Will the Small Universe Kriya Yoga meditation of China and India restore the Truth of Pythagorean Infinite Spiral of Fifths against the Lie of the Circle of Fifths?

Zero is a lie - as noncommutative geometry realizes. Professor Shahn Majid has stated that Aristotle was correct to be against "negative infinity" - Philolaus created zero based on the ratio of numbers as symmetric geometric magnitude. This lied about frequency being complementary opposite of wavelength. Not until de Broglie Law of Phase Harmony was this lie rediscovered. Don't be fooled by the wrong music theory of "Circle of Fifths" b.s. The infinite spiral of fifths is the truth of reality. Pythagoras did not create the circle of fifths. Philolaus lied about the real Orthodox Pythagorean teachings which are actually the empirically true infinite spiral of fifths as meditation, the same secret taught as the "small universe" meditation of China and the circulation of energy by Gurdjieff and Kriya yoga based on the "three gunas." Yang is the Perfect Fifth, yin is the Perfect fourth and the Octave is the Emptiness. Sattva is the Octave, rajas is the Perfect Fifth, tamas is the perfect fourth. Philolaus flipped his Lyre around so he could Lie about the infinite perfect fifths and so he converted the Law of Pythagoras into symmetric geometric magnitude based on 9/8. Orthodox Pythagorean Tetrad or Tetraktys is just the Octave, Perfect Fifth and Perfect Fourth based on noncommutative phase so that is C is 1 and the octave C is 2 and Perfect Fifth is 3 as G overtone then F is 3 as the Perfect Fifth undertone, at the same time. So G=3=F at the same time.

 “Orthodox Pythagorean theory recognizes five consonances: fourth, fifth, octave, twelfth, and double octave; and these are represented by the multiple and superparticular ratios [n + 1 : n] from the tetrad. The number 8 obviously does not belong to the tetrad.” 

André Barbera, "The Consonant Eleventh and the Expansion of the Musical Tetractys: A Study of Ancient Pythagoreanism," Journal of Music Theory, 1984.

So Philolaus taught that the Perfect Fifth plus the Perfect Fourth = the Octave but this is a lie! In fact 2 does not go into 3. So what he did is use the "double octave" as a scam to turn 2 as frequency into 2 as the geometric mean squared. And then Archytas formalized this with his Harmonic mean equation. R. P. Winnington-Ingram's, “Aristoxenos and the Intervals of Greek Music,” (1932) as an article “admits that the pre-Platonic theorists used the tone 8:9 to construct a scale, but for some reason is reluctant to attribute this construction to the Pythagoreans.” 9/8 cubed = square root of two = Devil’s Interval tritone 5/4 = cube root of two 3/2 squared = 9/4 halved into octave as 9/8. 3/2 x 4/3 = 2 (geometric mean squared). log(3:2×4:3)=log(2:1) log(3:2)+log(4:3)=log(2:1) - so the "circle of fifths" is a lie. Sir James Jeans realized this.

Real music theory is based on quantum physics as noncommutative phase nonlocality.

 "There is a fine structure in spacetime, exactly as there is a fine structure in spectrals [frequencies].... The idea is to replace a geometric space with an algebra, as an inverse of the Dirac operator, by sending a wave with a constraint on the vibration of the wave, can not vibrate faster than 1, the commutator of the Dirac Operator is less than 1....The spectrum of the Dirac Operator...space is not simply a manifold but multiplied by a noncommutative finite space. There is behind the scene, there is a square root and when you take a square root there is an ambiguity and the ambiguity that is there is from the spin structure....Finite space which is there is essentially the simplest finite space which has dimension zero, as far as the [frequency] spectrum is concerned...." 

Alain Connes Field Medal math professor on music as the truth of reality:

 a “universal scaling system”, ... this discrete scaling manifests itself in acoustic systems, as is well known in western classical music, where the two scalings correspond, respectively, to passing to the octave (frequency ratio of 2) and transposition (the perfect fifth is the frequency ratio 3/2), with the approximate value log(3)/ log(2) ∼ 19/12 responsible for the difference between the “circulating temperament” of the Well Tempered Clavier and the “equal temperament” of XIX century music. It is precisely the irrationality of log(3)/ log(2) which is responsible for the noncommutative [complementary opposites as yin/yang] nature of the quotient corresponding to the three places {2, 3,∞}. - " 

and

 "Our brain is an incredible ....perceives things in momentum space of the photons we receive and manufactures a mental picture. Which is geometric. But what I am telling you is that I think ...that the fundamental thing is spectral [frequency]....And somehow in order to think we have to do an enormous Fourier Transform...on geometry. By talking about the "music of shapes" is really a fourier transform of shape and the fact that we have to do it in reverse." Alain Connes, 2012  

http://ecoechoinvasives.blogspot.com/2017/05/my-last-blog-saved-by-ancient-knowledge.html

 This gives the secret of the truth of music theory. I did my master's thesis on "sound-current nondualism." Don't get fooled by Archytas since with Arithmetic Mean x Harmonic mean = geometric mean squared then ONLY 3/2 as C to G overtone can be used while 2/3 as C to F undertone Perfect Fifth can NOT be used. It's a scam that started with Philolaus. He flipped his Lyre around and then created a double octave - so that a monochord started with 0 and the Perfect Fifth minus itself was 0 but you can have a Perfect Fifth as the same pitch with different frequency based on frequency and wavelength being complementary opposites. Pythagoreans taught that ALL IS NUMBER AND HARMONY - not that all is geometric magnitude so that 12:8 (3/2) plus 8:6 (4/3) = 2/1 as geometric magnitude from the double octave. This has to use 0 to 8 as one "root tonic" for 6/8 wavelength as 4/3 frequency and then 0 to 12 as the other root tonic for 12/8 frequency as 3/2 with 8/12 wavelength. This is called the "ghost tonic" in music theory since the Perfect Fourth can not be created from the harmonic series as 3 does not go into 2 from 1 as the root tonic denominator. In other words the root tonic changes due to complementary opposites.

"Not a fourth above, but a fifth below: the phantom tonic." https://nmbx.newmusicusa.org/IV-The-Phantom-Tonic/ So the infinite spiral of fifths is not just some "modular" tuning, no different than an "infinite spiral of thirds" but rather the fifths are noncommutative with the fourths, as Alain Connes realized.

So did Louis de Broglie with his Law of Phase Harmony - as Manfred Euler realized. We listen to music faster than fourier uncertainty or time-frequency uncertainty so we have quantum phase coherence since we hear at the subangstrom (wavelength of light).

 Professor Euler "Universal coherence" - a "mind boggling outlook."

 "Phase harmony in de Broglie theory relates a local periodic phenomenon (the 'particle clock') to a periodic propagating field in such a way that relativistic invariance is satisfied. If a similar phenomenon in the cell is relevant it should couple the global oscillation pattern locally with periodic (mechanic, electric, biochemical ???) processes."

 Coherence as consciousness. "Ghost Tones" http://ecoechoinvasives.blogspot.com/2018/02/the-blue-light-of-blues-music-ii.html This explains that music is really quantum biology as the infinite spiral of Pythagorean fifths, not the lie, as Sir James Jeans exposed in book "Science and Music." Blue Light and Blues Music: quantum biology, meditation and metaphysics.

 shoegaze forever - please don't misrepresent Chinese Daoist meditation from music harmonics! Martial Artist Chinese Language and Philosophy professor Patrick Edwin Moran :This method has an ancient history, and was first written about in the Lyu Shi Chun-qiu, a text produced by the "think tank" of a late Zhou dynasty figure around 239 B.C., and the Guan Zi, a syncretic text attributed to a very early figure, Guan Zhong, who died in 644 B.C. The book may have been compiled in the late fourth century B.C., but may also contain materials going back to the historical Guan Zhong's time. 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. The Chinese knew about the tempered scale even before it was invented in the West, but they chose not to use it."

http://designblog.rietveldacademie.nl/wp-content/uploads/2015/05/41-43spiral-300x278.gif

This is the truth of music theory as meditation "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).

 Boethius tells that "the fifth hammer [9/8] which was dissonant with all, was rejected."