Subj: CHARTRES and its MUSIC: The Labyrinth: Thoughts re music
applied to
grid dynamics. Chartres reviewed. Rab's comment re Earth tones
included.
This paper is to suggest a direction for investigation... I personally
do
not have the mental acuity, nor the education, needed to pursue
the ideas
however. My hope is that someday the Chartres' musical codes can
be broken.
I've heard that this has been done but I am preferring to approach
the
problem from a new direction... if indeed it IS new.
PRÉCIS :
Gaia and the rest of the visible Universe, with all souls,
are going through
a unique Transition or "Ascension" process, hugely more
extensive than
simply another in the zodiacal new ages with their evolutionary
curricula.
The Transition is back into a Metatronic Ranna Time Wave (cosmology:
see
KOALA, previously sent) so Metatronic systems are and always have
been
paramount in the organization of energies and related consciousness.
The
Templars' Marian cathedrals, earth grids, and other forms have
used the main
Metatronic Breastplate designed for the Transition... now coming
into its
full demand, but always having been available and staying three
jumps ahead
of Humanity. Its called (by Thoth) the Reshel or "Techad"
or "Isis Eye."
Chartres, as the primary cathedral controlling the others also
uses the
Reshel in its three main systems. The Labyrinth uses it in great
detail with
a unified 12-sphere Unity centered by a core (Vau pole in the
Reshel) which
apparently uses a "cloned" main spiritual creation core
I think best
described by Lynnclaire Dennis' PATTERN (too complex for this
paper). This
core is represented by the inner grouping of 6 petals or operator
positions.
The Chartres labyrinth has 12 concentric rings, each with a
tone. My ideas
are that these rings might represent:
1. 12 chakric spheres as used by suns, planets.
2. 12 sephiroth in a Metatronic upgrade of the 10 in the Tree(s)
of Life,
Raa and Towb.
3. 12 planets in a Metatronic solar system, all concentric, each
with its
own
tone using Rab's system noted below.
4. 12 Reshel Grids in Europe's Bar-Sheeba collective Reshel matrix.
5. 12 Angelic, Hierarchical, Devic Orders under the Michael/Mari
Mandate for
Ascension/Transition at LP-40.
6. 12 spheres, each being a Flower of Life, dual tetrahedron,
activating all
the previous systems listed above. This would be a highly advanced
format of
the Christic Star of Bethel system previously reported. Each sphere
would
specialize in an integrated new-life impulse with associated support
programs, cyclically managed via the European Goddess field.
OVERVIEW:
Based on Thoth/Maia information I believe that:
1. Group and individual merkabah (vehicle) fields can be attuned
by shifting
orientation within True geographic and magnetic fields. The science
is
ancient, called CRITICAL ROTATIONAL POSITION (CRP) whereby the
brain-unit
(be it a person's, star's, planet's) has its own tone in its own
healthy
realm and that it can adjust the tone by moving within a spherical
field.
(Included below is Thoths' comments re X-grams, CRP, etc.) If
a person can
do this, certainly a Planet could, thus providing lines of longitude
and
latitude special tonal values relative to an index alignment...
probably on
Galactic Center Alignment and the North Pole of the Ecliptic in
combination,
just as a wild guess. (A description of the CRP, as music, is
attached
below.)
2. Rab's comment below also offers a method of determining
tones re the
Planets' parallel lines of latitude. Could his system overlay
the one of #1
above to create a chord or combination of tones?
3. Chartres is the off-on switching unit for all of Europes'
Metatronic
grids (Thoth/Maia source). It also unifies with two other sites:
Lourdes and
Montserrat basilica, to form a three-point female heart matrix
corresponding
to that of the Goddess/Europe. The main "switching and operation"
subunit in
Chartres is its Labyrinth system integrated into its overall Metatronic
Reshel grids. The labyrinth appears to be a combination of musical
notes.
4. Many persons and organizations World-wide are duplicating
Chartres'
labyrinth, thus ...in varying degrees of efficiency... are coming
into
Metatronic resonance for the present LP-40 push by using this
vital
connective system. Assuming that the Labyrinth Matrix was designed
for
Metatronic Transition, then determining its music accurately becomes
a major
and very important project. Thus my concern.
5. Thoth has pointed out that a Planets' chakras are best realized
as
concentric spheres inside the planet. He also notes that only
in this fallen
Oritronic universe the Sun can not contain its planets and here
they must
orbit their suns externally. In other words, planets in the Ranna
Wave are
internal to their suns and are duplicating chakra systems.
6. The Platonic grids on the surface of this Planet are projections
of an
inner core of the same grids. The inner core spins in a daily
rotation
locked onto the Sun. However there are duplicate grids that can
be "cloned"
in any number and kind of combination to track events outside
the Planet:
comets, astrological happenings, etc.
VERY BRIEF REVIEW OF CHARTRES:
The cathedral anchors one of Frances' Virgo stellar grids.
It is important
because all of Europe works in the Goddess/Virgo functions...
the "7/Sheeba"
vibration supercedes all others as the complete feminine number.
When Virgo
is plotted, Mont St. Michel corresponds with Denebola in Leo and
the Golden
Star Mazuriel: Central Sun of all Central Suns. This in turn feeds
into the
large L-Gate grid spanning between Edinburgh and Rennes le Chateau.
This
appears to be the keying circuitry that Chartres controls in combination
with Mont St. Michel.
Chartres has a number of geometric templates; I am only concerned
with the
Metatronic system: the Reshel. There are three such systems: (1)
the total
cathedral Plan; (2) the L-Gate found in St. Piat Chapel (identical
with that
at Rosslyn); and (3) the Labyrinth Matrix which includes the vertical
front
face in the SW.
RE the CRP info, Chartres orients NE at 046 deg, 54' 30",
thus becomes an
X-Gram controlling down/uploading from Spirit into all the Marian
cathedrals
and other Reshel grids. As part of the three poles of the Mother's
Heart and
Goddess (Europe) Chartres unifies with Lourdes and Montserrat
basilica.
THE LABYRINTH:
Personal remark: when Thoth was regenerating my light bodies
severely
damaged by long ago time implosions he had to first construct
a grid capable
of sustaining the system of light bodies. He insert various systems
into the
chakra areas with the Chartres labyrinth being in chakra #2. This
was the
only item borrowed from the physical plane. I believe that the
grid he used
is a standard one for regeneration; if so, then the special use
of the
labyrinth is better understood.
The labyrinth is a system of 12 rings with an inner formation
for 6 persons.
There are "lunations" (partial circles) in the outer
ring separated by flat
prongs. These lunations are representative of outer circles overlapping
those that are seen to form a series of vesica shapes separated
by the
linking flat faces of the prongs. I believe that this outer circumference
is
a fundamental "string" that when plucked will form vibrational
nodes along
the string, thus specifying the fundamental frequency for the
system. Just
how many nodes/lunations are to be computed by length of "string"
is not
agreed to. (Long discussion in that area, not here.) The same
system then
could be used for the inner rings to determine other notes unique
to the
specific rings.
There are 112 lunations in the outer ring plus two 1/2 lunations
(that makes
one when joined, for 113 total). These two half lunations bracket
the main
labyrinth entrance with is the width of a lunation. If this "unseen"
(Selah)
field is also used, then there are 114 lunation-nodes in the string.
If the
flat faces of the prongs are added we have another length to the
"string."
So there are quite a number of different combinations in determining
the
basic tone components.
The three Reshel "stations" involving the Labyrinth
are the (1) tsadey
pole/Glory Point... apex of the Great Pyramid and origination
of the
Penta-doves' two golden ratio spirals... at the opening to the
labyrinth;
(2) Vau pole in the center; and (3) Kronos pole (time gates, et
al) at the
NE exit to the labyrinth. This is based on knowing the Reshel
grid on the
vertical SW front.
The sequence of operation of the Cathedral appears to be:
(1) operators enter the SW (front) door and begin walking Reshel
"stations"
that are found in the vertical elevation of the face. When this
vertical
front is hinged over the horizontal floor the Rose Window overlays
the
Labyrinth so that the Reshel grid on the front face becomes an
exact
horizontal and walkable format for activating the Reshel systems
throughout
the temple.
(2) The operators, in walking the stations will have to walk
the labyrinth
thus attuning to the cathedral, to all of Europe in a Metatronic
mode, and
to innerplanes agencies involved in the work of the day. Attunement
is made
by constantly changing directions (CRPs), changing notes (rings),
all within
a tightly controlled sequencing. After arriving at the centers'
6 crew
positions there are three more paths for exiting the Labyrinth,
thus cutting
specific rings or "tones" as a reattunement to the cathedral
at large.
(4) Activation of the rest of the Cathedrals' stations. Then
activating the
L-Gate to bring the temple up to nonlinear time mode.
(5) Crewing the Labyrinths' numerous positions including the
raised podium
next to the labyrinth (which interfaces between the Labyrinth
and rest of
cathedral's Reshel rings). This system is the main working mechanism
which
uses the main towers for generators and various other functions.
(6) Accomplishing the day's work as controlled by the officiating
priests at
the Labyrinth. This would appear to operate as the bridge of a
ship with the
rest of the cathedral being the ship. Turning off the cathedral
would
involve a reverse process to that of activating it. This also
rebalances the
operators.
IDEAS ABOUT THE RINGS:
QUESTION: Suppose that the Labyrinth is a model for the Planets'
12 chakras
and the inner circle represents the core of grids? Suppose, also,
that this
same model is one that the "New Earth-Star" (new Earth
in the Ranna Wave)
will reflect in its mother star (Rigel)? IF THIS SEEMS REASONABLE
then we
have just amped-up the crucial role of the Labyrinth and of Chartres
in the
Metatronic Bar-Sheeba (collective Reshel) Grid in Europe! AND
have placed
the scenario smack into the present drive for Ascension!
My present idea is that each ring is a cube-sphere/toroidal
reality ...all
12 within a single Unity which is contained by the outer double-moon
eclipse
ring or "Shiyn" (tooth) ring made by the total of vesica
axes and the flat
teeth outer ring. If each ring has its own 'fundamental line'
then perhaps
we could combine Rab's spherical organization with that of a concentric
multiple sphere reality.
Respy submitted,
Bill Buehler
---------
RAB'S COMMENT:
Rab to Bill:>
Very basic music theory (harmony) would certainly be helpful.
That, and its astrological spin-off, Harmonics Theory. Both
relate to ratios involving distance.
Nutshell: take any line between two points, e/g a meridian
of longitude between North & South Poles, and the midpoint
(Equator) can produce a vibration that is exactly one octave
higher relative to the 'sound' of the whole line (or 'string').
Musically, if whole string vibrates at the frequency of Middle
G (soh), then the 1/2 of its length would produce High G (soh+).
In astrology, this is the same relationship, in terms of the
360-circle or zodiac treated as a single string, that exists
between a pair of planets or points that are said to be in
conjunction and opposition.
2/3 of this string will vibrate at a different frequency,
producing Middle C (doh), a sound-difference or interval
that is heard as the most consonant or harmonious relative
to G, (doh-soh: a "perfect fifth"). In astrology this
interval
translates as a trine angle (120 degrees), which is
experienced as the most harmonious of all planetary aspects.
And this also happens to to be the the rising azimuth of Sirius
as seen from the Isle of May.
(Fifths are easy to blow by bugle, and that's what we get
with "Taps", cavalry charges, etc; also "Bugle
Call Rag"
and "In The Mood". In fact, fifths & octaves are
about all
you can get with an unvalved horn or conch).
The basic 7-tone musical scale, (one tone for each of the
ancient planets & other things in hepta systems), as
promulgated by Pythagoras is given below. The table
includes the fraction (FRCT) of the whole (G) string, its
equivalent in degrees of a 360-circle (ZOD*) and what
this is as a percentage (%).
----------------------------------------------------------------------------
-
-----
# N T FRCT ZOD* % ASP ALTERNATE
----------------------------------------------------------------------------
-
-----
5 so g --- 000 00.0 cnj
4 fa f 1/12 030 08.3 ssx
3 mi e 5/24 075 20.8 ---- (1/5 072
20 .0)
2 re d 1/3 120 33.3 tri
1 do c 3/8 135 37.5 ssq
............................................................................
.
.....
7 ti B 5/12 150 41.7 qnx (2/5 144
40.0)
6 la A 11/24 165 45.8 ----- (15/32 168.8 46.9)
5 so G 1/2 180 50.0 opp
4 fa F 13/24 195 54.2 ---- (17/32 191.3 53.1)
3 mi E 7/12 210 58.3 qnx
2 re D 5/8 225 62.5 ssq
1 do C 2/3 240 66.7 tri
............................................................................
.
.....
7 ti B, 3/4 270 75.0 sqr
6 la A, 7/8 315 87.5 ----
5 so G, 1 360 100.0 cnj
----------------------------------------------------------------------------
-
------
Also included are major astrological aspects (ASP) and, in
certain cases, rival fractions (ALTERNATE) that are close
in value to the key ones. These pairs represent a fudge
factor from which the tones of the (Western) scale have
found an averaged sort of compromise.
All of which might make more sense to some if the actual
vibrational frequencies, in cycles per second (cps), of each
tone were given. Then octaves of sound could be compared
with those of light & colour, the rest of the whole electro-
magnetic spectrum, and cycles in general.
This Pythagorean system has had enormous influence in
entraining the European ear over the millennia to hear
only certain combinations of sound as 'musical'. Other
musical traditions are not stuck with the same limited
number and type of fractions, though nearly all share the
same basic harmonies. Like perfect fifth intervals, but also
4ths, and 3rds to a lesser extent. (Modern Western music
has made much of the 12-tone chromatic scale, but the
Turks centuries ago had developed a scale that had nine
micro-tones just between C & D).
Anyway, I think the main thing is to consider distances
between sites in terms of number harmonics, and how
these might relate to musical scales, modes, intervals,
chords -- in terms of harmony/disharmony, assonance/
dissonance, for example. Maybe even mood, as in major/
minor scales. (Music has always been integral to the
upkeep of sacred-site patterns. Via perpetual choirs, etc.).
-=Rab
-------------
CRITICAL ROTATIONAL POSITION (CRP): The dynamic of the CRP
is very
important. Its the basic working dynamic in any labyrinth of sequential
turns (CRP's) at specific rings from the center.
We see the CRP constantly in the many specific axial directions
of our group
energy formats, many shifts within every process. These attune
the group
energetic matrix to accomplish specific functions however we know
very few
of those functions at this time -- perhaps 7 or 8. The group
can adjust its
primary vibration by orienting in specific directions relative
to the two
poles: geographic (True direction) or magnetic (Magnetic direction).
GENERAL: The following describes the CRP in its general meaning
and
application: The bonded group soul is a synergic blending of the
members'
individual "songs", each a very complex orchestration
of music and light.
Using a tone or mantra at the beginning and end of every process
gives the
unified field a specific CRP vector or baseline attunement for
the project
at hand. This also helps in restoring the base prior to closure,
returning
the group to a common temporal and dimensional alignment before
grounding.
Sometimes the closing mantra will change to accomplish a better
alignment.
(The following reference is from material produced by Rev.'s
Simeon and Maia
Nartoomid of Johannine Grove Ministry, an esoteric and metaphysical
ministry
operated up until about 1999. This organization is now known as
Church of
the Holy Flame. The main Church of the Holy Flame website can
be viewed at:
http://www.unityinlove.org Rev. Mtr Maia Nartoomid still operates
a personal
website dedicated to the esoteric metaphysical mysteries at:
http://www.spiritmythos.org. My interpretations of their materials
does not
necessarily imply that either they or Thoth would agree with my
views.)
(From THE SOURCE, #3-81, Maia Shamayyim-Nartoomid ) "One
of the most
essential branches of Human/Earth sciences, and certainly one
of the most
complex, is 'geo-cerebral alignment'. This is the function of
the brain in
which it is attuned to a particular amplitude of the Earth's geo-dynamic
register through the rotation of the cerebral matter of the brain
within its
liquid-cushioned cavity, to a 'critical rotational position' (CRP)
in synch
with a particular geo-register. From the center of the Earth's
inner sun is
emanated a pulse which in turn is emitted as a frequency up and
down the
polar 'spine' of Earth---that polarized field between the poles,
running
through the planet. This frequency is radiated through the inner
and outer
ecospheres of Earth by the inner and outer resonant cavities.
The inner
resonant cavity (ecosphere of the hollow Earth) charges the surface
crystallex grid of the planet, which interchanges frequencies
with the outer
resonant cavity between the Earth's surface and the ionosphere.
The entire
process brings about a holistic media of attunement through which
all life
becomes the sensor system of the planet. (italics mine; WSB) In
order for
biological species ---human, animal and vegetal to maintain the
life-wave
energies they must focus their neuro-sensors upon various frequency
amplitudes on the geo-dynamic spectrum. This spectrum is a complex,
computer-like scale registering codes or packages of cognitive
directives
created through the assimilation of various earth/solar/stellar
processes.
These code-packages are 'xgrams'. They are like energy programs
for the
Earth's ether computer printouts, giving the exact vibratory patterns
of the
many different parallaxes in which the neuro-activity of a brain/mind
complex can align itself by cerebral rotation. The inner world
inhabitants
can, through a series of tonal frequencies and/or light patterns,
command
brain alignment to whatever geo-dynamic parallax chosen upon the
spectrum.
As an example: should there be presented to a subterranean physician
a
patient whose left arm was paralyzed as a result of an accident,
the
physician would treat the patient by submitting him to a tonal/optic
computer which would locate the geo-dynamic parallax needed to
restore the
neural control of the left arm of this individual. Then, through
tonal
and/or optical stimulus the patient's CRP for that particular
amplitude on
the geo-dynamic scale would be activated. This treatment could
almost
certainly recover the complete use of the once paralyzed arm.
However it is
not as simple as it sounds. Were the programs or xgrams easy to
decode our
brain centers would be accidentally stimulated into major CRPs
by a
succession of honking horns or Beethoven's Fifth. In order to
protect our
brain/mind centers from violation of their own genetic response
codes
(which, when triggered fit like keys into the 'locks' of the xgrams),
the
programs of the Earth's ether computer are complex and require
intricate
maneuvering of vibratory frequencies to elicit a major CRP.
"Minor CRPs are constantly being stimulated in our brain
by sunlight,
inaudible and audible sound waves, the motion of the Earth and
other sense
factions of our world. These minor or lesser CRPs are critical
in the
creation of our reality. The major or greater CRPs are intended
to serve as
major adjustments for our sensors when our bio-systems become
radically out
of step with the geo-dynamic spectrum in some respect. The activation
of
major CRPs perform much the same function as a circuit breaker's
in
recharging deactivated neuro-pulses and reestablishing the proper
circadian
rhythms erratically cycled neuro-pulses within our body's schematic.
this
process is also evidenced in the vegetal world. The CRPs of plants
have been
radionically detected. In 'The Secret Life of Plants' this movement
is
stated as: 'apparently established by the earth's magnetic field
as the seed
sprouts out of the ground (...If the seedling is transplanted
in such a way
that it continues to grow in its CRP it will thrive better than
plants which
have been transplanted out of that orientation) ...because of
this apparent
relationship with the geomagnetic field, a plant has a pattern
of radiation
around it. Node points within this pattern or web which seem to
concentrate
the field of radiation can be located by a portable detector with
a probe
and a rubbing plate similar to that on their radionics device.'
"Like plants, animals and humans also radiate a pattern
about them. Through
sophisticated plasma-based computers, innerterrestrial technicians
can
locate not only the node points within the pattern but their coded
message,
giving them the CRPs connected to the body's acupoints."|
---
Subj: Continuing the project: feasibility of computing basic
musical tones
for the Chartres' Labyrinth.
Part 1 of 2:
1. Question for Barbara Hero.
2. Robert Ferres' inputs: measurements and ideas. I've added some
comments
in response.
3. Barbara Heros' comments based on Roberts' measurements.
Part 2 of 2:
4. Rab Wilkies' comments.
5. Roger Lawsons' comments.
1. QUESTION FOR BARBARA:
Barbara, Robert noted: "Diameter to the tip of the tooth
of the lunation
(which I give as the size of the labyrinth): 506.22 inches (42.185
feet or
42 feet 2 7/32 inches). My direct measurement, however, shows
42 ft. 3 3/8
inches. The difference again may be to which lunation the measurement
was
taken, or how the mortar was involved. Diameter to the outside
of the
lunation circle, were it completed: 512.4 inches (42.7 feet, 42
feet 8 13/32
inches)."
Let's assume that Robert's 42 feet, 2 7/32 inches is the correct
(overall
average) diameter to the lunation outer ring. Does it make musical
sense to
have the circumfirence of 132.53 ft as a fundamental string length
(C=PiD
with D being 42.1849 ft.), with 57 cycles on the line... assuming
that each
lunation is a 1/2 wave length with a flat space as the node on
the "Quiet"
line where the wave crosses the line, so 114 lunations/vesicas
would be 57
cycles on the line? Can that be used to compute a tone?
The outside edge of the "seen" lunation circle would
be a point of tangency
connecting the two Moons and would be the next, sacred tone. ALL
of that
ring would be of the Selah Essence and I'm not sure what we'd
use for
nodes/antinodes. The distance/circumference would be 134.146 feet
if that
would help. All forms are enclosed by a Selah ring/sphere as its
containment
field; I think that this ring represents that field with the vibrations
of
both unified Moons' providing the initial codes or "Pools
of Life" as used
in the Reshel grid.
Thanks for your help...
Bill
==========
2. ROBERT FERRES' COMMENTS:
Greetings Robert,
Many thanks for your input. Thoth/Maia confirms my idea about
correlating
the two moons with those of the original Earth (one being blown
up in the
2nd Mars War: Lucifer/Michael, etc.).
Here is an extract of Thoths' comments responding to my inquiry
re validity.
He speaks of a healing, which I'd certainly agree with but I'd
wish to take
it further and (once healed) translate the action into a Metatronic
range
beyond a good-evil, healing function. I still think that is a
valid view,
particularly with Barbara's Lambdoma approach:
My question: (This is important to me personally in that the
Labyrinth was
used by Thoth as one of the first forms in rebuilding my bodies-grid:
2nd
chakra position. I'll also point out that the visualization included
intense
breathing patterns.)
SIMPLE SITUATION: The outer ring is made of 114 "lunations"
or circles
each resembling a 3/4 Moon. If there is an "unseen"
moon outside each "seen"
moon, the two would overlap to form a series of vesica shapes
or frequency
waves/nodes on a fundamental "string." IF these represent
two moons their
overlapping would represent an ecliptic conjunction. IF they represent
the
Earths' two moons, then they would be representing a major state
of
being/transition/new creation phase
when eclipsing... relevant to the Earth in the Metatronic mode.
(Q) Is this situation valid? If so, what is that state of
being and
creation process being represented?
(A) "It is indeed valid. The state of being is to BREATHE
the inflow-outflow
of the Divine Feminine through the "masculine" pathways
and into the heart
and back out into the universal matrix once again (continually).
The
creation process is that breath...which is an ongoing releasing
and
receiving at all levels of intention and focus.
"All true labyrinths are for this purpose, but Chartres
has specific
"attunements" within that flow that orientate to "reclamation"
of
past wisdom IN THE BODY, within a specific period of earth time.
By this, it is meant that walking and meditatating upon the
Chartres labyrinth opens a "breath" portal for the
participant that
is a lunar reflection of the path the earth-cosmology of the planet
took within a specific unit of time. To integrate with that path
is to
HEAL that part of the earth experience within the soul."
(End extract.)
------------
Some of my (WB) comments in response to your own (RF):
(RF) Robert Ferre here with some measurements and observations
about the
Chartres labyrinth. Bill, the newer edition of the Chartres manual
does have
the actual size measurements, but still not some of the ones you
wanted.
Measuring the labyrinth precisely, with regards to small details,
is not
easy. For example, measuring a single lunation. The edges are
quite beat up,
making it hard to know where they start and stop. Plus, there
is the matter
of the mortar, which varies from 1/4 to 3/4 inches. With regards
to the
path/line ratio, for example. The lines average almost exactly
three inches.
The path averages 13.5 inches. But if you measure from the top
of one line,
say, to the top of the next line, the measurement won't be 16.5
inches, it
will be almost 17.5 inches. My solution has been to measure only
the stone,
and then figure whatever their ratio is, the mortar will be considered
to be
the same proportion.
(WB) I am trying to decide on just what "lines" should
be used to compute
the frequencies. I have not brainstormed this with anyone yet...
Barbara is
using her own system which is probably superior but would not
necessarily
exclude others, a matter of level of consciousness and I think
her's would
be the higher.
Right now I'm inclined to use the CENTER of the paths as the
circumferences
to measure fundamental distances. The rationale is that a human
would center
him/herself on that line... chakras, et al.... for the maximum
effect re the
tones. Next, how to compute the number of waves/cycles... which
I do not
have the knowledge of theory to pursue. I do think, however that
we are
being told that there are 114 antinodes (1/2 wave cycles for 57
cycles per
line). The "node" being the neutral "Selah"
point where the wave crosses the
line. These would be the flat part of the teeth between lunation
vesica.
There are 112 teeth with one "missing" (unseen) in the
center of the
entrance.
The divine REALITY is in the flat nodes of Silence, ie the
primary outside
ring where the two lunations overlap: the seen and unseen. The
theory is
that, when the human becomes the God-Within, ie the Unmanifest
Essence, then
the N0-thing becomes "Something", ie the Manifest God
expressing as the
Labyrinth operator.
Further, regarding the function of the flat teeth, let us suppose
that there
is a spinning "Selah Spoke" from the Core Center out
to the lunation outer
ring and that it "keys" each node of Silence/Selah as
it spins around the
prime fundamental line. It completes one full circle and starts
the next at
the unseen tooth in the entrance center. This spinner-spoke then
defines the
number of nodes in each of the inner paths' tones.
The next question would be: how to measure the inner lines,
between what two
points? Would we assume that there are only 11 inner path-lines
and include
the total circumference at each radius, as we would the outer
lunation ring?
I think so but I also think that each section of path is another
complementary tone measured between bends in that path. I tend
to think that
due to the variety of lengths and the way they are used.
THEN there is another source of basic toning: the radius from
the inner core
circle's outer ring out to the lunation outer ring. Each path
would be 1/2
cycle, for 6 cycles on the main Selah line. Question: Why not
measure the
fundamental radial line from the Center of the Core? (A) Because
the Core
sphere is really a single dot "out of time and music"
but because it is a
Selah field (crewed by 6 persons) it may be expanded to any size
and still
not exist within form; it is a "preform" state.
This "hum" from the central atoma (spiritual center)
of the labyrinth is
much like the same from the center of the Earth to the surface,
carrying a
Metatronic coding via the tone. It is in turn conditioned at each
path-ring
by that paths' tones. From the Core Center there are next 6 different
aspects of consciousness represented by the 6 petals of the Core,
each with
a human operator holding that position. Each of the 6 provides
a synergic
polar quality representing the synergic unity of a star tetrahedron
of
Flower of Life as defined in the Reshel work, as part of the Reshel.
In the
Reshel grid being used, also found on the SW Face of the temple,
the Core is
the letter Vau (#6) or Roil/Royale pole of the tetra cube-sphere.
(Same
model is shown in the Barbury Castle crop circle/earth grid.)
If the above musical structure (if in fact my ideas are viable)
is the basic
carrier mechanism, then Barbara's system would be a Metatronic
overlay.
----------
(RF) So when you want to know the measurement of the flat top
of the
lunation
tooth, for example, that's not the easiest thing to determine.
However, I
have here some rubbings that I made of the labyrinth, which include
a number
of lunations. (I sell the rubbings as limited editions; for different
ones,
$20 each). Here are my best estimates of measurements:
Diameter of the labyrinth to the inside of the 12th circle:
483.66 inches
(40.3 feet)
Diameter of labyrinth to the outside of the 12th circle: 490.354
inches
(40.86 feet).
(the difference should be the width of the line, which comes out
to be 3.347
inches. Yet measuring it on the rubbings, the line is only three
inches. I
suspect the difference involves the mortar)
Diameter to the tip of the tooth of the lunation (which I give
as the size
of the labyrinth): 506.22 inches (42.185 feet or 42 feet 2 7/32
inches). My
direct measurement, however, shows 42 ft. 3 3/8 inches. The difference
again
may be to which lunation the measurement was taken, or how the
mortar was
involved.
Diameter to the outside of the lunation circle, were it completed:
512.4
inches (42.7 feet, 42 feet 8 13/32 inches)
(WB) We should probably use overall measurements, averaging
in the slight
anomalies. In computing the teeth flat edges we could compute
the total
circumference of just the lunation axes, then including the teeth
flats for
the total ring. The two values, subtracted, would give us just
the distance
of the "Silence" (nodes). Thus we have two notes: (1)
a mundane,
externalized note using the lunation axes, and (2) a sacred tone
which
includes the flat distance(s).
--------------
(RF) The difference of the diameters of the outside of the 12th
circle abnd
the
tip of the lunation should give the length of the tooth beyond
the 12th
circle. This comes out to be 7.93 inches. (I use decimals so
that you can
use them in your formula). This is confirmed by my direct measurement.
When I first wanted to measure a lunation, I was in Chartres
and didn't have
a measuring device. So I took out a piece of 8.5 x 11-inch American
paper,
on which I was going to make some marks. to my surprise, the stone
circle
forming the lunation circle is exactly 11 inches across. The length
of the
paper. And the tooth, from inside the 12th circle to the tip of
the tooth
was just slightly less than 11 inches, by 1/8 to 3/16 inches.
Taking away
the line of three inches, that would make the tooth just under
eight inches,
which is the case above (7.93 inches).
The flat top of the tooth I measure to be 3.25 to 3.375 inches,
although
there is one that seems to be just slightly larger (of the several
that I
have rubbings of). A book that I have about the labyrinth measurements
(Chartres, le labyrinthe decipher) give the height of the tooth
as 202 mm
and the top of the tooth 92 mm. These would translate to 7.952
inches and
3.62 inches. As you can see, his estimate of the tooth width is
much wider.
He also gives the height of the tooth, including the 12th circle,
as 11.3
inches, whereas I know it to be under 11 inches.
By the way, the diameters above were taken from the work of
John James,
whose measurements I find to be pretty accurate. From the book,
author John
Ketley is a little looser in his accuracy. He has a measurement
for the
geometry of the center which I think is off by six inches.
Here are some other details. The Tooth height does not mark
the point at
which the axis of a vesica would be located, if a second circle
were drawn
outside of the lunation, of the same size, with its point on the
perimeter
of the first circle. The tooth is shorter than that. The diameter
of the
circle is 11 inches. The vesica cuts it at 3/4 of its diameter.
that means
8.25 inches, whereas the tooth is 7.952 inches. In fact, the height
of 7.952
inches includes the mortar between the 12th circle and the lunation
circle.
Measured from the bottom of the actual lunation circle, the tooth
is only
around 7.5 inches. That means that if a second circle were made
outside of
the lunations, with a similar tooth, the teeth would not touch.
They would
be about 1.5 inches apart.
I was disappointed that the teeth weren't formed by vesicas.
Then I thought
I had found a golden mean relationship. By my measurement, if
you count the
center of the circle (to the middle of the line) as 1.0, the side
of the
labyrinth, from the middle of the center circle to the tip of
the lunation
is 1.62. That was why they made the tooth shorter. With the official
diameters given above, the relationship that I mention is still
within that
three-inch line of the first circle, but not the middle. Just
as close,
however, is the proportion of the center from the inside of the
circle line
(not counting the line) to the outside of the 12th circle, not
counting the
tooth. That, of course, wouldn't give us an explanation for the
length of
the
tooth.
Also within that first circle line is another interesting relationship.
There are 11 path/line units on either side of the center, for
a total of
22. The center, from somewhere in that line, measures seven such
units. The
ratio 22/7 was the value often used for pi in the Middle Ages.
So perhaps
there was just a slight amount of leeway or fudging to get all
of these
proportions worked in.
(WB) I'm quite pleased with having the slight difference. I
am assuming that
by "vesica" you are referring to the usual 30/60 degree,
center-to-center
overlapping circles. I use all the sizes of vesica ranging from
the one
point of tangency (of two circles) to a fully overlapped eclipse.
This
situation occurs in Reshel formats so I'm used to the idea. Further,
the
slight difference could explain a "Selah" width of Nothingness,
not ususual
to find. When we effectively manifest the Nothing into Something
by
ourselves realizing our God/Christ Within, then we fill that space
and it
becomes manifest. The point of tangency connecting the two Moons
at full
withdrawal would be another key tonal ring beyond the lunation
outer (seen)
ring.
I still have a hard time following your description so I'm
requesting a few
copies of your new manual to help me over the mental bumps.
---------------
In 1972 Keith Critchlow wrote a widely-read account of the
labyrinth and the
cathedral of Chartres. In his article he proposed two ideas: 1)
The rose
window, if hinged down, lines up directly with the labyrinth,
and 2) the
labyrinth is based on an invisible 13-pointed star. Neither of
these are
accurate. When I questioned Keith about it, he said, "Well,
they don't
measure out, but the symbolism is wonderful." It was the
"don't measure out"
part that he rather skipped over. If hinged, the rose would miss
lining up
by almost five feet. The center of the labyrinth is 9 feet 4 inches.
If it
missed by 4.66 feet, which is much closer than saying it lines
up, and if
the center circle of the rose were the same size of the center
circle of the
labyrinth, it would come close to forming a vesica. However, the
center of
the rose isn't the same size. Too bad. Likewise, the 13-pointed
star idea is
off by some 6.5 percent, far too great of an error for it to be
correct.
(WB) I think Keith was onto a valid idea. The overlap would
also tell us
where the REAL "hinge" axis is... not necessarily where
Keith thinks it
should be, where ever that might be. I think there are three important
axes
that work together: the actual hinge point (for the L-shift),
the plane of
the front (SW) face, and the center line connecting the two Towers.
Using the coded Reshel format these two halves of the Reshel
are constantly
overlapping: merging and pulling apart so there are a number of
overlaps
that would be used. Also, at the central "hinge" line/plane
there are two
outside lines/planes (seen edge-on) containing a Selah field between
them
with another plane of reality between them. I think that this
is being
described in the offset distance you've measured.
I'm quite certain about the elevation hinging over into the
horizontal plan.
I've worked out the Reshel grid on the front with the penta-apex
in the
heart of the line of 16 "Grail Kings" on top down to
the bottom at deck
level. The "Resh" or Christic Head Stone is in the heart
of the Christ in
the vesica over the central door.
The difference in shapes between the labyrinth and rose window
doesn't
bother me either. The vertical contains the etheric, spiritual
codes not
accessible to physical humans and these are transcribed via the
L-shift into
the horizontal plane where the codes adjust to the physical high-end.
If the
physical operators do not come up to Metatronic frequencies the
system does
not activate. (If the Labyrinth is "turned on" NObody
should ever enter its
exact center!)
-----------------
(RF) There seems to be a little fudging at the entrance, as
well. it should
equal
one lunation, but I seem to remember finding it is just a bit
more than
that. But, say, they were working in 3-inch-thick stone.
One of the problems in measuring is in determining if the masons
intended
two elements to be equal, even if now they measure slightly differently.
In
other words, what measure of error do we give? I usually insist
on the range
of .500 to 1.000 percent. So consider the difference between these
two
numbers: 12,746 and 12,735. The difference is 11, which amounts
to .086
percent. 86.1000 is pretty small. Well, the second of the numbers,
12735, is
the diameter of the labyrinth in millimeters, to the center point
of the
lunation circles. The first number, 12,746, is the diameter of
the earth in
kilometers. That means that the labyrinth, with an error of .086
percent, is
one-millionth the diameter of the earth. The labyrinth is also
one-tenth the
length of the cathedral. So the cathedral also relates to the
diameter of
the earth.
(WB) Again, I'd guess that this "fudge factor" would
represent the pure
Selah Nothing as the position of the Prime Spoke.
---------------
Well, I have work to do. I hope this is helpful. Happy calculating.
Robert Ferre, Director
The St. Louis Labyrinth Project
THE resource for labyrinths
www.labyrinthproject.com
========
3. BARBARA HEROS' COMMENTS (Responding to Robert's measurements):
Dear Robert Ferre and Bill,
Here are some of my translations of the dimensions of the Chartres'
labyrinth into music. However, I do use a different musical scale
system
from the Western scale as we know it. It is based on the Pythagorean
wisdom
and is called the Lambdoma. I have calculated the frequencies
and their
approximate corresponding musical notations.
My formula for translating dimension (wavelength) into frequency
is the
following:
V = FW Where V = the speed of sound in air at room temperature
(1130feet/sec).
F = Frequency in Hertz or cycles per second.
W = Wavelength in feet.
It seems from my calculations (below) that the fundamental
musical frequency
of the Chartres Labyrinth is within microtonal ranges of Ab to
A#. Based
upon the diameter of 41 feet this is equal to our concert pitch
at 440Hz
when raised to the middle C octave.
Therefore playing or singing in the key of + or - A would be
my opinion of
resonating with the labyrinth. Overtone chords of A,C and E,
combined with
undertone chords of A, F and D would sound the dominant and sub-dominant
intervals.
The intervals C and F would be the 10th overtone and 1/10 undertone
harmonics of the scale.
All the other harmonics would naturally follow in their sequence.
> Diameter of the labyrinth to the inside of the 12th circle:
483.66 inches
> (40.3 feet)
480 inches = 28.25Hz = ~A#(Higher than the fundamental keynote @ 452Hz)
> Diameter of labyrinth to the outside of the 12th circle:
490.354 inches
> (40.86 feet).
41 feet = 27.56Hz = ~A (Fundamental keynote of Labyrinth at
440Hz in concert
pitch)
> Diameter to the tip of the tooth of the lunation (which
I give as the size
> of the labyrinth): 506.22 inches (42.185 feet or 42 feet
2 7/32 inches).
42 feet = 26.90Hz = ~Ab (Higher than Ab @ 430Hz in middle C octave)
> Diameter to the outside of the lunation circle, were it
completed: 512.4
> inches (42.7 feet, 42 feet 8 13/32 inches)
43 feet = 26.28Hz = ~Ab ( at 420Hz in middle C octave)
> The difference of the diameters of the outside of the
12th circle abnd the
> tip of the lunation should give the length of the tooth beyond
the 12th
> circle. This comes out to be 7.93 inches.
8 inches = 1695Hz = ~Ab ( at 424Hz in middle C octave)
> the stone circle
> forming the lunation circle is exactly 11 inches across.
The length of the
> paper. And the tooth, from inside the 12th circle to the
tip of the tooth
> was just slightly less than 11 inches, by 1/8 to 3/16 inches.
Taking away
> the line of three inches, that would make the tooth just
under eight
inches,
> which is the case above (7.93 inches).
11 inches = 1233Hz = ~Eb (Musical 5th @ 308Hz in middle C octave)
> The flat top of the tooth I measure to be 3.25 to 3.375
inches, although
> there is one that seems to be just slightly larger (of the
several that I
> have rubbings of).
3 inches = 4520Hz = ~D- (Musical 4th @ 283Hz in middle C octave)
> Measured from the bottom of the actual lunation circle,
the tooth is only
> around 7.5 inches.
7 inches = 1937Hz = ~B (at 484Hz in middle C octave)
> By my measurement, if you count the
> center of the circle (to the middle of the line) as 1.0,
the side of the
> labyrinth, from the middle of the center circle to the tip
of the lunation
> is 1.62.
1 inch = 13560Hz = ~Ab (at 424Hz in middle C octave)
1.62 (Golden Section of 1 inch) = 698Hz = F (at 349Hz in middle
C octave)
> There are 11 path/line units on either side of the center,
for a total of
> 22. The center, from somewhere in that line, measures seven
such units.
The
> ratio 22/7 was the value often used for pi in the Middle
Ages. So perhaps
> there was just a slight amount of leeway or fudging to get
all of these
> proportions worked in.
Note that the circumference of the labyrinth would be 2 (~pi
3.1428571)r
multiplied by the radius that = 20.5 feet. The circumference
is 129feet.
The frequency is ~8.7Hz = Db (at 278Hz in middle C octave)
> The first number, 12,746, is the diameter of the earth
in
> kilometers. That means that the labyrinth, with an error
of .086 percent,
is
> one-millionth the diameter of the earth. The labyrinth is
also one-tenth
the
> length of the cathedral. So the cathedral also relates to
the diameter of
> the earth.
12,746 kilometers is equal to 40379328 feet (.6*5280*12,746)
= 2.798461629
to the -.05 power = ~A#/Bb (470Hz in the middle C octave)
If the labyrinth is 1/10 of the length of the cathedral and
is resonant to
~"A", that means that the length of the Cathedral is
resonant to "F", a
tenth subharmonic of "A".
These are my interpretations of the frequencies of the labyrinth
and would
love to see them applied in music.
Barbara Hero
http://www.lambdoma.com
=======
End of Part 1; Part 2 continues, next message.
_______________________________________________
Part 2 of 2 (continuing the Chartres Music project feasibility overview);
4. Rab Wilkies' comments in reply to one of my first messages.
5. Roger Lawsons' comments.
=========
4. RAB WILKIES' COMMENTS:
----- Original Message -----
From: "William S. Buehler" <roslinne@fone.net>
To: "Buehler's List" <shamir@waterman.freestate.net>
Cc: <robert@1heart.com>; "Willam Howell" <sancthse@amigo.net>
Sent: Sunday, May 26, 2002 5:29 PM
Subject: [Shamir] CHARTRES and its MUSIC
WSB>
Subj: CHARTRES and its MUSIC: The Labyrinth: Thoughts re music
applied to
grid dynamics. Chartres reviewed. Rab's comment re Earth tones
included.
This paper is to suggest a direction for investigation... I personally
do
not have the mental acuity, nor the education, needed to pursue
the ideas
however. My hope is that someday the Chartres' musical codes can
be broken.
I've heard that this has been done but I am preferring to approach
the
problem from a new direction... if indeed it IS new. //
VERY BRIEF REVIEW OF CHARTRES:
RE the CRP info, Chartres orients NE at 046 deg, 54' 30",
thus becomes an
X-Gram controlling down/uploading from Spirit into all the Marian
cathedrals
and other
Reshel grids. As part of the three poles of the Mother's Heart
and Goddess
(Europe)
Chartres unifies with Lourdes and Montserrat basilica.
-------
Rab> A CURSORY OBSERVATION:
The only bright star that rises at this exact
azimuth -- during June solstice when sunrise occurs
nearby -- is Alnath, the upper horn-tip of Taurus.
But the orientation does does suggest many other
interesting celestial alignments of a more general
nature. Sky *points* are a problematical, however,
because I don't know the elevation of the horizon
in that direction.
If the sky is dated to the June solstice of 1194
when the present structure was begun, the Sun -- in
the middle of constellation Gemini -- and a few
planets rise close to it, but not close enough to
remark on. But the New Moon does fall on the solstice
day, with Jupiter and Venus near conjunction. (Very
auspicious). And this does ties in with a similar
New Moon that occurred when the crypt was implanted
in AD 1020. (According to "Timetables of History",
3rd revised edition).
Moreover, we can see most of Leo rising here later,
followed by Coma Berenice, once considered the tuft
of the Lion's tail and now identified as the location
of the galaxy's North Pole.. which passes within a
few degrees of 47N azim. This, with sunrise occurring
near the anti-center of the galaxy, which itself also
rises near 47N, is enough to encourage wonder.
The Bull's horns were sometimes thought of as the
celestial version of the Pillars of Hercules, beyond
which lay the unknown reaches of intergalactic space.
---------
Re: MUSIC, HARMONICS & BEL CANTO
When looking into the basics of musical octaves, at
some point we'll encounter lists of frequencies for
each of the notes (in cycles-per-second (cps) or Herz).
Very useful data. But do keep in mind that the present
system, based on A=440 with C=261.63, started to become
the new standard only recently, since AD 1900. And since
1945, recording companies have been pushing the base
frequency higher in order to get a more brilliant sound.
All of which has distorted the natural voice-spectrum
of music and caused considerable strain in the vocal
strings of opera singers. So that finally there's a
movement a foot to return to the Classical standard,
which roots back to Pythagoras and truly cosmic harmony.
For several centuries, since Florence in the 1400s, the
attunement used by all great classical composers, right
up until Brahms in 1897, was C=256 (cps), with A around
430-32. We needn't go into detail here why this was so,
but it was founded on the way the human voice works and
sounds, and how it develops from child to adult in several
different registers, (bass, tenor, alto, soprano). In
training 'bel canto' singers had to sing while holding
a candle-flame a few inches from their mouths. If the
flame wavered, they needed more practice. (In breath &
sound control).
Harmonics are based on ratios & relationships of sounds,
however, and whichever attunement is used they'll work.
But if we want to set an instrument or tune the voice
to the Classical standard the following table should help.
Use the "C-256" column and the row that has an asterisk
(*) following the "A-440" value.
To use the ancient and simple Pythagorean type of
attunement, use the values marked <!> in the "C-256"
column.
The ratio or harmonic value of each tone is given in
the FRCT column, along with other close harmonics.
==============================+================+=================
FRCT Herz T DIFF A-440 C-256 ADJUST ZODI ASP zADJ
==============================+================+=================
1 261.63 C 256.00! - 000 cnj
14-1 280.31 C# (+3.13)
15 279.06 C# (+1.88)
16 277.97 C# (+0.79) 277.18* 272.00!>272.79 022.5 soc
+1.09
64-3 273.89 C# (-3.29)
8 294.32 D (+0.64) 293.66* 288.00!>288.64 045.0 ssq
+0.88
9 290.69 D (-2.97)
15-2 296.50 D (+2.84)
64-7 290.02 D (-3.64)
5 313.94 D# (+2.81) 307.20! 072.0 qnt
+3.87
11-2 309.19 D# (-1.94)
16-3 310.67 D# (+0.46) 311.13* 304.00> 304.46 067.5 tso
+0.63
64-13 314.77 D# (+3.64)
4 327.03 E (-2.60) 320.00! 090.0 sqr
-3.58
11-3 332.97 E (+3.34)
15-4 331.39 E (+1.76)
64-17 331.13 E (+1.50) 329.63* 324.00> 325.50 095.63 ---
+1.38
3 348.83 F (-0.40) 349.23* 341.3'!>340.93 120.0 tri
-0.55
32-11 351.57 F (+2.34)
64-21 347.48 F (-1.75)
5-2 366.27 F# (-3.72) 358.40! 144.0 bqt
+4.52
7-3 373.74 F# (+3.75)
12-5 370.63 F# (+0.64) 369.99* 362.6'> 363.31 150.0 qnx
+0.88
32-13 367.92 F# (-2.07)
64-27 372.01 F# (+2.02)
2 392.43 G (+0.43) 392.00* 128.00!>128.43 180.0 opp +0.59
5-3 418.59 G# (+3.29) 153.60! 216.0 bqt
+4.53
7-4 411.12 G# (-4.18)
12-7 414.23 G# (-1.07) 415.30* 410.96> 409.89 210.0 qnx
-1.47
32-19 416.97 G# (+1.67)
64-37 412.88 G# (-2.42)
3-2 436.03 A (-3.97) 426.6'! 240.0 tri
-5.46
10-7 444.75 A? (+4.75)
13-9 442.74 A (+2.74)
16-11 441.48 A (+1.48) 440.00* 432.00> 433.48 247.5 qso
+2.04
64-43 437.41 A (-2.59) [112.5]
5-4 470.92 A# (+4.76) 460.80! 288.0 qnt
+6.55
9-7 465.10 A# (-1.06) [072.0]
13-10 462.87 A# (-3.29)
14-11 467.18 A# (+1.02)
32-25 466.03 A# (-0.13) 466.16* 456.00> 455.87 281.25 hqo
-0.18
[078.75]
8-7 490.54 B? (-3.34) 480.00! 315.0 ssq
-4.60
9-8 494.17 B (+0.29) 493.88* 483.5'> 483.84 320.0 nov
+0.40
10-9 497.08 B? (+3.20
64-57 494.64 B (+0.76)
-------------
CLASSICAL TEMPERED SCALE
(With equivalent astrological angles
and zodiacal degrees)
----------------------------------------------
T FRCT ASP ANGLE t-ADJ ZODIAC ASP NAME
----------------------------------------------
C 1 Cnj 000.00 --- 00Ar00 Conjunction
C# 1/16 Soc 022.50 023.59 23Ar35 Semi-Octile
D 1/8 Ssq 045.00 045.88 15Ta52 Semi-Square
D# 3/16 Sxq 067.50 068.13 08Ge07 Sextaquork
E 17/64 Fel 095.63 097.01 07Cn00 8.5 S-Octs
F 1/3 Tri 120.00 119.60 29Cn36 Trine
F# 5/12 Qnx 150.00 150.64 00Vi38 Quincunx
G 1/2 Opp 180.00 180.43 00Li25 Opposition
G# 7/12 Qnx 210.00 208.53 28Li31 Quincunx
A 11/16 Dqo 247.50 249.54 09Sg32 Dekaquork
A# 25/32 Hqo 281.25 281.07 11Cp04 Septaquork
B 8/9 Nov 320.00 320.40 20Aq24 Novile
-----------
NB: 1 "Quork" or Quarter-Octile = 11.25 dgr;
1 Octile = 45 dgr; 16 Quorks = 180 dgr;
-----------
UNTEMPERED SCALE (Pythagorean)
-------------------------------------------
T FRCT ASP ANGLE ZODIAC ASP NAME
-------------------------------------------
C 1 Cnj 000.0 00Ar00 Conjunction
C# 1/16 Soc 022.5 22Ar30 Semi-Octile
D 1/8 Ssq 045.0 15Ta00 Semi-Square
D# 1/5 Qnt 072.0 12Ge00 Quintile
E 1/4 Sqr 090.0 00Cn00 Square
F 1/3 Tri 120.0 00Le00 Trine
F# 2/5 Bqt 144.0 24Le00 Biquintile
G 1/2 Opp 180.0 00Li00 Opposition
G# 3/5 Bqt 216.0 06Sc00 Biquintile >144.00
A 2/3 Tri 240.0 00Sg00 Trine >120.00
A# 4/5 Qnt 288.0 18Cp00 Quintile >072.00
B 8/9 Nov 320.0 20Aq00 Novile >040.00
------------
NB: All simple fractions inclusive: 1/2, 1/3
2/3, 1/4, 1/5 2/5 3/5 4/5; plus 1/8, 1/16;
8/9. No 3/4 or 6ths.
------------
There are various ways of applying this data.
For example, according to the radii of nested circles.
If the radius of the outermost containing circle is 12'
and it takes 18 seconds to walk from the center to this
perimeter, at 6 meditative seconds per yard, then the
radius is 18*256 cps = 4608 cps. An inner circle with
a radius of half this frequency will resonate as a <G>
relative to the perimeter's <C>. And so on.
Alternatively, and more simply, one could equate radii
with the zodiac circle by letting the radius of the
largest circle represent 360 degrees and the root <C>
of the whole octave nest of circles. The center would
be high <C>, or vice versa depending on direction of
travel. The circle with half the root-radius would
equate with <G> &/or the 180 angle of opposition. Etc.
In astrology, angles are more often equated with power
and polarity rather than variations of quality such as
may be ascribed to colours and musical tones, but these
too can be considered in the same way. In the Harmonic
Theory of Aspects, the root note is a conjunction
between planets (or points) = 00 degrees of separation.
It's also the strongest possible potential, though
polarity is either variable or incipient. The number 1
represents the conjunction, and it can be given a power
value of, say, 12. The next strongest angle is the
Opposition when points form and angle of 180, a straight
line through their midpoint and center. Power value is
1/2 of 12 = 6, but the harmonic itself is represented
by number 2, or H2, (i/e it's the 2nd Harmonic). The
trine aspect of 120 is a third of the 360 circle, so
its power value is (12/3)= 4 and is represented by H3.
And so on.
Polarity depends on whether the Harmonic (H) is
reducible to 2 (negative), 3 (positive), or both
(neutral). Higher primes are also positive, but
belong to a series of increasingly more unique
and specialised qualities.
-=Rab
============
5. ROGER LAWSONS' COMMENTS:
Bill
Some brief ideas not strictly on your point but may be relevant:
A labyrinth is walked by the feet and is usually placed on
a site with
special underground and no doubt resonant Cosmic energies.
Hence there may be a link to the 12 meridians. However the
human body
meridians were cut off from the starry scale in the higher octaves
by the
fall. The missing link is the 12 AxiAtonal lines which combine
the two and
enable us to link up and reprogramme ourselves - presumably via
grids in the
Cosmos, Earth and ourselves.
Each AxiAtonal line has a colour which can be seen and therefore
must have a
tone.
Re CRPs, are these the "spin points" (Keys of Enoch)
where the AxiAtonal
lines interact with the body's Kathara grid ( 12 sephiroths in
the Tree of
Life) ?
If these suppositions are correct, then a European grid of
healing will be
made available for those working with healing and eventually regrowing
limbs
etc.
-----------------
There is also a possibility of 12 lower + 12 higher = 24 with
a resonance to
the "throne" room of Keys again. Also is it too early
for there to be a
resonance to the 24 parts of Metatron's Breastplate?
-----------------------
If this is right then there is a resonance with 12 and DNA changes?
-------------------------
Re the grids. You have already identified the 7+1 Bar-sheeba
grids - ( with
the white notes). What about the missing five - the pentatonic
scale, the
black notes ? would these be pentagrams or is that too simple
? I don't know
what the difference between black and white notes is and how that
would
relate to grids.
(Lausanne feels to be related to Chartres)
Roger
===============
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