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11.01 - Introduction

July 6, 2007: There is a glaring inconsistentency in all this (Russell's Scale of Locked Potentials and music note layout). If the lengths of volumes and areas are correct, as per the Scale of Locked Potentials, then the music note notations are wrong or this whole concept is far more mysterious than even I thought. This because the halving of lengths is an OCTAVE increase, not a fraction of an OCTAVE as a music note notation would indicate and as Russell has depicted.

November 29, 2007: NOTE: This Scale of Infinite Ninths was composed to overlay Russell's Indig numbering system of the Scale of Locked Potentials as though they were notes in a single octave which we now know is not an accurate interpretation of his concept.

11.01 - Introduction - It is assumed the reader has a working knowledge of Music Theory. If not there are a number of music theory books available in our online Music catalog and numerous similar materials on the web. The writer highly recommends "A Handbook on Acoustics" by Harris. A very important point is DO NOT assume our discussion of music theory and related matters pertains to music as music that sounds pleasing to the senses. That is, we are discussing naturally occurring vibrations and oscillations and these have very little to do with music you hear over your radio or iPod. To equate what is discussed below with sensual music is FATAL to understanding what is being presented and has led many astray into endless confusion and denial. While it may indeed be a "Musical Universe" its music is natural and divine and was not developed according to man's limited and decrepid ego and intellect. To consider it such would be the same mistake of dogmatic and tired religions in putting our limited image and Creative ability onto the Maker.

Musicians usually study music theory, music principles and music laws as they apply to audible human hearing, listening, playing and enjoying music. SVP on the other hand uses music theory, music principles and music laws applied to machines, mechanics and matter and energy in all its various states and subdivision. In many of these SVP applications the sounds and vibrations used are not audible but inaudible.

Music, as seen in and for the purposes of SVP, is from the natural harmonic series perspective and not from a melodious music one. In other words the current standard western model of music is not adhered to but may be used from time to time. The standard music scale where A = 440 cps is an inherited multi-century effort to create music that sounds (sensorially) pleasing. The standard western music model has at its core seven whole tones and five additional semi tones or sharps and flats. One of the difficulties of the standard model is the interval distance between all these tones varies by differing degrees. Thus when mingled as chords these notes create irregular and complex harmonics and overtones which can never be reconciled mathematically or acoustically hence the fudging when tuning. The standard music scale is in fact "enharmonic" excepting a few (very few) simple chords. In the SVP harmonic music scale model there are eight whole tones and eight half tones. The intervals are all equal proportionately and notes, whether sounded singly or in chords, do not create irregular harmonics and overtones. The SVP scale is therefore an "harmonic" scale when considering its base Key of C##. This designation of "C##" is an invented note because an additional note is required in the SVP scale and we didn't want to add an additional letter "H" to confuse matters any more than they already are. This scale is based on A = 416 cps (C = 256 cps) which is a frequency/note within a naturally occurring series of overtones.

A review of standard music theory and especially music scale development reveals the whole field of study is in a state of churning chaos. There appear to be as many music theories and scales as there are people developing them. It’s a mess from any viewpoint. To further complicate matters, the current music scale is an artificial scale developed by committee (can you believe it?) after Keely did his work. Which is to say, what scales did Keely actually use? A was certainly not 440 cps in his day. Whatever SVP scales he may have used are most likely not for playing sensorial (egoic) pleasing music but for working with vibration in mechanics and physics. To associate Man's sensorial (egoic) values with natural states of universality is to anthropomorphicize nature i.e., create the universe in Man's (egoic) image instead of the other way around.

The universe operates on simple principles and laws. These principles and laws are not beyond finding out and indeed many have been long discovered and applied to music theory and practice and to science and mechanics by Keely. This author believes (after more than twenty year’s of research) these principles and laws can be found, re-evaluated and re-applied to develop a whole new (for us) music scale having unique and wonderful attributes not hithertofore experienced or appreciated unless by Keely himself.

It is felt the current music scale based on A = 440 and similar caprice or fiat parameters was contrived into being and use from a hodge-podge of hand-me-down parameters then purposefully manipulated to excite and appeal to sensual pleasure, excitation and social manipulation. Considerations of harmony have taken a back seat to sales and marketing through sensual (animal) appeal, beat, throb, rhythm and pedantic cadences - a general expenditure of energy. Melody has suffered as has spiritual upliftment, personal empowerment and energy accumulation as a personal power, attribute and tool for personal and societal growth and improvement. It is held music as currently and popularly exhibited contributes to moral, personal and social decadence and destruction.

"Laboratory tests confirming this implication of my own discoveries, showed that some great violins showed the instrument to have been crafted to C = 256, just as the greatest singers from the same generations as my parents' and my own, based their art on that Florentine bel canto standard: until the existentialist freaks of the (implicitly perverse) Congress for Cultural Freedom (CCF) imposed their own copy of Nazi Gleichschaltung, as elevated pitch, on the terrorized musical institutions. The strongest among some of the greatest voices of my lifetime testified to me personally and others, that they could survive the new standard imposed by the Congress for Cultural Freedom's variety of fascist tyranny on the stage, but the majority of relatively weaker voices could not, thus reducing competent solo performances to a relative handful of super-stars to hold up Italy's traditional great cultural tradition as long as they could maintain their performing careers." "When Fate Hangs on a Forecast", by Lyndon H. LaRouche, Jr.

Created by Dale Pond. Last Modification: Friday July 20, 2018 07:20:42 MDT by Dale Pond.