat different history than we were told in school:
Pythagoras was born to a very wealthy, cultured family. His mother and father received an oracle from Delphi during their travels revealing that they were to give birth to a son that would become a great influence to the world of humanity for the next 10,000 years. (7400 years are left )
Young Pythagoras then studied with some of the greatest sages of his time . After totally absorbing their knowledge he decided to go to the great temples of Egypt. He did not return home to Crete for about 35 years. His family and friends thought him lost or dead: He definitely left alone for Egypt, and possibly other parts, ending his travels after about 20 years by being captured as a wisdom resource to the famous Tyrant King Nebuchadnezzar II in Babylonia for a duration of about 15 years.
He then returned home to find Samos in political upheavel and destruction. He found political asylum in the city of Croton, Italy, where in tha outskirts tha Pythagorean Temple was founded. Those who came in contact with him claimed that he was a Great Spiritual Master and many of his disciples actually claimed that he was God in Human Form and performed miracles such as time travel, inter-dimensional travel, and healing the sick with music. People’s lives were reported as transformed after meeting him. He spoke publically often and explained that in order to be a candidate and evolve to the Inner Mysteries one needed firstly to experience divine love and forgiveness with one’s mother and father, marital partner, daughters and sons , and finally with all family members as well as close friends. He even convinced powerful rich merchants and politicians to have fidelity with their wives, become honest and donate money to spiritual works such as tha expansion of tha residence for his disciples of tha great temple at Croton which grew in size to become a small city of 2000 people (800 disciples and their families). It was said they lived not in splendor but in simple yet beautiful surroundings and close to nature. He was a vegetarian and completely respected women, both very odd practices during those times. Those who met him reported that he could speak to animals and could convince them to develop more peaceful habits.
He had remembered tha complete details of his last 17 reincarnations. He was seen on various occasions by many people in two places at tha same time which seems to imply tha possibility of time travel and tha possible existence of parallel universes. Yet today and even beginning around the middle ages Pythagoras’s reported miracles have been downplayed and considered to be nothing more than religious fanaticism and only tolerated by academics because of his great philosophical and mathematical genius which today is just about all that he has generally been remembered for. However, tha actual historic evidence points to tha fact that the only thing we actually know about him is the many reports of miracles he performed.
Going back to Pythagoras’s time at Croton, Italy, where he founded his temple, he developed a reputation (by his followers) as being a spiritual master and great musician yet he actually had not ever performed his music during his public dissertations.That he performed publically using a Lyre was ( I believe) unintentionally propagated by Plato 180 years later. Pythagoras was heard musically, and surely he taught music, daily and in secret with his disciples of the inner temple; The Kanon or Pythagorean Harp was their sonic, sacred, Living Bible to be utilized in the spontaneous creation of harmonic musical rainbows, thereby revealing harmonic principles of mathematics, geometry, astronomy, art, architecture , poetry, nutrition, ecology, philosophy, sociology, medicine, and etc..
Pythagoras spoke symbolically about the entire universe as having an axis like tha resonating string on tha Monochord. Pythagoras’s last words to his disciples before dying were “Study tha Monochord” (De Musica 3.2 ,Winnington-Ingram 97, 3-4). Yet the general public of his time was not even informed of the existence of the musical instrument the Kanon. His music was totally secretive. This we do know as bonafide history. In fact his disciples did keep their secrets for so many generations that Plato 180 years later had no knowledge of the practical function of the Kanon utilizing the 3/2 musical spiral scale. I have found only one actual source connecting Pythagoras to the instrument the Kanon and this being written 700 years after Pythagoras died by a notable Greek/Syrian mathematician Nicomachus tha Pythagorean. His Treatise The Manual of Harmonics was written not as a public document but as a series of personal letters mysteriously written to an anonymous friend of his who, being a noble woman or princess had asked him a favor to divulge his musical secrets to her (because of the forbidden nature during those times concerning any musical theory work being published). However later these discovered letters became published as an important work for just that reason. The book is famous for being the only work of its kind during that period of history. The very short direct quote is as follows: (Nicomachus) says "of the monochords that they were commonly called pandouroi but the Pythagoreans called them canons”.The only information I found about the pandouroi is that it dates to Egypt 1500 BC (900 years before Pythagoras’s time) and the word canon obviously reflects a modern spelling change after 700 years . We also know of one very famous and interesting drawing of Pythagoras performing this instrument.
A similar but somewhat different history than we were told in school:
Pythagoras was born to a very wealthy, cultured family. His mother and father received an oracle from Delphi during their travels revealing that they were to give birth to a son that would become a great influence to the world of humanity for the next 10,000 years. (7400 years are left )
Young Pythagoras then studied with some of the greatest sages of his time . After totally absorbing their knowledge he decided to go to the great temples of Egypt. He did not return home to Crete for about 35 years. His family and friends thought him lost or dead: He definitely left alone for Egypt, and possibly other parts, ending his travels after about 20 years by being captured as a wisdom resource to the famous Tyrant King Nebuchadnezzar II in Babylonia for a duration of about 15 years.
He then returned home to find Samos in political upheavel and destruction. He found political asylum in the city of Croton, Italy, where in tha outskirts tha Pythagorean Temple was founded. Those who came in contact with him claimed that he was a Great Spiritual Master and many of his disciples actually claimed that he was God in Human Form and performed miracles such as time travel, inter-dimensional travel, and healing the sick with music. People’s lives were reported as transformed after meeting him. He spoke publically often and explained that in order to be a candidate and evolve to the Inner Mysteries one needed firstly to experience divine love and forgiveness with one’s mother and father, marital partner, daughters and sons , and finally with all family members as well as close friends. He even convinced powerful rich merchants and politicians to have fidelity with their wives, become honest and donate money to spiritual works such as tha expansion of tha residence for his disciples of tha great temple at Croton which grew in size to become a small city of 2000 people (800 disciples and their families). It was said they lived not in splendor but in simple yet beautiful surroundings and close to nature. He was a vegetarian and completely respected women, both very odd practices during those times. Those who met him reported that he could speak to animals and could convince them to develop more peaceful habits.
He had remembered tha complete details of his last 17 reincarnations. He was seen on various occasions by many people in two places at tha same time which seems to imply tha possibility of time travel and tha possible existence of parallel universes. Yet today and even beginning around the middle ages Pythagoras’s reported miracles have been downplayed and considered to be nothing more than religious fanaticism and only tolerated by academics because of his great philosophical and mathematical genius which today is just about all that he has generally been remembered for. However, tha actual historic evidence points to tha fact that the only thing we actually know about him is the many reports of miracles he performed.
Going back to Pythagoras’s time at Croton, Italy, where he founded his temple, he developed a reputation (by his followers) as being a spiritual master and great musician yet he actually had not ever performed his music during his public dissertations.That he performed publically using a Lyre was ( I believe) unintentionally propagated by Plato 180 years later. Pythagoras was heard musically, and surely he taught music, daily and in secret with his disciples of the inner temple; The Kanon or Pythagorean Harp was their sonic, sacred, Living Bible to be utilized in the spontaneous creation of harmonic musical rainbows, thereby revealing harmonic principles of mathematics, geometry, astronomy, art, architecture , poetry, nutrition, ecology, philosophy, sociology, medicine, and etc..
Pythagoras spoke symbolically about the entire universe as having an axis like tha resonating string on tha Monochord. Pythagoras’s last words to his disciples before dying were “Study tha Monochord” (De Musica 3.2 ,Winnington-Ingram 97, 3-4). Yet the general public of his time was not even informed of the existence of the musical instrument the Kanon. His music was totally secretive. This we do know as bonafide history. In fact his disciples did keep their secrets for so many generations that Plato 180 years later had no knowledge of the practical function of the Kanon utilizing the 3/2 musical spiral scale. I have found only one actual source connecting Pythagoras to the instrument the Kanon and this being written 700 years after Pythagoras died by a notable Greek/Syrian mathematician Nicomachus tha Pythagorean. His Treatise The Manual of Harmonics was written not as a public document but as a series of personal letters mysteriously written to an anonymous friend of his who, being a noble woman or princess had asked him a favor to divulge his musical secrets to her (because of the forbidden nature during those times concerning any musical theory work being published). However later these discovered letters became published as an important work for just that reason. The book is famous for being the only work of its kind during that period of history. The very short direct quote is as follows: (Nicomachus) says "of the monochords that they were commonly called pandouroi but the Pythagoreans called them canons”.The only information I found about the pandouroi is that it dates to Egypt 1500 BC (900 years before Pythagoras’s time) and the word canon obviously reflects a modern spelling change after 700 years . We also know of one very famous and interesting drawing of Pythagoras performing this instrument.
Franchino Gafori, Theorica Musice, Milan from 1492 CE
As a result of his secrecy we don’t have anything written by any author who was a contemporary of Pythagoras concerning tha Pythagoreans playing a Pythagorean Harp (Kanon), although there are many references to tha Canon as a post Pythagorean measuring tool which is not used in performance but used to compare Greek and Latin music scales . An important modern textbook compiling ancient greek music theory (which in my opinion is a dry academic study) entitled The Euclidian Division of the Cannon exposes hundreds of ancient microtonal tunings recommending all music theory students to compare tunings using a canon as a measuring tool and yet avoids even mentioning tha simplistic beauty of what we now refer to as tha Pythagorean scale as applied 2600 years ago by tha Pythagoreans. To tha academics tha Pythagorean scale is just another one of hundreds, almost none of which are actually performed today at any rate.
There have been innumerable books written about Pythagoras although nothing has been written about tha details concerning his practical use of tha 3/2 sonic spiral as a mirror of Cosmic Creativity. That he even used that particular scale wasn’t revealed until 100 years later by tha famous Pythagorean Philolaus who finally chose to break tha law of silence about what he knew. Although I believe he only knew half of the truth of tha use of tha true Pythagorean Kanon and Scale, and by this time, a century after tha life of Pythagoras, the canon was merely thought of as a measuring tool, and to this day musicologists generally confirm this misconception.
I beleive Pythagoras became a member of the Essenes during his travels and learned the secret sonic lineage of the legendary Solomon from circa 900BC through them. Historically for thousands of years the Essenes, considered to be tha Tribe of Enoch, were tha bringers of knowledge from China, India and Tibet to Egypt. They were a nomadic tribe which lived in an holistic way almost identical to the path that the Pythagoreans would take in their future community in Croton, Italy.
Some 500 years after Pythagoras’s lifetime a great Essene John the Baptist baptized Jesus into the sacred Brotherhood. Before the Roman Catholic church came into power the Pythagorean scale was the primary scale used by the first Christians. This connects the sonic mysteries of Pythagoreans to that of the Essenes, Enoch, Solomon, and later to John the Baptist, Jesus and Mary Magdalene, revealing the Mysteries of Avilion, all secreting the same musical formulas before also practiced by Solomon; thus containing not only Egyptian elements but tha Chinese sonic cosmology as well. It is not entirely coincidental that Pythagoras’s musical scale of 7 notes is simply a 2 note extension from the 5 note scale named by both tha Chinese and by tha Occident alike tha Pythagorean pentatonic scale. Tha Chinese have been using it historically since 3000 years BC. Tha elaborate ancient cosmic calendar of tha Chinese follow this Pythagorean sonic Lambdoma for thousands of 3/2 intervals (25,524 times) ending it when it finally reaches within 1/10,000 of a cent of the exact octave. The relationship of this number to the sacred number of the year of the procession of the equinoxes which we know is 25,920, or in other words the proportion of 25,920/25,524 = 1.0155148095900973. The Pythagorean coma 531441/524288 = 1.013643264770508.
In tha year of this writing in 2013 we are beginning a new galactic cycle. A propitious year to reactivate tha Pythagorean Kanon. As I mentioned before the numerology of tha I Ching written 5000 years ago is based on this sonic creation of Tao 1, Yin 2, and Yang 3. And it is interesting to note that Pythagoras’s spiritual philosophy is as close or possibly even closer to the Essenes, Taoism and Buddhism than it is to Egyptian and Hermetic Mysticism. Remember China, and Tibet although far away, are part of the same continent as Greece and tha influence of Lao Tzu and Buddha must have reached Pythagoras, possibly through the Essenes. Pythagoras was also a contemporary of the biblical profit Daniel, then also in Babylonia the same years as Pythagoras. They were both said to live as captives in the palace and work as advisors to the tyrant king of biblical fame Nebuchadnezzar II. Daniel an Essene with the title Rab Mag (The Magician of Babylon) surely was tha keeper of dreams and the then Kabalistic Secret Music Tradition of Solomon. History puts those 2 great figures in the greatest world cultural melting pot of the day, in a seething time of wars and cross/cultural ideas - all this happening during Buddha’s lifetime and 60 years after the founding of Taoism by Lao Tzu in China.
There have been innumerable books written about Pythagoras although nothing has been written about tha details concerning his practical use of tha 3/2 sonic spiral as a mirror of Cosmic Creativity. That he even used that particular scale wasn’t revealed until 100 years later by tha famous Pythagorean Philolaus who finally chose to break tha law of silence about what he knew. Although I believe he only knew half of the truth of tha use of tha true Pythagorean Kanon and Scale, and by this time, a century after tha life of Pythagoras, the canon was merely thought of as a measuring tool, and to this day musicologists generally confirm this misconception.
I beleive Pythagoras became a member of the Essenes during his travels and learned the secret sonic lineage of the legendary Solomon from circa 900BC through them. Historically for thousands of years the Essenes, considered to be tha Tribe of Enoch, were tha bringers of knowledge from China, India and Tibet to Egypt. They were a nomadic tribe which lived in an holistic way almost identical to the path that the Pythagoreans would take in their future community in Croton, Italy.
Some 500 years after Pythagoras’s lifetime a great Essene John the Baptist baptized Jesus into the sacred Brotherhood. Before the Roman Catholic church came into power the Pythagorean scale was the primary scale used by the first Christians. This connects the sonic mysteries of Pythagoreans to that of the Essenes, Enoch, Solomon, and later to John the Baptist, Jesus and Mary Magdalene, revealing the Mysteries of Avilion, all secreting the same musical formulas before also practiced by Solomon; thus containing not only Egyptian elements but tha Chinese sonic cosmology as well. It is not entirely coincidental that Pythagoras’s musical scale of 7 notes is simply a 2 note extension from the 5 note scale named by both tha Chinese and by tha Occident alike tha Pythagorean pentatonic scale. Tha Chinese have been using it historically since 3000 years BC. Tha elaborate ancient cosmic calendar of tha Chinese follow this Pythagorean sonic Lambdoma for thousands of 3/2 intervals (25,524 times) ending it when it finally reaches within 1/10,000 of a cent of the exact octave. The relationship of this number to the sacred number of the year of the procession of the equinoxes which we know is 25,920, or in other words the proportion of 25,920/25,524 = 1.0155148095900973. The Pythagorean coma 531441/524288 = 1.013643264770508.
In tha year of this writing in 2013 we are beginning a new galactic cycle. A propitious year to reactivate tha Pythagorean Kanon. As I mentioned before the numerology of tha I Ching written 5000 years ago is based on this sonic creation of Tao 1, Yin 2, and Yang 3. And it is interesting to note that Pythagoras’s spiritual philosophy is as close or possibly even closer to the Essenes, Taoism and Buddhism than it is to Egyptian and Hermetic Mysticism. Remember China, and Tibet although far away, are part of the same continent as Greece and tha influence of Lao Tzu and Buddha must have reached Pythagoras, possibly through the Essenes. Pythagoras was also a contemporary of the biblical profit Daniel, then also in Babylonia the same years as Pythagoras. They were both said to live as captives in the palace and work as advisors to the tyrant king of biblical fame Nebuchadnezzar II. Daniel an Essene with the title Rab Mag (The Magician of Babylon) surely was tha keeper of dreams and the then Kabalistic Secret Music Tradition of Solomon. History puts those 2 great figures in the greatest world cultural melting pot of the day, in a seething time of wars and cross/cultural ideas - all this happening during Buddha’s lifetime and 60 years after the founding of Taoism by Lao Tzu in China.
MODERN SONIC PYTHAGORISM TODAY
RENAISSANCE OF RESONANCE
We have many examples of what I am referring to as the Renaissance of Resonance healing movement in all of the Shamanic traditions and contemporary vibrational healing techniques worldwide being practiced and taught today. The pedagogy for the Pythagorean Harp or Kanon is my particular addition.
Anyone may access these ancient codes that Pythagoras has left us and begin the simple song of self/harmonization, re-establishing the idea that this creative harmonic music is our natural inheritance. Creating Music utilizing a Pythagorean Harp is mostly right brained, creative, heart centered activity and not something reserved exclusively for the talented few who are also willing to dedicate themselves to years and years of hard discipline. Waiting for music to enter one's life by donning the headphones or passively listening to a concert is not a viable evolutionary proposition and not what we are ultimately designed for. You are coded to create. Just remember you are music. And by continual individual and collective use of this new/ancient Harmonic Science you may discover or rediscover musical codes that can completely transcend your current conscious level of realization. What will the future bring after we outgrow concepts like getting healed and raising our vibrations? Did Pythagoras know of Post Ascension Adjustment and Post Sonic Quantum Cognition? Living in Parallel Dimensions 101? Was the world of his time not ready for the Pythagoreans? Was that the reason for musical secrecy? After all these millennium are you finally ready to claim this inheritance?
Modern Sonic Pythagorism is somewhat like the story of Dorothy in The Wizard of Oz. When she finally arrives at her destination (The Emerald City) she is advised by the Good Witch Glinda that she has only to tap her magic slippers together 3 times (Like the 1,2,and 3 of tha Universal Sonic Pythagorean Lambdona) with the intention of “returning home”. The irony of this is that she could have used her magic slippers at anytime but had to evolve and learn through her mistakes before she was ready.
I am basically saying that tha Pythagorean Rainbow Modes are an important template for self/ harmonization when used to create musical constellations on a Pythagorean Kanon. Like Dorothy we have known about this scale and it was historically adapted as tha norm in occidental sacred music centuries after Pythagoras died. I believe it is time to revive tha Kanon (like Dorothys’ glass slippers) and this time use tha Intention of Love 528 hz and cosmic realignment to 432hz with tha Sonic Yin Yang Law of 3/2 to Return Home or to put it in terms of tha Ancient Solfeggio : Return to tha Spiritual Order.
RENAISSANCE OF RESONANCE
We have many examples of what I am referring to as the Renaissance of Resonance healing movement in all of the Shamanic traditions and contemporary vibrational healing techniques worldwide being practiced and taught today. The pedagogy for the Pythagorean Harp or Kanon is my particular addition.
Anyone may access these ancient codes that Pythagoras has left us and begin the simple song of self/harmonization, re-establishing the idea that this creative harmonic music is our natural inheritance. Creating Music utilizing a Pythagorean Harp is mostly right brained, creative, heart centered activity and not something reserved exclusively for the talented few who are also willing to dedicate themselves to years and years of hard discipline. Waiting for music to enter one's life by donning the headphones or passively listening to a concert is not a viable evolutionary proposition and not what we are ultimately designed for. You are coded to create. Just remember you are music. And by continual individual and collective use of this new/ancient Harmonic Science you may discover or rediscover musical codes that can completely transcend your current conscious level of realization. What will the future bring after we outgrow concepts like getting healed and raising our vibrations? Did Pythagoras know of Post Ascension Adjustment and Post Sonic Quantum Cognition? Living in Parallel Dimensions 101? Was the world of his time not ready for the Pythagoreans? Was that the reason for musical secrecy? After all these millennium are you finally ready to claim this inheritance?
Modern Sonic Pythagorism is somewhat like the story of Dorothy in The Wizard of Oz. When she finally arrives at her destination (The Emerald City) she is advised by the Good Witch Glinda that she has only to tap her magic slippers together 3 times (Like the 1,2,and 3 of tha Universal Sonic Pythagorean Lambdona) with the intention of “returning home”. The irony of this is that she could have used her magic slippers at anytime but had to evolve and learn through her mistakes before she was ready.
I am basically saying that tha Pythagorean Rainbow Modes are an important template for self/ harmonization when used to create musical constellations on a Pythagorean Kanon. Like Dorothy we have known about this scale and it was historically adapted as tha norm in occidental sacred music centuries after Pythagoras died. I believe it is time to revive tha Kanon (like Dorothys’ glass slippers) and this time use tha Intention of Love 528 hz and cosmic realignment to 432hz with tha Sonic Yin Yang Law of 3/2 to Return Home or to put it in terms of tha Ancient Solfeggio : Return to tha Spiritual Order.
