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It Really is a Musical Universe!
by Dale Pond
November, 1999
University of Science and
Philosophy quarterly magazine:
The Cosmic Light (Winter 2000 Edition)
The Theory of a Musical Universe
[1]
"The universe consists solely of waves of
motion." relates
Walter Russell in
chapter 31 of A New Concept of the Universe. Another way of saying
this is: "There exists nothing other than vibration." In Russell's
statement lies the base for his next blast at orthodoxy's belief in a material
universe: "Any theory which cannot find a fitting place within the wave
has no other place for it in Nature." Hard words for sure but can they
stand up to scrutiny? Is it possible to create a paradigm of nature that is
structured entirely on wave or vibration theory? Investigating the pioneer work
of John W. Keely's "Sympathetic Vibratory Physics" [2]
would lead us to believe this is so.
Logically speaking, for such a paradigm to exist
it would be couched entirely in vibration terms and concepts and would evolve
from the simple to the complex addressing atomic phenomena all the way through
human activity. The author (Dale Pond; Frank Germano, ED) believes this
can be done, albeit not exhaustively, in so short a paper as this one. Inasmuch
as a premise voiced ought to be demonstrated it will herein be shown how all
vibration is intimately connected to all other vibration, thereby demonstrating
1.) the interconnectedness of all things and energies; 2.) all things are they
themselves built up from simple vibration to complex chords using universal
principles of vibration alone; 3.) there is no such thing as chaos in the
universe; 4.) all things exist by virtue of harmony among the vibrations that
make it what it is; and 5.) all things are intimately connected by
sympathetic vibration.
Some of the information presented here was first
published in 1991 [3] and again in Dale Pond's book in 1994 [4].
This material represents the beginning of the science side of the "science and
philosophy" equation. The universe vibrates from end to end and everything in
it. Therefore if we are to investigate and understand this awesome spectacle we
are obliged to investigate the nature of vibration.
If the universe were chaos there would be no
harmony but only degrees of chaos. All sound and vibration would be just
plain noise. Noise, therefore is unorganized vibration. But none can doubt there
is order recognizable throughout nature from the uniformity of atomic structures
and behaviors to spiral galaxies whose swirling arms of orderly stars span light
years and billions of years of activity. This innate order has been long
recognized, researched and categorized and may be found in music theory. In
vibratory terms disorderly vibration can be organized in terms of music
principles. Therefore music is organized vibration or sound set in orderly
principles of structure and behavior. The principles that make sound into
harmonious music are the same principles that govern all associating vibrations
throughout the universe - and that includes everything that there is. It
will be shown how any given vibration gives rise to a complex yet simple series
of subordinate vibrations known generally as harmonics and these harmonics are
relative to one another as are musical intervals.
It is generally recognized that everything
is a result of vibration and each thing has its own chord of vibration or
vibration signature. This state of vibratory condition is characterized
in John Keely's Law of Corporeal Vibrations: "All
coherent aggregates when isolated from like bodies, or when immersed or confined
in media composed of matter in a different state, vibrate at a given
ascertainable pitch." John Keely [5]
It is a well known and accepted fact
that any vibration as in a sound tone will give rise to its octave harmonics.
These are the harmonics generally acknowledged by science as multiples of 2,
which multiplication derives super-harmonics, and divisions by 2 derive
sub-harmonics. These types of harmonic products or results of 2 are called octave
harmonics. What is not so generally acknowledged but nevertheless just as true
is a tone will give rise to harmonics not divisible 2 but divisible by other
numbers such as 3, 5, 7, etc. These other harmonics are developed from and
within the octave harmonic series first mentioned by the octave harmonics
interacting arithmetically with and among themselves and with the fundamental.
These spontaneously and naturally occurring tones will add and subtract from
each other in a perfectly orderly manner giving rise to summation and difference
tones sometimes referred to as secondary, tertiary or higher harmonics. When
these summation tones are very powerful they are referred to as beat tones or
beat frequencies and are considered enharmonic. These arithmetically derived
harmonics are characterized in Keely's Law of Cycles:
"Coherent aggregates harmonically united constitute
centers of vibration bearing relation to the fundamental pitch not multiples of
the harmonic pitch, and the production of secondary unions between themselves
generate pitches that are discords, either in their unisons, or overtones with
the original pitch; from harmony is generated discord, the inevitable cause of
perpetual transformation." John Keely [5]
Vibrations are harmonious to one another when
their aliquot parts (factors and/or products) are the same. When these harmonics
form unisons or direct harmonic relations the two vibrating aggregates and their
chords of vibration are said to be sympathetic to each other. This
unison of frequency dictates that what happens to one vibratorily
happens to the other simultaneously. In this case the vibrations
of each aggregate or chord and the vibrations active between each are forming
unisons or coincident harmonics and are therefore called sympathetic
vibrations. Vibrations are considered enharmonic when their aliquot
parts or factors are not similar. Most vibrations will have similar factors
and/or products and a few dissimilar factors and/or products thereby giving rise
to varying degrees of harmony or dissonance whichever the case may
be.
In chart #1 we can see how this process
works. Any harmonic series or scale has a base frequency from which all its
harmonics are derived. This base tone is called its fundamental or key note. In
the chart a sub-harmonic of the musical note "C" is used as the fundamental or
foundation upon which are self-generated a series of harmonics. This note has a
frequency or rate of vibration of 256 cycles per second (cps) or a sub-octave
harmonic of middle "C". The little squares contain a number representing the
relative amplitude or power of this note compared to the other notes soon to be
introduced.
As a natural process of creative force
this fundamental tone will vibrate and this vibration will divide itself into
its own super-harmonic of 512 cps (2 X 256) which will in turn divide ad
infinitum according to natural law. Concurrently the number will also resonate
and be sympathetic with sub-harmonics of 128, 64, etc. This process of dividing
into smaller and smaller wavelengths is creative and evolutionary
and according to the Law of Harmonic Vibrations: "All
coherent aggregates are perpetually vibrating at a period-frequency
corresponding to some harmonic ratio of the fundamental pitch of the vibrating
body; this pitch is a multiple of the pitch of the atomole [a subatomic unit]."
John Keely [5]
This new frequency of vibration is the octave
harmonic of the fundamental (2 X 1) and is shown placed in the 2nd octave row
directly above the first "C1" vibrating on the 1st octave row. The
same process continues to unfold for virtually uncountable octaves creating
higher and higher frequencies in ever more rising octaves. We will refer to this
second "C" as "C2" and so forth for each octave. So far so good; we
have a harmonic series born from the lone "C" stretching into infinity both
above the progenitor as super-harmonics and below it as sub-harmonics. So in the
beginning there was One.... C1 is the creator of C2 which
is the created and so forth. This family of "Cs" are all related by number and
this relationship of number can be discovered by factoring and multiplying.
256 factors into: 1X2X2X2X2X2X2X2X2. With this
it can be seen the "C" family "gene" (factors) is constructed of a 1 and eight
2s or reduced to simply 1 and 2.
The number 1 will be seen to be shared by all
other numbers since all numbers contain 1. One is the ultimate Progenitor having
its essence in every thing that was created from it. Therefore One permeates
all vibrations equally everywhere and is sympathetic to them all equally.
Vibrations are dynamic things not
unlike living things. They are creative and evolutionary
simultaneously. They are active and prolific in their dynamics as are their
harmonic offspring. These discrete tones of the harmonics interact with each
other as they intermingle. Being primarily number oriented they will, in a very
natural way mix, merge and divide among themselves just like living cells as
detailed in the Law of Cycles already mentioned, the Fibonacci series or Golden
Mean and according to the Law of Harmonic Pitch: "Any
aggregate in a state of vibration develops in addition to its fundamental pitch
a series of vibration in symmetrical sub-multiple portions of itself, bearing
ratios of one, two, three, or more times its fundamental pitch." John
Keely [5]
C1 will add its numerical value to C2
and create a third number: 768 cps, which in terms of "Cness" means little. But
in relative terms it can be seen the 768 is 3 times the original C1
of 256 cps while 512 cps is 2 times the Creator pitch. These terms of degrees
of relativity are then 3 is to 2 as 768 is to 512 . The 3:2 (768:512 reduced
to their least common denominators) ratio is a musical ratio of a Perfect Fifth.
In this first ratio of spontaneously created harmonics we can see how a base
tone gives rise to a naturally occurring harmonic that is identical to two
musical notes representing a perfect musical interval of a Perfect Fifth.
768 factors into: 1X2X2X2X2X2X2X2X2X3. The "G"
family "gene" is constructed of a 1, eight 2s and a 3. Reduced down we see a
Fibonacci connection to the "C" family being 1 + 2 = 3 thus deriving all
three "genes" or originating substance of the family. The Fibonacci series
was developed as a result of analysis of the reproduction rate of rabbits,
living things. And in these musical notes we see the same genre of
self-replicating activity playing throughout the universe.
The next harmonic to be born of the
intermingling of the lower tones is the rate of 1280 resulting from the additive
summation of 512 cps to 768 cps. As an additional impetus to life 1280 is also
given more life force by adding in the energy of the 1st harmonic of G being
1536 - C1 = 1280. This naturally derived rate of vibration is
equivalent to the musical note "E". E is a musical Major Third above the
patriarchal family of C and a Minor Third below the matriarchal family of G.
Interestingly these three first notes derived
from a fundamental form the Great Triadic Chord of C, E & G long considered as
the most harmonious of all chords. This chord is formed of musical Minor and
Major thirds combining to form a Perfect Fifth. I believe this natural process
is revealed allegorically in the first few chapters of Genesis
demonstrating the seven intervals of creation resulting from Divine Voice
(sound) and Light then evolutionary steps forming the material
existence of Adam (C) and Eve (G), i.e., man and woman. In other
words, Genesis is an ancient and enlightened scribe's attempt at
detailing and conveying what they perceived as this creationist and evolutionary
process of life becoming and being what it is - a rhythmic vibratory dance,
oscillating and undulating motions governed by the rules of music development.
Please notice the intimate connection of threes to nature as regarded by both
Walter Russell and John Worrell Keely:
"The seceret of man's ability to control
his universe lies in the knowledge of the tonal octave wave and its field.
Therefore know the wave in all of its simplicity of three-times-three in
numbered effect, multiplied to infinite complexity but still not passing beyond
the three-times-three of man's easy comprehension." Walter Russell, A
New Concept of the Universe, page 56.
"Rotation arises through the
harmonic interactions of the dominant and enharmonic modes of vibration, in the
ratio of 3:9." John Keely,
Snell Manuscript
E's "gene pool" is again different from its
progenitors: 1280 factors into: 1X2X2X2X2X2X2X2X2X2X5. This "gene pool"
reduces to 1, 2 and 5 wherein we can see the harmonious connection to the C and
G families in the 1 and 2 being common "genes" or factors of multiplicity which
establish a degree of "sympathy" or harmony between tones. And the Fibonacci
aspect is seen again: 1 + 2 = 3 and 2 + 3 = 5.
Next in line of procreation is "D" having 2304
cps. The "D" family of harmonics are created from a merging of G1 + G2
= 2304 and C3 + E1 = 2304 . D is therefore offspring of
several combinations of progenitor tones and has relatively high power of 16.
2304 factors into: 1X2X2X2X2X2X2X2X2X3X3. D's
gene pool reduces to 1, 2 and 3 same as the G family just a musical and
harmonic Fifth away. While E is a musical third from its parents C and G
while D is only a musical Second away. A third in musical terms is
considered more harmonious a relationship than a Second which is considered
somewhat discordant. The reason for this is the closeness of the numbers.
The ratio of numbers in a Second may be so close that when they subtract from
one another there arises a slight difference which can become a beat tone and it
is this difference that gives rise to the perceived "harshness" of sound of a
chord made of these two tones when played together. This new beat tone may have
a factor set of numbers not wholly similar to its progenitors. One could liken
this "marriage" of Second tones to an interfamilial one wherein
offspring may be "aberrant" in formation and or activity. When sounded
sequentially one after the other there is a degree of harmony but together they
do not make harmonious music due to the enharmonic character of the beat tone.
Another interesting harmonic born of this
process of evolution of harmonies is an interval close to the note F. An
arithmetically derived Perfect Fourth (3:4) above C4 (2048) would
yield F at 2730.6 which would be enharmonic. However a naturally occurring
summation tone of C4 (2048) + G1 (768) yields 2816 (F)
which coincides with a musical Perfect Fourth derived from C4 (2112)
when A=440. What this shows is the "pedigree" of a number
determines how its harmonics will interface with itself being then harmonious or
discordant to some degree. By simply shifting the fundamental by a digit or two
changes the degree of concordance. But this area of music and harmony exceeds
the scope of this brief paper. This conversion from naturally occurring
harmonics to artificially derived musical intervals [7] is outside
the scope of this short discussion. The writer wishes to simply present the idea
that all sounds or vibrations when considered as a fundamental will yield a
complex series of octave and non-octave harmonics following the rules that
govern music development which are in reality an attempt to mirror naturally
occurring activities among vibrations.
There is another kind of additive and
subtractive synthesis going on in vibrations as they interact. This summation
or difference is in the POWER of the vibrations. Throwing a pebble in a calm
pool of water will give rise to concentric rings of waves expanding outward. The
rings of waves possess two basic wave characteristics. Each ring is composed of
a raised portion of water and a sequential portion of lowered water each portion
being above and below the normal level of the water respectively. If another
pebble is thrown into the water a second series of concentric rings will arise.
The two series of rings will interact. Where the crest of a wave meets another
crest of a wave from the other ring series the two crests will add their height
to each other thereby creating a momentary increase in height above the un-added
portion of each wave (see the page on
Viktor Schauberger
for a parallel to this. ED). And where a trough meets a trough the reverse will
be true. In sound waves this adding and subtracting will occur with harmonics
and harmonics of harmonics resulting in quite complex wave configurations.
The Proof
All good theories require a proof before they
can be accepted. In our case of musical octave and non-octave harmonics arising
from all vibrations we can present a model.
In November 1989 Sound & Vibration [6]
magazine published an interesting article on Chladni wave plate modes and
frequencies. The latest technology was used to record and tabulate this
intriguing phenomenon. The aim was to find the various naturally occurring
frequencies and modes of a vibrating square plate when forced to vibrate thus
revealing its natural frequencies or modes of resonance.
 In
finding the interrelationships of the vibratory activities along the lines of
our theory a table of these naturally occurring frequencies and modes was
prepared, see chart #2. Common music note intervals are compared along
with the various modes and frequencies discovered. It is very interesting to see
that the naturally occurring frequencies when compared one to another, as
is done with musical pitches to derive intervals, all fall very close to
known musical intervals [7]!
Taking just two modes by way of example,
"Mode 3" and "Mode 2," we see the difference between these two numbers is only
19/1000ths greater than a Minor Third. The difference between this naturally
occurring interval and a Major Third is only 31/1000ths. The differences of some
of the other numbers are even closer to an accurate musical interval. This
becomes significant when a vibration of 1207 cycles per second in the Mode 2
pattern could generate a Mode 3 pattern at 1472 cps by simply increasing the
1207 cps by a musical third, a simple arithmetic procedure.
There would be no complicated mathematical
calculation required to calculate or predict this new frequency.
The right-brain art of music would win out in its simplicity (chart #3).
In other words, the right brain simplicity would succeed easily over the left
brain complications (chart #2). Even more significant is the grasp we
would weld over a complicated subject (chart #4).
This simple insight gives us the Holy Grail of
science: Predictability. The resultant frequencies can be accurately
predicted before attempting the experiment. Thus instead of finding a series of
unrelated frequency numbers we find a highly relative and organized phenomenon -
pure harmony where chaos was thought to be.
Musical intervals are the distances between
pitches (relative frequencies). An interval is the amount of change (Delta)
between the pitches. The frequencies can be set up as algebraic variables set to
a given difference in quantity just like symbolic notes on a staff. See
chart #3.
It would then be easy to determine the resultant
secondary frequencies and modes from this fundamental number by using the
decimal values given above or simply marking another note symbol a musical
third, fifth, etc. accurately representing a harmonic naturally derived. In
other words: when given a vibrating plate of these dimensions and
characteristics it would be a simply matter to predict its vibrational
behavior using these musical intervals and understandings. An in-depth,
left-brain, time-consuming and expensive analysis would not be required.
Thus we can see our theory as stated earlier is
accurate in its concept, execution and in the information it yields. Proving
then, it really is a Musical Universe! which is both created
and evolved from its vibratory root of One demonstrating there is no
conflict between concepts of a created universe and theories supporting
material evolution.
Both these concepts work hand in hand to
manifest, choreograph and present the spectacle of beauty, structure, dynamics,
utility and love seen all around us. Genesis records God as having said
Light into Being but perhaps it would be more accurate to say God sang
Light into Being as the prelude to our Cosmic dance?
*Compliments: Dale Pond, Author, for this absolutely
brilliant article. Used by permission. If you've noticed, throughout my website,
I feature a number of Dale's books, most notably, "Earthquake Machine" (Nikola
Tesla's). Dale is not only a brilliant scientist, he is equally fantastic as
author and researcher, as well.
References:
1)
http://www.svpvril.com
2)
Keely and His Discoveries
Clara Jessup Bloomfield-Moore
3)
The Journal of
Sympathetic Vibratory Physics
Volume V, Issue 3, page 8
4)
Universal Laws Never
Before Revealed: Keely's Secrets
5)
Keely's Forty Laws of Harmony
6) Sound & Vibration magazine
Acoustical Publications, Inc.
27101 E. Oviatt Rd.
P.O. Box 40416
Bay Village, OH 44140
(216) 835-0101
7) Complete list of these intervals can be found
in:
http://www.svpvril.com/musint.html
Suggested Books:
"Earthquake Machine" and "Universal Laws Never Before Revealed" & "Nikola
Tesla's Earthquake Machine" by Dale Pond.
Edgar Cayce; "The Physics Of Love"...Cayce's brilliant theories are
expounded upon, in correlation with Russell's views of the Universe.
Walter Russell; "The Man Who Tapped The Secrets Of The Universe" -
Glen Clark, Author, and most definitely, "The Universal One," by
Walter Russell. "Electric Nature Of The Universe" is a continuation
in the series.
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