Rodin & Sound waves
-
- Posts: 9
- Joined: Thu Nov 19, 2009 4:13 am
Rodin & Sound waves
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?
- MattEU
- Posts: 367
- Joined: Sun Jun 29, 2008 8:00 am
- Contact:
Re: Rodin & Sound waves
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
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
- RayTomes
- Posts: 198
- Joined: Sun Nov 29, 2009 6:22 pm
- Location: Auckland, New Zealand
- Contact:
Re: Rodin & Sound waves
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.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?
-
- Posts: 9
- Joined: Thu Nov 19, 2009 4:13 am
Re: Rodin & Sound waves
Ray;
Thanks for the explanation, I thought I would need to crack out the robes
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
Thanks for the explanation, I thought I would need to crack out the robes
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
- RayTomes
- Posts: 198
- Joined: Sun Nov 29, 2009 6:22 pm
- Location: Auckland, New Zealand
- Contact:
Re: Rodin & Sound waves
Hi JaseliJaseli 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?
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
- D_Archer
- Posts: 1255
- Joined: Sat Apr 18, 2009 4:01 am
- Location: The Netherlands
Re: Rodin & Sound waves
Jaseli wrote:
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 -
A should be at 432 hertz. But as Ray pointed out, that probably doesnt meant that the Rodin fingerprint wont show up again.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?
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 -
- MattEU
- Posts: 367
- Joined: Sun Jun 29, 2008 8:00 am
- Contact:
Pythagorean tuning and Pythagorean comma
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
- RayTomes
- Posts: 198
- Joined: Sun Nov 29, 2009 6:22 pm
- Location: Auckland, New Zealand
- Contact:
Re: Pythagorean tuning and Pythagorean comma
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.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.
...
Who is online
Users browsing this forum: No registered users and 16 guests