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The truly remarkable discovery of powerful harmonic relationships between the elements based on musical patterns is of course of highly significant. Even more significant is the discovery that these same patterns are present in life cycles. This gives us a clue that there is a relationship between the phenomena of life and the material harmonic relationships. Are we close to discovering what “????” is? Let us recap.
We have seen that molecules vibrate with oscillating molecules that move in different, non linear patterns. We also have seen that atoms and molecules together have + ve and – ve polarity that allows them to attach to other molecules under certain circumstances. Water dissolves elements in such a way. We have now seen that there are also very special frequencies active in the universe that have very special harmonic properties. At a large scale they determine how planets move around a sun or galaxies behave. At a minute scale the same happens at atomic and subatomic level.
It is not difficult to make the step that there are very special situations in which two molecules are not attracted to each other through the negative and positive forces but through the harmonic frequencies of their behavior. We have seen that only in very special circumstances molecules combine and even in more special circumstances they are attracted to each other through frequencies. These special frequencies (of the musical type) are emitted at random by the molecules in vibrating mode. Only in very exceptional cases two molecules of certain different elements get into a state of unstable harmonic musical frequency at the same time AND in each other’s proximity. They then create a bond. Unique in this bond is that this combination of matter on its own has a stable harmonic frequency. The different elements do not fuse but stay together in a more definite form. These bonding frequencies of course coincide with what we consider “good music”. The type of the 34560 cycle for instance proven to have a specially strong bonding nature. The definite form that appears through the combination has now unique properties due to the combined harmonic frequency that produced a new, stable one. This situation of frequency stability is key because the harmonics that was first an attraction by simple multilevel coincidence is now one that is inherent to the stable property of the new combination of elements. These properties are of interaction with the environment through stable harmonic cycles.
So trying to explain it in other words and ready for scientific observation and verification, is the following:
- We have two or more different elements (say A and B for the sake of simplicity) in a free floating environment (s.a. water) for easy encounters and under special, optimal environmental conditions,
- Both A and B show normal molecular movements with standard diversity,
- A and B get excited by the environment and emit at particular random moments frequencies from the range of the harmonic musical patterns (Ray Tomes),
- A and B connect when these randomly produced frequencies coincide and attract each other.
- They fix in a harmonic relationship that is not fusing but combining the elements. In a way they form now a mini galaxy of two elements in a stable, harmonic relationship.
- The frequency of this (A + B) combination is unique and stable within the range of musical harmony.
- This means that it is not by chance combining anymore with other elements with the right harmonic emission but on purpose through the attraction of these special frequencies.
A + B is now combined through an “????” that has been identified as harmonic frequencies that are attracted to each other within the musical range of tones. The unique attraction properties of these frequencies make A aware of B and B aware of A. They then stick together in a special (A + B). While A is only aware of B and B of A when their random frequencies are synchronized the chances of this happening among the right elements and in the right circumstances is very small. The resulting (A+B) combination however is different. The stable frequency combination that binds the temporary “aware” elements into a fixed format stays stable creating awareness through emission of frequencies that can be “heard” by other temporary and fixed synchronized elements.
(A+B) starts to interact with its surroundings based on these special frequencies looking for new bondage among elements. It has assumed the very first mission of life: Autonomous Growth.
Have we found “life”? Yes! Life is the shaping of elementary “living” material combinations through bondage of frequencies of a highly specific range that is identical throughout the universe. So life in reality is music: A + B + music = (A+B) alive. The musical frequencies make A and B “aware” of each other and in certain circumstances also attracted to each other. So the musicality of molecules and the universe creates (musical) awareness in certain circumstances. This means that life appears under specific circumstances of the environment interacting with molecules that can move around in a stirring environment to produce appropriate encounters and vibrating according some exact part of the musical tones.
Life in reality is musical awareness and is latently present in the entire universe, always ready to be activated.
Let us now challenge all scientific labs in the world to prove this by producing the first elementary living building blocks through planed human intervention. It will be interesting to see how finally “awareness”, the line of “to be” in the model of human complexities comes first in life before “to do”. Once we come alive the “to do” feeds the “to be”. We will elaborate that further in subsequent blogs. Before we do that we now know how life comes together. Now we will look at the four key phase of evolution in the next few college blogs.
The universe, cycles and music
Back in the last century (the 20th) different people at different moments in time picked up the studies of Pythagoras, Galilei, and other specialists of sound such as Kepler, starting experimenting themselves with cross relationships around cyclic patterns.
One of these people was Ray Tomes in Australia who was studying economic cycles in the 70’s making use of this new instrument called “the computer”. He found a particular time rhythm in these cycles. The wave patterns in economic trends were useful for making forecasts and getting insight in the ups and downs of economies with crises, recessions, depression and strong new impulses. Tomes found a striking similarity between the economic cycles and the cyclic movements that could be observed in the universe. For some reason the number 35.6 years kept re appearing and so did fractions and multiples of it.
I already wrote about the economic cycles of Kondratieff to put them into relationship with my own model of human complexities. It was for me the first evidence that there was a relationship between cyclic patterns of economics and human patterns of collective awareness.
Tomes found that the Kondratieff cycle of 54 years could also be related to his own discovered cycle of 35.6 in a ratio 2:3. Funnily enough we have seen this ratio in music too. This is the remark Ray Tomes made in his report:
Then it struck me. These fractions of 35.6 years were in fact frequencies of 4:5:6:8 which is exactly a major chord in music. Also, the shorter cycles turned out to be exactly in the proportions of the just intonation musical scale plus a couple of back notes (E flat and B flat if we are in the key of C).
Tomes went further and found harmonic relationships that could be observed in space. A specially significant one was the number 345600 which shows the harmonic relationship between all elements in space through distance. In fact it shows that our atoms, planets, solar systems, galaxies, etc are all related through musical patterns with the number 345600 as one standing out of all of them. In fact, what Tomes interpreted was that the entire universe is one giant musical instrument. Read more about the finding of Ray Tomes here….
To understand how harmonics divide space as well as time, consider a stringed instrument. It can oscillate at a fundamental frequency which has just one wave in the string. It can also oscillate at the 2nd harmonic. In that case both the length of the string and the time of the oscillation are divided by 2. Likewise, if we could get the 34560 harmonic going in the string it would divide both the length and oscillation period by 34560.
ratios (Ray Tomes)
V V V V V V V V V V <–of 34560
A A A A A . . A A A <–things
Univ. Galaxies Stars Planets Moons Atoms Cells Nucleon observed
It is of course extremely interesting that there is a definite relationship between wavelength frequencies of music and the entire composition of our material universe on minute and infinite levels. With the relationship between economics and the human complexities we see that the exact same frequencies also apply to human behavior, wars, birth patterns, climate changes, weather, recessions, disasters, the evolution of our planets, the coming and going of civilizations and the influence on our own biological and organizational systems.
In the next blog lecture we will try to piece things together.
The magic of frequencies
We have observed until now that matter moves and relates to matter through different polarity (-ve and +ve) and with the assistance of substances like water that is a carrier. We also know now that energy interacts with these moving atoms through the level of excitement that allows them to bond or not. This is interesting, still it does not explain life (yet). For that we have have to introduce a new variable: frequencies.
To illustrate the world of frequencies I am going to use the passionate environment of musicality. We all have particular feelings about music and it often plays a significant role in our lives, especially when we enter our world of emotions. We enjoy certain music and feel it to affect our mood and emotions. Music is considered by most of us as a kind of expressive language that vibrates through our being with its tones and lyrics.
But why do we like music so much?
What makes us like certain tones and not the other frequencies? These questions were asked also by Pythagoras back in 500BC. Pythagoras lived in the ancient Greece. He had a special passion for numbers and was convinced that most of the miracles of life could be explained through application of mathematics and the usage of whole numbers, the integers
0 – 1 – 2 – 3 – 4 – 5 – 6 – 7 – 8 – 9.
When he asked himself the “like” question of tones he started to study the frequencies that musical instruments and human voices produce and especially those that we enjoy most. He came to the remarkable conclusion that the tones of our music ladder (do – re – mi – fa – sol – la – si and again do) have a unique frequency relationship. It can be obtained by pressing a vibrating musical string at a particular tension and point. The frequency patterns appear to relate to each other when producing the different tones.
This was very remarkable. So the tones that find a liking in our ears are all related to each other in ratios. They could be calculated through ratios of 1:2 and 2:3 producing fragmented tones between do and the next do. Each “do” was represented by the next integer and the fraction in between by a particular division that represented the harmonic relationship of frequencies that could be obtained by applying the ratios found. The problem Pythagoras encountered was that his experiments led him to awareness but not quite to the solution because his maths got him to produce musical cycles that were always off by a little bit. This became known as the Pythagoras comma, a small adjustment required in the tone to get it right.
It still took over 2000 years for a new famous character to pick up the challenge that Pythagoras had initiated. It was Galilei, the father of the famous Galileo Galilei, who solved the enigma of the Pythagoras comma. He concluded that the best frequencies were in the following proportions (source: Ray Tomes, 1996):
do re mi fa so la ti do
1 9/8 5/4 4/3 3/2 5/3 15/8 2
This is very interesting. When we adjust these number to represent a whole number we get the following:
24 27 30 32 36 40 45 48
When we look closely we see relationships ( eg 24/30/36 = 4/5/6 and 32/40/48 = 4/5/6) recurring all the time. This means that every note relates to “do” with three mayor cords in ratios 4/5/6.
Wow! This is remarkable and exciting. It was assumed by all these people that these optimal musical ratios had a significance in the universe and our own living selves. But what were these relationships?
We will see in the next blog lecture