How real Daoist (Pythagorean) Harmonics solves a paradox in the Small Universe meditation

Sir James Jeans states,

"The true clock-face extends to infinity in both directions", Sir James Jeans, Science and Music, p. 168.

So I am not just making up the infinite spiral of fifths as complementary opposites. haha.

"The value is 129.75 as 12 steps of the fifth while the frequency of the last C as the octave is "128 times that of our starting-point, so that our twelve steps slightly overshoot the mark."

So you incorrectly stated that ratio in your master's thesis since you were promoting the mathematical lie of that ratio as being a geometric mean magnitude as symmetric math from 9/8 as 3/2 x 3/4 but in reality 3/4 is from 2/3 as C to F subharmonic - "in both directions" - and yet Philolaus had to cover this up. He did so by stating 0 to 8 is 6/8 wavelength as 4/3 frequency but the geometric magnitude is 12 to 8 as 3/2 and 8 to 6 as 4/3 to create the octave as 2. So Perfect Fifth plus Perfect Fourth = Octave is a lie from the wrong math! haha.

Thanks again for our conversation. Music is based on impersonal math, but it is also the language of emotions - a paradox indeed!!

Take care,

drew

So in the "accelerated" small universe meditation originally from Zhang Hongbao, and actually originally from Taoist Yoga: Alchemy and Immortality, qigong master Chunyi Lin explains that the sound OM is for energy going up the back channel (the governing yang channel) and the sound MUA is for energy going down the front channel (the conception yin channel). And as we learn from qigong master Robert Peng and others, these 2 main channels then harmonize the 12 main meridians of the body - hence the 12 correct alchemical nodes. Each meridian is based on a 2 hour cycle and harmonized with the seasons and emotions and colors as well.

But there is a paradox! Why is it that qigong master Chunyi Lin then guides the meditation by saying OM and then MUA for the next node of the 12 - even though each sound is going in the same direction along the body! In other words OM and MUA is heard consecutively whether going up the yang (back) or down the yin (front).

So those are the 12 harmonic nodes of the small universe meditation and so OM is for example the tailbone and then MUA is the lower back and then OM is the kidney, etc. But in the explanation of the meditation qigong master Chunyi Lin says that OM is for the going up the back as the yang energy and MUA is going down the front as the yin energy.

Now I had been wondering how to resolve this paradox but the answer is actually from how the traditional Chinese music scale based on yin-yang qi energy is constructed!! And this is also the secret of how the traditional Pythagorean scale is constructed as well. Now recall that I quote professor John Curtis Franklin from our correspondence that the Chinese 12 note Pythagorean scale has been documented as far back as 3,000 BCE!!

O.K. so now let's review how the real scale is constructed - not how math professor Tito incorrectly tells us in his 2014 book, but rather how Chinese language and philosopher professor Patrick Rowan tells us how to construct the scale.

So if you really study this image you see the little arrows showing a Perfect Fifth going down and a Perfect Fifth going up

But there is a problem with this image! The Perfect Fifth is at the SAME TIME as the overtone and undertone of C and so in fact the F is going up to C as the Perfect Fifth. Why? Because it is the undertone as the fraction 3/2 WAVELENGTH of the root tonic C - and so the frequency is 2/3 and then as the reversal occurs the Perfect Fifth is 3/2 frequency as G and the wavelength is 2/3 of C.

So it's only a Perfect Fourth going in the opposite direction IF you assume that the direction doesn't matter because you have to reverse the direction of the Octave as geometric magnitude as a double octave FIRST. So that Philolaus said that 0 to 8 is the root tonic with 6/8 as 3/4 to create 4/3 as the Perfect Fourth but then he stated that 12 to 8 is the geometric magnitude as 3/2 frequency and so the wavelength is 8/12 as 2/3. And so then 8/6 is the 4/3 frequency with the wavelength as 6/8 for a geometric magnitude value of 12 to 6 as the octave as 2. But 4/3 can not be the frequency if 6 is the value 1/2 as the wavelength and so instead 4/3 frequency is created from 0 to 8 as the new "phantom tonic" frequency of 1 as the root tonic. So 8 can be both 4 as the double octave and 1 as the frequency of 0 to 8 root tonic but 6 can NOT be both 3 and 2 at the same time.

And yet geometrically we do have the Perfect Fifth as F subharmonic 2/3 with G as overtone harmonic 3/2 at the same time in relation to the 1 root tonic of C as an infinite string - or zero time, infinity frequency. Because there is no zero time, infinite frequency this means that the Perfect Fifth as subharmonic is actually reverse time with superluminal frequency as a spacetime momentum shift of the Emptiness - creating a blue-light shift, as I explained in my quantum biology pdf on Blue Light and Blues Music. haha.

And so we really can not visualize the infinite spiral of fifths since it truly is a Perfect Fifth going in BOTH directions at the same time - and going towards a Phantom Tonic that is a negative wavelength or negative mass with positive momentum from reverse time and negative infinity frequency of light as consciousness.

Now let's get back to the Chinese tuning. As I recently posted:

"Each of the 12 harmonic notes of the Chinese alchemical music scale are Qi nodes, just as in Kriya yoga, as a month of the Solar Year (the Perfect Single Yang as Perfect Fifth infinite spiral) The Yellow Emperor, Huang Ti, in 2700 BCE, told Ling Lun to create the “infinite spiral of fifths” music tuning based on the Perfect Fourth music interval as yin and the Perfect Fifth musical interval as yang, according to the 240 BCE book, Lü-shih ch’un-ch’iu (The Spring and Autumn of Lü Pu-Wei) Yang pipe became Yin, and by “increasing” the Yin pipe was transformed into Yang. In the first case, the result was a downward generation, and in the second, an upward one. Thus we find a continuous process of generation, with continuous exchanges of qualities between Yang and Yin, making clear the dynamic characteristics of the procedure followed. Each of the 12 lUlU [pipes of Perfect Fifth/Fourth] were assigned a hou [climatic season] chosen among the 24 jieqi [solar terms]. For example, Huangzhong corresponded to Dongzhi [winter solstice]; Linzhong recalled the Dashu [great heat] and so on. Furthermore, the figure indicates, together with the names of the lUlU, the 12 dizhi [earthly branches] in their relative order. Thus the first lUlU corresponds to the first dizhi, that is to say Zi [son] and so on. The dizhi were also used to indicate couples of hours during the day; for example, Zishi [time of the son] indicates the hours from 1 1.00 p.m. to 1.00 a.m., and the other dizhi follow the order of the hours And the same truth is found in India - the spinal cord is consider the "frets" of the music instrument and the body/mind is the musical instrument as a microcosm of the 12 zodiac constellations based on turning the yin energy into yang (Perfect Fifth).

 In other words it is not just a Perfect Fifth going in one direction of the Spiral with a Perfect Fourth going in the opposite direction! Rather it is first a Perfect Fifth, then a Perfect Fourth (that is really a Perfect Fifth inverted) and so on.

“To put the same thing in another way, we have just identified the frequency ratio 1.5 with the interval of a [perfect] fifth, although our table gave the value as 1.4983. The difference is only small – 1.13 parts in a thousand – but by the time we have taken the twelve steps needed to pass completely around the clock-face, it has been multiplied twelvefold into the difference of 13.6 parts in a thousand, which represents the aforesaid difference in pitch of almost a quarter of a semitone. When this is allowed for, the true clock-face is that shown in fig. 55; it extends to infinity in both directions and all simplicity has disappeared.” 

Sir James Jeans book Science and Music, (Dover Publications, 1968), p. 166

 The Chinese rule is very simple: Take 2/3 of the length of the open string, and put down a fret there. Then take 4/3 of that second length and put down a fret there. The third step is to take 2/3 of the last length, then 4/3, and so forth. Let's see how that works.

So now we see that Professor Patrick Edward Moran has an error in his description

He wants to use a physical wavelength but you can not take a physical wavelength as 4/3 to put a fret down! So this is exactly the same paradox that Philolaus was dealing with. You take 2/3 of the first string which is 0 to 12 so that is 8/12 wavelength as 3/2 frequency. Then you take 4/3 of the second length. Well the 2nd length was created by the first fret so it is 0 to 8 just as Philolaus used but to put a fret down at 4/3 is beyond the length of the string!

He says "let's see how that works." But that indeed is exactly what he means - he says put a fret at 4/3 the length of the string but he never says what the length of the open string IS - he just says it is 440 hertz. haha. Then the frequency is 3/4 of 660 frequency which was 3/2 of 440.

But the method used here continually divides frequencies by two (or multiplies string lengths by two) to make a gamut all the notes of which fall within one octave, so it is clear that the early Chinese had a definite idea of how to define and use the octave.

Actually again this is not true - since the method is to continually take complementary opposites of wavelengths that DON'T EXIST since you can not put a fret at beyond the length (i.e. 4/3 of the wavelength).

And yet it is the WESTERN tuning that multiplies by 2 to put it back into the same octave and by doing so CHANGES what the root tonic was - as the phantom tonic - and covers up the complementary opposite harmonics of the Fifth and Fourth, to create geometric mean!!

So now let's go back to

Tito M.Tonietti 

And Yet 
It Is Heard 

Musical, Multilingual and 
Multicultural History 
of the Mathematical Sciences 

2014.

As I recently blogged - he also makes an error but in the opposite sense - he projects the 9/8 geometric mean back onto the Chinese tuning. So let's take a closer look.

Archived.

So he says that, translating the reed pipe tuning - the first pipe is the number 1 but is also the number 81 as the harmony of the Sun and Moon!!

 Why? Because consulting the book Early Astronomy (google) 81 months and 19 years have a common division of days so the months were lunar and the years were solar. The remaining fraction past 365 days has a denominator called the "Day denominator" as 1,539. Fascinating!!

O.K. Back to our music tuning. So 81 is the lunar. He does the  math wrong - he claims it is all just year numbers with 81 as years!! No 81 is months of the Lunar energy.

Which means a Tong was actually 6.75 years (81 months) x 19 years not 1,539 YEARS but rather 128.5 which is the SAME as the Pythagorean Comma!! Holy Smokes!! So the harmonization of Sun and Moon as the first note is the Pythagorean Comma:

"The value is 129.75 as 12 steps of the fifth while the frequency of the last C as the octave is "128 times that of our starting-point, so that our twelve steps slightly overshoot the mark."

O.K. it is very close and since this is an average of days then it has to be an overshoot fraction! That is truly amazing. What I have seen this elsewhere before. Let's see if they do the same calculation.

by Thomas Váczy Hightower

O.K. so....

These twelve Cosmic Tones were emanations of, and an aspect of, the Primal Sound, but were closer in vibration to the tangible, physical world. Each of the 12 Tones was associated with one of the 12 zodiacal regions of the heavens.

O.K. so far so good.

Oh and he cites David Tame - I read that book but he was racist so I did not quote from it.

According to the book by David Taime, The Secret Power of Music, 3 was the symbolic numeral of heaven and 2 that of the earth; sounds in the ratio of 3:2 will harmonize heaven and earth. As a way to apply that important concept, the Chinese took the foundation note, ‘Huang Chung’, and from it produced a second note in the ratio of 3:2.

 So the 1 as the foundation note is actually Heaven and Earth as Sun and Moon harmonics...

Oh but no - he refers back to Professor Moran for his Chinese tuning. Oops.

I, C
II, G = 3/2
III, D = 9/8 = (3/2)² * ½ (lower an octave)

 He claims Moran states this - but Moran does note state this at all! According to Moran the third note created as the Perfect Fourth of C as F - note D. So Hightower is secretly switching back to the lie of Philolaus as geometric magnitude.

Instead of starting from C, we could have begun one fifth below, that is to say, from F, and we would have obtained this essential note without changing anything in our scale, except that, since we begin with a masculine interval instead of a feminine interval, the character of the whole system is modified.

 O.K. that's interesting.

It is higher than the fundamental by one comma, the Pythagorean comma (312 / 219 = 531,441/524,288,

Now compare his claim with a music professor!!

 results in the number 129.74632.
This ratio, 129.75632 : 128 is the Pythagorean comma. 12 perfect fifths do not equal up to 7 perfect octaves:

NO!!!! Hightower just lied as well - he is using the WRONG ratio as the Pythagorean Comma!! Hilarious.

 Dang - busted!!

The Chinese continued the cycle of fifths up to 25,524 notes, with a basic interval of 0.0021174 savarts. This cycle is very near to that of the precession of the equinoxes, or the Pythagorean Great Year, which is of 25,920 solar years.

O.K. we'll come back to this claim but he got it from Cousto's book the Cosmic Octave which is just promoting Platonic math....

O.K. I'll have to email that dude as well to point out his error! Hilarious.

So now back to the math professor's error about the sun-moon calculations of the Chinese music scale....

OH o.k. now I get it - they are not using strings as Professor Moran claimed, but rather pipes.

So the first pipe is 9 long and the 2nd pipe is 6 long (2/3) and the third pipe is 8 long (4/3) of the 2nd pipe. That matches what Moran was trying to explain.

So now we can see what happened - Apollo was based on Hermes using a Lyre along with Orpheus - while the Pitch Pipes of Pan were discarded as supposed wild frenzy of Dionysius - of the Underworld of real alchemy!!

And yet what did Anaximander teach? That the Cosmos is created by pitch pipes or flute holes and when the air blows across them the fire and light shines out.

So then the professor explains for the Chinese the first note was Harmony of Heaven and Earth but the 2nd note was based on decreasing the circumference of the pipe along with the length and so was the seasons of the Earth, so more complicated. The third note was then based on the I Ching as the energy of Man.

So the 2nd note as 6 of 9 was from 90 feet long with a circumference of 9 as 81 - the number of Lunar Months as the 1st note as Heaven. 6 was 2 as Earth x 15 (the solar month as 24 solar months in a year) which gives 12 months (or 12 harmonic notes) with Earth as the value of 2 solar months!! So 30 is the value of Earth and take 2 to get 60 as the length x 6 of the diameter to get 360 as the solar year!

Wow pretty fancy.

Wow - so we just revealed the secret of how the Dragon of the Sun turns the Earth into Fire as alchemy based on the measurements of the pitch pan pipes!!

So then he explains this continuous exchange of Sun and Moon - and we know from alchemy - as music harmonics - when the bellow opens up on the in breath this sends the energy down the front while the breath goes up the back and on exhale the opposite happens. So you have different levels of yin and yang interchanging - with the Perfect Fifth and Perfect Fourth as the inverted Fifth getting transformed into the Solar energy alchemically as the Single Perfect Yang.

And since that started out as 81 from the lunar months to harmonize with the Sun - that means again that alchemy starts and ends with Jing energy with "yin qi" just being "immature yuan qi" and yuan qi is actually the virtual information field as "yin matter" that is superluminal - the Golden Key secret of Master Zhang Hongbao.

And so when the musical octave does not line up with the Perfect Fifths - what happens is there is a change of direction of the Fifths and Fourths at each octave! So at first Yang generated Yin by "decreasing" while Yin generated Yang while increasing. But then Yang generates Yin by increasing and yin generates yang by decreasing!

And this paradox is explained because Yin energy starts increasing after the Summer Solstice.

Thank you again Eduard for the fascinating conversation. I was just reading Professor Tonietti's book, "And Yet It Is Heard: Musical, Multilingual and Multicultural History of the Mathematical Sciences" - it is archived free online, 2014. I found another error in his research and this revealed a deep alchemy secret. haha. I just blogged on it. See the Dionysian "wild" music was based on pitch pipes while Hermes Orpheus and Apollo used the Lyre. What really was going on was a struggle between the lunar and solar calendars and how to measure them from musical harmonics - as Curtis Franklin details as well. So the Pitch Pipe tuning was actually more complex than the monochord lie of the Lyre flipping by Philolaus. haha. But this ancient secret is lost unless alchemy is also studied. So I just made a very amazing discovery but it is also very esoteric. As Peter Kingsley points out - his Pythagorean philosophy - the underworld is necessary to properly understand Pythagorean incubation meditation as based on internal listening for the Tetraktys as the elements. And so in fact this was a switch over from the pan pipes to the lyre and that's how the alchemical secrets got lost.

Take care,

drew

Dear Professor Tonietti: If you convert the 81 back into years then you get a difference that is very near the Pythagorean comma  - you get 128.5 whereas the Comma is the difference between 129.5 and 128. So also your music pitch pipe analysis reveals the secret of Daoist alchemy!! I blogged on this - http://ecoechoinvasives.blogspot.com

Thanks so much,

drew hempel