Rodin & Sound waves

Beyond the boundaries of established science an avalanche of exotic ideas compete for our attention. Experts tell us that these ideas should not be permitted to take up the time of working scientists, and for the most part they are surely correct. But what about the gems in the rubble pile? By what ground-rules might we bring extraordinary new possibilities to light?

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Jaseli
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Rodin & Sound waves

Unread post by Jaseli » Sun Jan 17, 2010 1:20 am

Weirdness
Weirdness
fadb-f2.gif (10.32 KiB) Viewed 8609 times
If the above keyboard is a true representation of the frequencies in Hz of musical chords is it just luck that the A scale follows the pattern of the so-called Rodin fingerprint of god? 1, 2, 4, 8, 7, 5, 1 etc

27.5 = 5
55 = 1
11 = 2
220 = 4
440 = 8
880 = 7
1760 = 5
3520 = 1

I'm not a religious person, but isn't this weird? :roll:

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MattEU
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Re: Rodin & Sound waves

Unread post by MattEU » Fri Jan 22, 2010 2:21 pm

Can you explain this a bit more as it sounds interesting.

Some links incase you have not come across these particular ones before

The Basic Principles of SVP 1/2 (John Keely) talk by Dale Pond

John Keely, wrote that the vibrations of "thirds, sixths, and ninths, were extraordinarily powerful." In fact, he proved the "vibratory antagonistic thirds was thousands of times more forceful in separating hydrogen from oxygen in water than heat."

Walter Russell is another chap.

Th Free Energy and Free Thinking site might have more stuff of interest to you. So much on there that i have only read a fraction of it. So not sure what you might find!

everything is a frequency :)

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RayTomes
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Re: Rodin & Sound waves

Unread post by RayTomes » Fri Jan 22, 2010 3:42 pm

Jaseli wrote:...
If the above keyboard is a true representation of the frequencies in Hz of musical chords is it just luck that the A scale follows the pattern of the so-called Rodin fingerprint of god? 1, 2, 4, 8, 7, 5, 1 etc

27.5 = 5
55 = 1
11 = 2
220 = 4
440 = 8
880 = 7
1760 = 5
3520 = 1

I'm not a religious person, but isn't this weird? :roll:
There is nothing weird in it. Casting out nines (adding digits up repeatedly) will always preserve multiplication. Start with 5 and double it gets 10 which after casting out nines is 1. Keep doubling and you get 2, 4, 8, and 16 when nines cast out is 7 and so on. Just simple doubling and casting out nines. No magic, no Gods.
Ray Tomes
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Jaseli
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Re: Rodin & Sound waves

Unread post by Jaseli » Mon Jan 25, 2010 7:04 am

Ray;

Thanks for the explanation, I thought I would need to crack out the robes :shock:

Malthus (1798) suggested that animal life reproduced at a geometric rate in his paper "an essay on the principle of population" he used:

2 - 4 - 8 - 16 - 32 etc to express this:

which is the same thing as Rodin's fingerprint, so what does the fingerprint show other than geometric expansion and the fact that 3, 6 and 9 are never derived in the count?

Cheers

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RayTomes
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Re: Rodin & Sound waves

Unread post by RayTomes » Tue Jan 26, 2010 3:48 am

Jaseli wrote:...
so what does the fingerprint show other than geometric expansion and the fact that 3, 6 and 9 are never derived in the count?
Hi Jaseli
If you start with 3 or 6 then you get 3, 6, 3, 6, ...
if you start with 9 you get 9, 9, 9, 9, ...
otherwise you get the sequence previously given (the most likely option as it contains most numbers)
The fingerprints are not important. They would be different in a different base for example.
Regards
Ray
Ray Tomes
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D_Archer
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Re: Rodin & Sound waves

Unread post by D_Archer » Tue Jan 26, 2010 6:37 am

Jaseli wrote:
If the above keyboard is a true representation of the frequencies in Hz of musical chords is it just luck that the A scale follows the pattern of the so-called Rodin fingerprint of god?
A should be at 432 hertz. But as Ray pointed out, that probably doesnt meant that the Rodin fingerprint wont show up again.

Other than that, no it is not a coincidence. Music and nature are in tune so to speak. The basis for the musical ratios/harmonics is Phi, the magic number, which can be expressed with the Fibonacci series. Is it GOD?, that depends on the definition you have of god. Is it physics?, yes, at a fundamental level.

Regards,
Daniel

- Your perceptions will not change reality but simply color it -

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MattEU
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Pythagorean tuning and Pythagorean comma

Unread post by MattEU » Wed Jan 27, 2010 3:33 pm


Pythagorean tuning

Pythagorean tuning is a system of musical tuning in which the frequency relationships of all intervals are based on the ratio 3:2. Its use has been documented as long ago as 3500 B.C. in Babylonian texts[1]. It is the oldest way of tuning the 12-note chromatic scale and, as such, it is the basis for many other methods of tuning

Pythagorean tuning is tuning based only on the perfect consonances, the (perfect) octave, perfect fifth, and perfect fourth. Thus the major third is considered not a third but a ditone, literally "two tones", and is 81:64 = ( 9:8 )², rather than the independent and harmonic just 5:4, directly below. A whole tone is a secondary interval, being derived from two perfect fifths, (3:2)²/2 = 9:8.

In equal temperament, and most other modern tunings of the chromatic scale, pairs of enharmonic notes such as E flat and D sharp are thought of as being the same note — however, as the above table indicates, in Pythagorean tuning, they theoretically have different ratios, and are at a different frequency. This discrepancy, of about 23.5 cents, or one quarter of a semitone, is known as a Pythagorean comma.


Pythagorean comma
In Western music, 12 perfect fifths and seven octaves are treated as the same interval

In music, when ascending from an initial (low) pitch by a cycle of justly tuned perfect fifths (ratio 3:2), leapfrogging twelve times, one eventually reaches a pitch approximately seven whole octaves above the starting pitch. If this pitch is then lowered precisely seven octaves, it will be discovered that the resulting pitch is 23.46 cents (a very small amount) higher than the initial pitch. This microtonal interval

(long equation!) = 1.0136432647705078125

is called a Pythagorean comma, and sometimes called a ditonic comma.

Put more succinctly, twelve perfect fifths are not exactly equal to seven perfect octaves, and the Pythagorean comma is the amount of the discrepancy.

these come from this interesting page http://www.carnaval.com/music432/ , there might be stuff there that makes a constructive wave with your own frequency

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RayTomes
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Re: Pythagorean tuning and Pythagorean comma

Unread post by RayTomes » Thu Jan 28, 2010 1:49 am

MattEU wrote:Pythagorean tuning
Pythagorean tuning is a system of musical tuning in which the frequency relationships of all intervals are based on the ratio 3:2.
...
Correct. It wasn't until Galilei (the father of the famous Galileo) that the correct tuning was worked out. He suggested that the interval from C to E was not 81/64 as was believed, but 5/4. That then makes the major chord C-E-G be the in ratios 4:5:6 which is the most pleasing.
Ray Tomes
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