Monday, November 16, 2009

The Universal Music System (patent pending)

Our minds develop from the information we gain through our senses. Since our sense use the natural language, then the development of our mind is dependent upon the natural language. Our perception and interpretation of all things is based on the natural language. The goal of metaphysics is to knowledgeably unify the developments in our mind, with the natural structures of our senses, and the natural structures found in the physical universe. We then have a clear path to follow. If we want to truly understand these connections we will need to do more than simply think about the relationships - we will need to experience them. This is where music metaphysics shines. The study of the metaphysics of music allows the individual to physically experience the natural structures of the natural language and gain new insights and meaning.
The most fundamental element of music metaphysics is its language. The proper music language must perfectly describe the natural language found in our senses and in our sensory developed minds. It must be properly tuned to the natural structures upon which the material and spiritual world are formed. If the language is not so tuned, the metaphysic experience will be greatly diminished for, although we may be able to appreciate music, we will not be able to understand it, and we will not be able to receive the full mind, body, spirit effect.
The first step in developing the natural music language is to understand that music is a system of sound frequencies which are fundamentally described by numbers. If we hit a piano key, the key moves a lever which hits a string inside the piano. The string vibrates at a fundamental frequency we might arbitrarily call 1. As it naturally vibrates it naturally produces a frequency we would then call 2. If the first note we played was called ‘C’, then the frequency we called 2 will also be called ‘C’. This is a first principle of the music language called identity. Each multiple of 2 is recognized as an identity of the fundamental 1. So, in order to properly identify this property of identity, we form a musical staff and a keyboard that reflects this property of identity. On the staff we mark octaves as octave 1, octave 2, 3, 4, 5, and so on. Next to the octave number, we can place a design with a short line running through it to identify an octave note. Since we perceive each octave as a perceptually equal step, then we separate the octaves by visually equal amounts.
The next step is to identify the natural musical tones. It turns out that the natural language defines unique musical tones by multiples of the number 3. If we begin with 1 and continue to multiply by 3’s we will generate 12 unique tones before we repeat the first tone at the 12th multiple of 3. Thus there are 12 fundamental tones.
How are we going to identify the 12 fundamental tones? We could identify them by number, but numbers easily get complex and unwieldy, and do not transmit as much information as we would like. We could identify them by their structural order, but what order? Since we are trying to come up with some visual means of identification, then the most fundamental and natural language device we could use will be the language of our sight. Our natural visual language is the language of color. The fundamental relationship between color and musical notes is the relationship between consecutive colors and multiples of 3.

In one single step, by using the 12 fundamental colors to represent the 12 fundamental musical notes and the 12 fundamental numbers, we can instantly imbue notes with their natural recognizable meaning. For example, if you see the note identifications A and E, can you naturally understand anything about them? But if you see the note yellow-orange and yellow, you instantly understand that they are closely related notes because they are also closely related colors. In the same way, if you see the notes yellow and violet, you will instantly recognize that they are distantly related colors. And this is just the beginning. With just a little more knowledge of color and color relationships, the entire system of music opens up to us like a blooming flower. We call this opening vision a crystalization because the natural structures of the universe crystalize to perfection before our very eyes.
The next step is to understand the natural harmonic development of color. Clearly frequencies or numbers do not develop simply by multiples of 3. In other words, before we count the numbers 1, 3, 9, 27, 81, ...., we count the numbers 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, .... It turns out that the natural harmonic pattern of color, called the chromatic color circle, is a series of alternating colors.
In the chromatic color pattern, consecutive notes are distantly related. What is then needed is some kind of visual pattern that identifies this distant relationship. The most fundamental visual definition of opposites is black and white. Therefore, we will identify consecutive chromatic colors by a black and white grid pattern. Of course octaves still need to be identified so one of the black segments is converted to gray.

Using the black and white pattern, it is now possible to design a notation grid that perfectly corresponds to the natural chromatic pattern. Each of the 12 fundamental chromatic notes has a uniquely placed white space or black line. The reference octave note has a short line through it to emulate the gray grid position. Each of the 12 fundamental chromatic notes has a unique color to properly identify it.

Because of the perfect correspondence between the keyboard, the musical staff, and the natural language, the keyboard and staff system are the perfect system to learn about music metaphysics, or about music generally. Although we will not go into details here, we can discuss some of the general principles of this natural system and its implications.
One of the most fundamental applications of color is musical key. Natural groupings of consecutive colors form natural groupings of musical notes into keys. This property allows the metaphysical student access to much greater insight into the structure and relationships of musical key (see essay on musical key). Although not historically understood, it is the properties of color that composers use to create music. Simply put, the more we understand color, the more we understand music structures and by extension the natural language.
The black and white grid pattern is all about symmetry. Unlike traditional music systems, in this natural system a musical key will have the same pattern no matter which note it starts with. For example, the major musical scale will always be either 3 black keys followed by 4 white keys, or 3 white keys followed by 4 black keys (the gray key is associated with the black keys). Once you have this pattern it is a simple process to run the pattern through the many inversions and mirror images that naturally occur within the natural language and within our physical and spiritual self (see the scale ring below).
Finally, the system design incorporates principles of energy flow which we call color current or music current. Well designed musical compositions have intuitively applied cycles of current which we can easily feel as energy flowing through our bodies. The natural music system incorporates the natural energy flow within its design so that it becomes much easier to understand and knowledgeably use.
When all of these principles and many more, discovered by studying music metaphysics, are incorporated into our lives, we enter a level of understanding and experience that far surpasses what has previously been available to us. The study of music metaphysics is literally the key to unlocking the secrets of the universe.

Musical Key

The use of the word key is not arbitrary. Key means a device that unlocks secrets or makes the inaccessible become accessible. Musical key is the highest level of natural language organization and, when understood, gives the greatest insight into how and why the universe works so perfectly.
One of the most profound uses of musical key is to describe and mark the passing of time. Musical keys and colors were used prominently in ancient cultures for the ritual of timekeeping. It gave individuals the ability to feel and understand the natural differences between hours, days, months, seasons and years.
But time keeping is only the tip of the iceberg. The natural rhythms of time really describe the natural vibrations of our solar system, our planet, our society, our family, and ourselves. They define the very nature of the astrological signs and their meaning and system of relationships. The system of musical notes and musical keys helps us understand these natural rhythms and their system of relationships.
The simplest explanation of musical key comes from the color circle. Any circle is a wave, and with any wave, we can only perceive half of the wave at any given time. Otherwise we experience a phenomenon called destructive interference. When we consider half of a 12 tone color circle, we find that it is composed of 7 consecutive colortones which form the tones of the fundamental musical keys. For example, the key of E Major contains the scale A, E, B, F sharp, C sharp, G sharp, and D sharp.

Some examples of the historical and natural use of the 7 key tones are the formation of the 7 day week, and the use of the musical scale ring composed of 4 keys or 28 days to mark the woman’s menstrual cycle and the orbital period of the moon (272 days). At an advanced level, each 28 day cycle represents one color, and in a years time, 13 such cycles occur which means that each new year begins with a new color, and after 12 years, the color cycle repeats.
Musical key and its properties affect relationships. If you are born in a yellow month, you will have particular relationships with individuals in other months as defined by the harmonic key system. The greater knowledge one has of this key system, the more capable they will be at bridging the natural gaps between themselves and other individuals. And, in a general way, the more capable they will be at experiencing the fullness of each month and season.
In ancient times the study of musical keys was paramount. Entire societies would tie themselves to a specific tone and the specific organization of keys emanating from that tone. Thus everyone in the society would be in tune with the fundamental societal vibration. And, of course, the societal vibration would be in tune with their place in the material and spiritual universe.

The scale ring

One of the fundamental organizations of music takes place in the alpha wave, a foundation structure in the building of the material universe. Within the alpha wave, several groupings of four keys exist which we call scale rings. The purpose of the scale ring is to provide a path for energy to flow in and between the four sections of the alpha wave. In general, according to ancient sources, the scale ring property is meant to define the life cycle (birth, living, dying, and death), the daily cycle (morning, afternoon, evening, and night), and the seasons of the year (spring, summer, fall, and winter). In the menstrual cycle, it represents the birth of the egg, the life of the egg, the dying of the egg, and the death/disposal of the egg.
The primary scale ring is composed of an overtone major scale, an overtone minor scale, an undertone major scale, and an undertone minor scale, each composed of the same set of 7 notes, arranged in different order. For example, if the C overtone Major key is defined as the birth, then the A overtone Minor key is defined as the living, the E undertone Major key is defined as the dying, and the G undertone Minor key is defined as the death. So that you can understand the nature of the life cycle bound in this grouping of keys, we have transformed the song “Good Morning Merry Sunshine” into the four keys of the scale ring. The song begins in the key of C overtone Major, cycles through the four keys, and then ends by returning to the key of C overtone Major. What you should be listening for are not only the changes between consecutive keys, but between the first two overtone keys, compared to the second two undertone keys, and the perceived tension of the fourth key (the death key).

The Unification Key

In ancient China, a foundation tone was established to represent the vibration of the entire nation. This tone, referred to as the huang chung (literally translated as ‘yellow bell’), was considered to be the audible vibration of the cosmic energy, matter, and spirit. The vibration of the yellow bell was the foundation of Chinese music and was used to create resonance between individuals and the cosmos in a variety of ways. It is not known how the sound frequency of the yellow bell was determined but what is important is the measurable effect which it created for individuals within Chinese society. These effects are easily obtainable today through an understanding of the natural language and its application in music. For example, everyone has a specific vibration and color by which they are defined. Through music metaphysics, an individual can create music in the form of songs or meaningful patterns which are in resonance with the individuals vibration and color. One such example is the ability to create a key of tones where every tone of the key is the same color and the tonic of the key corresponds to the individuals vibration.
The unification key is founded on a fundamental principle of the universe which we might easily describe by the terms male and female. From the very beginning, and throughout the long journey of creation, male and female principles are united to form stability and greater complexity. At our advanced level of creation, our physical, mental, and spiritual beings are also composed of male and female sides, and the unification key is one way to unite these two halves into a single perfect entity.
The principle of the unification key begins with the fact that there exists two sets of 12 colors, one being male, and the other female. If we begin with the female colors we can find the male colors by looking at the exact center between each of the 12 female colors. For example, the exact center between the female yellow and the female red-violet, is the male blue-green-blue. The color or tone range between tones such as C and C# is called the microtone range and represents the synthesis or union of the male and female colors.

The natural division of the microtone range is by 7 microcolor steps. This division clearly identifies one of the sexes and only indirectly identifies the opposite sex which means that it keeps the sexual identity intact while allowing the two systems
to interact or bond.

Using the seven step microcolor range between consecutive chromatic tones, a series of same color tones can be identified. Starting with the female E (yellow) tone, a total of seven yellow tones are identified before they repeat at the octave or replicate of the female E tone. These seven tones form the yellow microtone key or the yellow male:female key, or the yellow unification key.
The unification key allows us to transcend our normal patterns of operation as either male or female, and experience the unity of the universe. This is not an asexual experience but a true union of being that opens inner doors that might otherwise be difficult to find and pass through.
At a much deeper level, this key provides a means of following paths of energy that naturally transit back and forth between the male and female sides of the universe. The ancients described such motion as riding the light.

Click here to hear the C (red) unification scale.