JACOB'S LADDER 

"And Jacob dreamed, and behold a ladder set up on the earth, and the top of it reached to heaven: and behold the angels of God ascending and descending on it. And, behold, the LORD stood above it...” Genesis 28:12-13a 

There is much to be said about this ancient passage of scripture. Within it are the keys to many esoteric teachings, and mysteries which have been hidden ages past, that are now being revealed. In a previous writing we dealt with “Jacob’s Journey,” the journey of all humanity to meet God in the 7 Feasts or Experiences; consummating with Tabernacles,Fullness. In this teaching we will deal with the types, shadows,, history and esoteric truth surrounding “Jacob’s Ladder.”

Jacob has left from Beersheba, the well of sevens; a place where you walk in full awareness of the 7 Spirits of God. Also meaning the experience where the 7 Energy Centers (Chakras) or 7 Glands of the Endocrine System are balanced. During his night season of going within in this certain place he shuts his eyes to the physical plane and awakes to the spiritual. He sees this Ladder set up on the earth, angels ascending and descending. {We can be thankful for Providence during the night seasons of life, and the assurance of the angels of God watching over us}. 

The Mystery Of Numbers 

In order to get a fuller understanding of “Jacob’s Ladder,” we must understand the mystery of numbers. In this lesson I will share only enough to trigger your spirit. God has created a very elaborate system to conceal and reveal Himself, and His plan for all aspects of creation. This is an ancient mathematical system of numbers. Everything and everyone in the universe has a numeric value, even God. Once we learn, or remember how to decipher these numbers (because this information is in our spirit and DNA), we will understand. 

As in classical algebra or geometry, the Spirit uses symbols to conceal messages. Each letter of the Hebrew alphabet is a symbol and have a numeric value. I can see by the Spirit that the time is very near 
that we will no longer read the Bible as we have in time past. As the knowledge of the glory of God increases, we will learn, or remember the heavenly mathematics that are concealed within the Book of Life within our being. All of the history, prophecy, miracles and parables will take on a completely new meaning. For many this is already happening. It is the Spirit of God that is teaching us this mystical algebra and sacred equations. 

“Here is wisdom. Let him that hath understanding count...” Rev.13:18 “Look now toward heaven, and count the stars, if you are able to number them...” Gen.15:5 “And even the very hairs of your head are numbered.” Matt. 10:30 Everything, even the sands of the sea are numbered. 

“It is the glory of God to conceal a thing, but the honor of kings is to search out a matter.” Prov. 25:2 God can only be found by those who earnestly seek Him. The natural mind can not comprehend, it can only criticize. Anyone can have a religious or emotional experience. All have been invited to Salvation, whosoever will, let him come. Not all that come are sincerely eager to Search Out the Matters That Are Concealed from the natural mind. This is the honor of Kings! The Priestly and Prophetic Anointings are great, but I feel a higher calling; Kingship. “Is there no king in you?” Micah 4:19 We are being given the honor to be initiated into the mysteries of the ages.

Since we are realizing that our Creator is very detail, and that all the stories of the Old and New Testament have a deeper meaning; have you ever wondered how many steps were on the Ladder? According to Josephus the historian, it was believed that this Ladder had 72 steps. The number 72 is sprinkled throughout both Old and New Testament, concealed from the eyes of those that only see the literal interpretation of scripture. Many times it is used in close association with the number 70.

The Number 70 

I will not deal with the negative side of 70, which denotes Judgment, in this writing. (You may study this regarding Israel’s captivity in Babylon and man’s life span being limited to 70 years because of transgression Psalms 90:10). However, Moses, who wrote this Psalm lived to be 120.

The Hebrew words for wine (yayin), and secret (sode); both have the numeric value of 70. In the natural when one drinks wine, he is prone to reveal secrets. There are secrets that God spoke into your spirit when He knew you before you were formed in the womb. As we drink of the new wine (Spirit), we are given boldness and awareness to utter the mysteries of God. That which has been kept secret, and limited to the chosen few is now being made available to all. The number 70 speaks of Revealing Secrets, Restoration and Council. It also speaks of Forgiveness, 70x7.

MORE ABOUT THE NUMBER 70

THE PLUM TREE AND THE PALM TREE

www.greatdreams.com/plum-tree.htm

This Rectification process proceeds over a period of 70 Jubilee Cycles.

The number 70reflects the work of the 64 Eternal Forms of the Elohim extended over a ...

The first Mystery School of Prophets among Israel was made up of 70 of the tribes of Israel. Num. 11 God took of Moses spirit and imparted onto them. “...They prophesied, and did not cease.” verse 25 They were able to tap into the supernatural realm. This was the Old Testament Sandhedrin (Council). In the NT Jesus called 70 other disciples besides the 12, and gave them power to works all kinds of miracles.

{Jacob's Mystical 72 Step Ladder} 

The Number 72 

The ancients say that Jacob’s Ladder had 72 steps. The number 72 denotes, Celestial Council, Fullness of the Nature (Name) of God and Resurrection. According to Hebrew history, each step on the Ladder represented a name of God. The 72 Names of God. It is called, The Shem hamphorash, meaning the unpronouncible name; which has the numerical value of 72. The Tetragramation (YHWH or YHVH) with all 7 or 10 of the Hebrew vowels. 

This name was too sacred to be written and could only be spoken by few. The high priest on the Day of Atonement used this name to supernaturally transport from the Holy Place to the Holy of Holies. He was not limited by the 18 inches thick veil that hung in front of him. The prophetic Levitical Choir chanted the YHWH with the Sacred vowels to bring destruction on their enemies during warfare. See 2 Chron. 20 And the king also had access to this name.

MORE ABOUT THE NUMBER 72:

Jacob’s Ladder is a revelation of the most mysterious nature of God within man, the heights and depths of ascending and descending. Jesus Himself said that He is that Ladder. He is the Original Blueprint of biological manifestation of God's DNA. John 1:51 

In Numbers 11 we find that 70 men were called and anointed with the spirit of prophecy to lead the church in the wilderness. They were not led by human intellect, but by thte spirit of prophecy. The spirit of prophecy is the testimony of Jesus Christ. Rev. 19:10 Aaron and Moses, plus the 70. (2 + 70= 72). John the Baptist is preaching, preparing the way for Messiah. “And after these things the Lord appointed other 70 also...” Luke 10:1 

John the Baptist and Jesus, plus 70 others. (2 + 70= 72). This is the New Testament Spiritual Sandhedrin (Council), showing the way back to Divine manifestation in human form. The literal Sandhedrin made up of mostly Saducees, consisted of 2 clerks and 70 priest, 72. This was the Supreme Court of Israel. Most of the times only 71 were counting, so that when deliberating there would be an uneven number to prevent a hung jury. 

According to history the Old Testament Hebrew was translated into Greek by 70-72 scholars, under the order of Ptolemy II. It is called, the Septuagint, meaning, of the 70. 

WHAT ABOUT THE 144,000 ? 

What’s in the number 144 or 144,000 ? 72 x 2=144. In Rev. 21:17, we find the measurement of the wall of the holy city, New Jerusalem. This is not a literal skyscraper city somewhere in another part of the universe, that will one day float down to the Middle East. (That is a very dangerous and erroneous teaching.) Verses 9-10 clearly states that theNew Jerusalem is the Bride, the Lamb’s wife. Furthermore, Jesus told us that we are the city set on a hill. 

The measurements of the wall (realm) in this metaphysical city is 144 cubits. 144 cubits = 300 ft or 72 yards, this is the measure of a man. God has given us the 5-fold Ministry to grow us up “..unto a Perfect (complete-mature) Man, unto the Measure of the stature of the Fullness of Christ.” Ephesians 4:13 As stated early, 72 denotes Fullness. 

At the end of Revelation 13 we are introduced to the mark, name and number of the beast, which certain individuals will have IN, not on their right hand or forehead. Revelation 14 opens with the 144,000 on a Mystical Place of Worship called Mt. Zion, they have their Father’s name written IN their foreheads.

MORE ABOUT THE NUMBER 144.000

These are Initiates of the Cosmic Mystery School of Prophets. They have ascended to the Mt. Zion Experience by way of Jacob’s Ladder. Step by step taking on the divine names/attributes of God, changing the sequences that dictates physical limitations and death. (When we descended to come to this lower vibration, we forget those names each step spiraling downward). The 144,000 - Symbolic of the 72 Initiates during Moses time and the 72 Initiates during Jesus time. 1000 denotes rest from the works of the flesh: also a number of no end.

The 144,000 are the Overcomers, Sons and Daughters of God, the Manchild. A people no longer striving in themselves, they are redeemed from the earth, no longer bound by the drives of the earth nature/flesh. They are not taken off the earth. They are not

 contaminated by women (religious, carnal teachings, traditions), they are spiritual virgins. They are God’s Tithe, not following man, but the Lamb. They have tapped into the Christ within and are expressing Him. Another interesting thing, they have harps. The harp is associated with the prophetic, utterance of mysteries and dark sayings. Ps.78:2-3 The 144,000 are singing a song that no carnally minded person can learn. This is the sacred song that the ancient prophetic Levitical Choir sang. They sang the unprouncible name of God, the Tetragramation (YHWH) using the 7-10 mystical vowels; all 72 names of God which equals 72. We thank God for giving us the name, Jesus (Yeshua), and all that it stands for. He said that there would be a group of Initiates or Overcomers that he would reveal His new name unto. Rev. 3:12 Of course nothing is new to God, but it would be new to us. Could that be the most hallowed 72 names in one Name, the mystery of God within man expressed?? This 144,000 have the name In their forehead, which means, they are operating out of the Divine Mind. 

This 72,000 x 2 group also represent Melchizedek, the Eternal Cosmic High Priest Order. The mysterious robe of Aaron, the high priest had bells and pomegranates on the hem. It was worn only on the most holy day of the year, the day of At-One-Ment. It is said that there were 72 bells and 72 pomegranates alternating around the hem of the robe. 72 + 72=144 To touch the hem of the Melchizedek Priest garment, is to touch or experience the Name that brings immortality. (Aaron was only the shadow of Melchizedek). Although we don’t consciously know this sacred name that equals 72, I believe through the baptism in the Holy Ghost we are able to speak that unknown name. “For he that speaketh in an unknown tongue..speaks to God, no man understands him, in the spirit he speaks mysteries.” I Cor. 14:2

The Human Skull Has 22 Bones. 22, the Number of Light.

Now look at our DNA below. You will clearly see Jacob's Ladder, the double helix and chromosones. Within our DNA is Light (bio-photons), as Jacob saw the Lord of Light standing at the top of this spiral staircase that leads to heaven within. Each level of consciousness changes the mis-sequence codes or forgotten names of God to the original, until All is restored and we become the Tetragammation.

For those that have eyes to see and ears to hear, we have revealed some of the metaphysical/ spiritual aspects of Jacob’s Ladder. How it relates to the prophetics times we are in and the anatomy of man.

Above the 72nd step, of your ascent awaits Yahweh to welcome you home into All that you are. As your spirit and soul completely awakens out of the sleep which you were lowered into, you will realize the Awesomeness of your experience and God. In every dark season and certain place of your life, the angels of God were there. Continue to climb ! Only stop to rest for a moment to realize how far you’ve come, be thankful, for you are closer today. The highest experience is yet to come. 

May you enter a new height as you ascend in God. I can hear the Voice of the One who stands at the top of the 72nd step saying, 

Come up here, there’s more that you must see and learn- Come up here, to the fullness of My Spirit, Return. 

Don’t be afraid, My angels will escort you each step of the way- Rest in Me, My Word will guide you to the light of the new day. 

As you experience the many aspects of Me, you will discover your true self- With each step of faith there will be less of you left. 

May the Lord Jesus, by His Holy Ghost cause this word to explode in your innermost being, becoming a reality day by day. May the spirit of wisdom and revelation knowledge be imparted into your life in a greater measure. I declare and decree all your need to be met - Experience Abundance on every level of your life. Experience Healing, Deliverance, Peace and Joy - In the name of Jesus, type of the unpronouncible 72 names of God in One. So be it!! 

MORE ABOUT THE NUMBER 22

MORE ABOUT DNA

by John Lewis

NOTE FROM DEE:  THE FOLLOWING IS WRITTEN BY EARLYNE CHANEY (now deceased) WHO FOUNDED THE ASTARA GROUP IN CALIFORNIA SOME YEARS AGO. 

Earlyne Chaney wrote in chapter 3 in page 43: 

"When I probed for more knowledge about Knut (The Great Pyramid) and the Sphinx, which to us were already unutterably, aged, they related a strange tale about the great Beings called the Anaki, the Mighty Ones, who came to Earth ages ago from another solar system, arriving from spaceship. They came from the star Sothis (Sirius). They landed on a land called Aztlan (Atlantis). They brought with them a divine consciousness and knowledge of all the secrets of nature. My father called them the Sons of GOD. 

When the Anaki first arrived from their home planet, they brought with them a crucible called an Ark of the Covenant. This Ark contained a peculiar pulsating crystal infused with a living light. Under guidance, it emitted rays of force. It was constructed so as to become an instrument, a device, a store-house, containing the power to generate the very highest creative cosmic frequencies, capable of transforming matter into pure energy-force and energy-force into matter. It was called an Ark of the Covenant because it possessed the potential of harmonizing its divine potencies with the material frequencies of Earth, a covenant of love and peace between the Sons of God who brought it and the sons of men, the Earthborn. Thus it was the manifestation of a promise that the Sons of God would never forsake the Earthborn sons of men. The covenant was the pledge of eternal guidance and vigilance.

MORE AT:  http://www.greatdreams.com/covenant.htm

More ark of the covenant information

An important symbol of the Entered Apprentice Degree. A ladder of several staves or rounds of which three are illustrated tot he candidate as Faith, Hope and Chairty; the three theological virtues.

The introduction of Jacob's ladder into the symbolism of Speculative Freemasonry is to be traced to the vision of Jacob, which is thus substantially recorded in the twenty-eighth chapter of the Book of Genesis: When Jacob, by the command of his father Isaac, was journeying toward Padanaram, while sleeping one night with the bare earth for his couch and a stone for his pillow, he beheld the vision of a ladder, whose foot rested on the earth and whose top reached to heaven. Angels were continually ascending and descending upon it, and promised him the blessing of a numerous and happy posterity. When Jacob awoke, he was filled with pious gratitude, and consecrated the spot as the house of God.

This ladder, so remarkable in the history of the Jewish people, finds its analogue in all the ancient initiations. Whether this is to be attributed simply to a coincidence-a theory which but few scholars would be willing to accept-or to the fact that these analogues were all derived from a common fountain of symbolism, or whether, as suggested by Brother Oliver, the origin of the symbol was lost among the practices of the Pagan rites, while the symbol itself was retained, it is, perhaps, impossible authoritatively to determine. It is, however, certain that the ladder as a symbol of moral and intellectual progress existed almost universally in antiquity, presenting itself either as a succession of steps, of gates, of Degrees, or in some other modified form. The number of the steps varied; although the favorite one appears to have been seven, in reference, apparently, to the mystical character almost everywhere given to that number.

Thus, in the Persian Mysteries of Mithras, there was a ladder of seven rounds, the passage through them being symbolical of the soul's approach to perfection. These rounds were called gates, and, in allusion to them, the candidate was made to pass through seven dark and winding caverns, which process was called the ascent of the ladder of perfection Each of these caverns was the representative of a world, or w state of existence through which the soul was supposed to pass in its progress from the first world to the last, or the world of truth. Each round of the ladder was said to be of metal of measuring purity, and was dignified also with the name of its protecting planet. Some idea of the construction of this symbolic ladder may be obtained from the accompanying table. 

7. Gold .............. Sun ............... Truth
6. Silver ............. Moon ........... Mansion of the Blessed
5. Iron ............... Mars ............ World of Births
4. Tin ................ Jupiter ......... Middle World
3. Copper .......... Venus .......... Heaven
2. Quicksilver ... Mercury ....... World of Pre-existence
1. Lead ............. Saturn .......... First World

When this symbol, which is taken from Jacob's Vision (Genesis xxviii), was introduced into English Speculative Freemasonry is not exactly known. But we find allusions to it a little after the middle of the last [18th] century. It apparently was not originally a symbol of Speculative Masonry, but was probably introduced from Hermetic Masonry, about 1776. But we fancy that it came from Hermeticism, of which it was a favorite symbol. Certain it is that we do not find it in any of our far oldest known rituals if indeed they can be depended upon. Gadicke says of it, "Either resting upon the floor cloth or on the Bible, the compasses, and the square, it should lead the thoughts of the brethren to heaven. If we find that it has many staves or rounds, they represent as many moral and religious duties. If it has only three, they should represent Faith, Hope and Charity. Draw Faith, Hope, and Charity from the Bible with these three encircle the whole earth, and order all thy actions by the square of truth, so shall the heavens be opened upon thee."

Curiously enough, in Germany, the `Handbuch' tells us this symbolism is not used, nor on the continent generally. It has been pointed out by Oliver, by the `Handbuch,' and by others, that this is a mystical ladder to be found in the teaching of most other occult systems. Thus in the Mithraic mysteries the seven-runged ladder is said to have been a symbol of the ascent of the soul to perfection. Each of the rungs was termed a gate, and the `Handbuch' declares that the aspirants had to pass through a dark and winding cavern. The last, or Adytum, was full of light, and also assures us that in the old Hebraic Cabala the number of steps (for they had a cabalistic ladder also), was unlimited, until the Essenes reduce the number to seven. The latter Cabalists are said to have made ten Sephriroth - the Kingdom, the Foundation, Splendor, Firmness, Beauty, Justice, Mercy, Intelligence, Wisdom, and the Crown, by which we arrive at the Infinite, as Mackey and others put it.

It is alleged that in the mysteries of Brahma and in the Egyptian mysteries this ladder is also to be found. But this fact seems a little doubtful especially as the Egyptian mysteries little is known. The ladder is, however, to be seen among the hieroglyphics. In the Brahmic mysteries there is, we are told a ladder of seven steps, emblematic of seven worlds. The first and lowest was the Earth; the second, the World of Pre-Existence; the third, Heaven; the fourth, the Middle World, or intermediate region; the fifth, the World of Births; the sixth, the Mansions of the Blest; and the seventh, the Sphere of Truth. Some little difference of opinion exists as to the representation of the Brahmic teaching. It has been stated that in Hermetic or higher Masonry, so-called, the seven steps represent Justice, Equality, Kindness, Good Faith, Labor, Patience and intelligence. They are also represented as Justice, Charity, Innocence, Sweetness, Faith, Firmness and Truth, the Greater Work, Responsibility. But this is quite a modern arrangement in all probability. In Freemasonry it has been said that the ladder with its seven rungs or steps represents the four cardinal and three theological virtues which in symbolism seems to answer to the seven grades of Hermetic symbolism. It must be remembered that we have no actual old operative ritual before us, and on the other hand we must not lay too much store by the negative evidence of later rituals - that is, because we do not find until then actual mention of certain words and symbolisms therefore conclude they did not exist earlier. On the whole, Jacob's ladder in Freemasonry seems to point to the connection between Faith and Heaven, man and God, and to represent Faith, Hope and Charity; or, as it is declared, Faith in God, Charity to all men, and Hope in Immortality.

“And Jacob went out from Beersheba, and went toward Haran. And he lighted upon a certain place, and tarried there all night, because the sun was set; and took of the stones of that place, and put them for his pillows, and lay down in that place to sleep. And he dreamed, and beheld a ladder set upon the earth, and the top of it reached to heaven; and beheld the angels of God ascending and descending on it. And, behold, the Lord stood above it, and said, I am the Lord God of Abraham thy father, and the God of Isaac.” These words (Genesis XXVIII, 10-13 inclusive)v are the foundation of that beautiful symbol of the Entered Apprentice’s Degree in which the initiate first hears”. . . the greatest of these is charity, for our faith may be lost in sight, hope ends in fruition, but charity extends beyond the grave, through the boundless realms of eternity.” At least two prophets besides the describer of Jacob’s vision have spoken aptly reinforcing words Job said (XXXIII, 14-16):

“For God speaketh once, yea twice, yet man perceiveth it not. In a dream, in a vision of the night, when deep sleep falleth upon men, in slumberings upon the bed: Then he openeth the ears of men, and sealeth their instructions.”

And St. John (I,51):

“And he said unto him, Verily, verily I say unto you, Hereafter ye shall see heaven open, and the angels of God ascending and descending upon the Son of Man.”

Since the dawn of thought the ladder has been a symbol of progress, of ascent, of reaching upward, in many mysteries, faiths and religions. Sometimes the ladder becomes steps, sometimes a stairway, sometimes a succession of gates or, more modernly, of degrees; but he idea of ascent from darkness to light, from ignorance to knowledge and from materially to spiritually is the same whatever the form of the symbol.

In the Persian Mysteries of Mithras, the candidate ascended a ladder of seven rounds, and also passed through seven caverns, symbolized by seven metals, and by the sun, moon and five planets. The early religion of Brahma had also a seven stepped ladder. In the Scandinavian Mysteries the initiate climbed a tree; the Cabalists made progress upward by ten steps. In the Scottish Rite the initiate encounters the Ladder of Kadosh, also of seven steps, and most of the early tracing boards of the Craft Degrees show a ladder of seven rounds, representing the four cardinal and three theological virtues. At one time, apparently, the Masonic ladder had but three steps. The Prestonian lecture, which Mackey thought was an elaboration of Dunkerly’s system, rests the end of the ladder on the Holy Bible; it reads:

“By the doctrines contained in the Holy Bible, we are taught to believe in the Divine dispensation of Providence, which belief strengthens our “Faith,” and enables us to ascend the first step. That Faith naturally creates in a “Hope” of becoming partakers of some of the blessed promises therein recorded, which “Hope” enables us to ascend the second step. But the third and last being “Charity” comprehends the whole, and he who is possessed of this virtue in its ample sense, is said to have arrived at the summit of his profession, or more metaphorically, into an etherial mansion veiled from mortal eye by the starry firmament.”

The theological ladder is not very old in Masonic symbolism, as far as evidence shows. Some historians have credited it to Matin Clare, in 1732, but on very slender evidence. It seems to appear first is a tracing board approximately dated 1776, and has there but three rounds. As the tracing board is small, the contraction from seven to three may have been a matter of convenience. If it is true that Dunkerly introduced Jacob’s ladder into the degrees, he my have reduced the steps from seven to three merely to emphasize the number three, so important Masonically; possibly it was to achieve a certain measure of simplicity. Preston, however, restored the idea of seven steps, emphasizing the theological virtues by denominating them “principal rounds.

The similarity of Jacob’s Ladder of seven steps to the Winding Stairs, with three, five and seven steps has caused many to believe each but a different form of the same symbol; Haywood says (“The Builder, Vol.5, No.11):

“Other scholars have opined that the steps were originally the same as the Theological Ladder, and had the same historical origin. Inasmuch as this Theo-logical Ladder symbolized progress, just as does the Winding Stair, some argue that the latter symbol must have come from the same sources as the former. This interpretation of the matter my be plausible enough, and it may help towards an interpretation of both symbols, but it suffers from an almost utter lack of tangible evidence.”

Three steps or seven, symbol similar to the Winding Stairs or different in meaning and implications, the theological virtues are intimately interwoven in the Masonic system. Our many rituals alter the phraseology here and there, but the sense is the same and the concepts identical.

According to the dictionary (Standard) Faith is “a firm conviction of the truth of what is declared by another . . .without other evidence: The assent of the mind or understanding to the truth of what God has revealed.”

The whole concept of civilization rests upon that form of faith covered in the first definition. Without faith in promises, credit and the written word society as we know it could not exist. Nor could Freemasonry have been born, much less lived through many centuries without secular, as distinguished from religious, faith; faith in the integrity of those who declared that Freemasonry had value to give to those who sought; faith in its genuineness and reality; faith in its principles and practices.

Yet our ritual declares that the third, not the first, round of the ladder is “the greatest of these” because “faith may be lost in sight.” Faith is not needed where evidence is presented, and in the far day when the human soul may see for itself the truths we now except without demonstrations, faith may disappear without any con- sciousness of loss. But on earth faith in the divine revelation is of the utmost importance to all, especially from the Masonic standpoint. No atheist can be made a Mason. Any man who misstates his belief in Deity in order to become a Mason will have a very unhappy experience in taking the degrees. Young wrote:

“Faith builds a bridge across the gulf of death To break the shock blind nature cannot shun And lands though smoothly on the further shore.”

The candidate that has no “bridge across the gulf” will find in the degrees only words which mean nothing. To the soul on its journey after death, the third round may indeed be of more import than the first; to Masons in their doctrine and their Lodges, the first round is a foundation; lacking it no brother may climb the heights. Hope is intimately tied to faith: “Faith is the substance of things hoped for, the evidence of things not seen.”

The dictionary declares hope to be “desire with expectations of obtaining: to trust confidently that good will come.” But the dictionary definition fails to express the mental and spiritual importance of hope. Philosophers and poets have done much better. “Where there is no hope, there can be no endeavor,” says Samuel Johnson, phrasing a truism everyone feels though few express. All ambitions, all human actions, all labors are founded on hope. It may be crystallized into a firm faith, but in a world in which nothing is certain, the future inevitably is hidden. We live, love, labor, pray, marry and become Masons. bury our dead with hope in breasts of something beyond. Pope wrote:

“Hope spring eternal in the human breast; Many never is, but always to be, blest,” blending a cynicism with the truth.

Shakespeare came closer to everyday humanity when he said: “True hope is swift, and flies with swallow’s wings; Kings it makes gods, and meaner creatures, kings.”

Dante could find no more cruel words to write above the entrance to hell than:

“Abandon all hope, all ye who enter here.”

Nor can we be argued out of hope; doctors say of a loved one, “she must die,” but we hope; atheists attempt to prove there is no God - we hope. Facts demonstrate that our dearest ambition can never be realized - yet we hope. To quote Young again, we are all:

“Confiding, though confounded; hope coming on, Untaught by trial, unconvinced by proof, And ever looking for the never seen.” And yet, vital though hope is to man, to Masons, and thrice vital to faith. our ritual says that charity is greater than either faith or hope.

To those whom charity means only handing a quarter to a beggar, paying a subscription to the community chest, or sending old clothes to the Salvation army, the declaration that charity is greater than faith or hope is difficult to accept. Only when the word “charity” is read to mean “love,” as many scholars say it should be translated in Paul’s magnificent passage in Corinthians, does our ritual become logically intelligible. Charity of alms can hardly “extend through the boundless realms of eternity.” To give money to the poor is a beautiful act, but hardly as important, either to the giver or the recipient, as faith or hope. But to give love, unstinted, without hope of or faith in reward - that, indeed, may well extend to the very foot of the Great White Throne.

It is worth while to read St. Paul with this meaning of the word in mind; here is the quotation from the King James version, but with the word “love” substituted for the word “charity:”

“Though I speak with the tongues of men and of angels, and have not love, I am become as sounding brass, or a tinkling cymbal. And though I have the gift of prophecy, and understand all mysteries, and all knowledge; and though I have all faith, so that I could remove mountains, and have not love, I am nothing. And though I bestow all my goods to feed the poor, and though I give my body to be burned, and have not love, it profiteth me nothing. Love suffereth long, and is kind; Love enveith not; love vaunteth not itself, is not puffed up. Doth not behave itself unseemly, seeketh not her own, is not easily provoked, thinketh no evil; Rejoiceth not in iniquity, but rejoiceth in the truth.”

Beareth all things, believeth all things, hopeth all things, endureth all things. Love never faileth; but whether there be prophecies, they shall fail; whether there be tongues, they shall cease; whether there be knowledge, it shall vanish away. For we know in part, and we prophesy in part. But when that which is perfect is come, then that which is in part shall be done away.”

“When I was a child, I spake as a child, I understood as a child, I thought as a child; but when I became a man, I put away childish things. For now we see through a glass, darkly; but then face to face; now I know in part; but then shall I know even as also I am known. And now abideth faith, hope, love; these three; but the greatest of these is love.”

It is of such charity that a Mason’s faith is made. He is, indeed, taught the beauty of giving that which is material; the Rite of Destitution shows forth the tender lesson in the first degree; Masonic Homes, Schools, Foundation, Orphanages and Hospitals are the living exponents of the charity which means to give from a plenty to those who have but a paucity.

The first of the principal tenets of our profession and the third round of Jacob’s Ladder are really one; brotherly love is “the greatest of these” and only when a Mason takes to his heart the reading of charity to be more than alms, does he see the glory of that moral structure the door to which Freemasonry so gently, but so widely, opens.

Charity of thought for an erring brother; charity which lays a brotherly hand on a troubled shoulder in comfort; charity which exults with the happy and finds joy in his success; charity which sorrows with the grieving and drops a tear in sympathy; charity which opens the heart as well as the pocket book; charity which stretches forth a hand of hope to the hopeless, which aids the helpless, which brings new faith to the crushed . . .aye, these, indeed, may “extend through the boundless realms of eternity.”

Man is never so close to the divine as when he loves; it is because of that fact that charity, (meaning love,) rather than faith or hope, is truly, “the greatest of these.”

A Kabbalistic View of the Chakras

MORE ABOUT CHAKRAS

MORE ABOUT TREE OF LIFE

The chakras are connections between the physical and psychological bodies. They are situated in the spinal column but their reflections can also be perceived as whirling discs in front of the body. As for the exact physical location points in the body, there is much literature available that deals with this in detail. My reference is Kundalini Tantra by Swami Satyananda Saraswati and all quotations are from this book.

The physical aspects of the chakras have many implications for health and healing. However, from the Kabbalistic point of view it is more interesting to concentrate on the psychological aspect and evolving consciousness, and as such the chakras should be seen on the Jacob's Ladder on the psychological or Yeziratic Tree of Life.

There are seven major chakras, but there are also numerous smaller chakras connected to and governed by them. Maybe that is why there are so many different views on the subject. I hope that relating the major chakras to the Kabbalistic scheme will help to clarify the underlying principles.

According to the tradition, there are lower chakras that are responsible for the evolution of instinct in the animal kingdom and no longer active or conscious in humans. In the animal body, these inferior chakras are situated in the legs. On the Tree they can be seen as Malkhut. There are also said to be higher chakras above the Crown, and these can be seen as different levels of the Beriatic Tree. Little can be said about them as they belong to the realm of no form.

Paradoxically, the awakening of the chakras should start as high as Ajna or the Third Eye. One needs a degree of Wisdom and Understanding, a certain philosophical outlook and detachment, to be able to cope with the psychic phenomena that follow the awakening of the lower chakras.

Mooladhara Chakra (Base); Yesod

"The Sanskrit word moola means 'root or foundation' and that is precisely what this chakra is. Mooladhara is at the root of the chakra system and its influences are at the root of our whole existence. In tantra, Mooladhara is the seat of kundalini, the basis from which the possibility of higher realization arises."

The ordinary ego-mind of Yesod works and runs our lives more or less automatically. It is not until one takes steps towards spiritual development that this chakra awakens and its functions become conscious, which can be a painful experience.

"All the passions are stored in Mooladhara, all the guilt, every complex and every agony has its root in Mooladhara chakra. It is so important for everybody to awaken this chakra and get out of it. Our lower karmas are embedded there, as in lower incarnations, one's whole being is founded on the sexual personality."

The awakening of any chakra is rarely a sudden event. It may take several years or lifetimes. In order to move on from Mooladhara, one has to clear the barrier of ignorance, egocentricity, attachment to physical pleasures and material objects.

Swadhisthana Chakra (Sacral); Hod-Nezah

Reaching Swadhisthana means that one is starting to penetrate the Hod-Nezah threshold of the unconscious. Usually one has to face the lowest manifestations first; there may be excessive fear (Hod) or sexual fantasies (Nezah).

"This stage of evolution is known as Purgatory, and if you read the lives of many of the great saints, you will find that most of them encountered great turmoil and temptations when they were passing through this stage."

It is interesting to note, that in traditional symbolism the animal related to Swadhisthana is a crocodile. It is here that we encounter the dragon as described in mythology and fairy-stories, in other words the unconscious aspects of our psyche that are preventing us from evolving.

The way forward is keeping to the Path of Honesty. "One must have detachment, which is the outcome of a thorough analysis of the situations of life. To get beyond Swadhisthana you must improve the general background of your psychoemotional life".

Manipura Chakra (Navel or Solar Plexus); Tiferet

"In the same way that the sun continually radiates energy to the planets, Manipura chakra radiates and distributes pranic energy throughout the entire human framework, regulating and energizing the activity of the various organs, systems and processes of life." Poorly functioning Manipura means lack of vitality, depression and ill health.

If this is true regarding the physical body, the more important it is psychologically. Manipura or Tiferet is the Self, the midpoint of the psyche. "It is the centre of dynamism, energy, will and achievement and is often compared to the dazzling heat and power of the sun."

"When the consciousness evolves to Manipura, one acquires a spiritual perspective." This refers to the position of Tiferet as the Kingdom of Heaven. In Mooladhara and Swadhisthana the consciousness is still preoccupied with personal matters and resolving old karmas, but in Manipura one starts to realize the possibilities in becoming truly human.

However at this level one may fall for money, sex and power instead of striving for truth, goodness and beauty. The temptations are becoming more subtle as one starts developing siddhis or psychic powers. Attachment to these powers often makes one believe one has "arrived", thus blocking further development.

Anahata Chakra (Heart); Gevurah-Hesed

Anahata operates at the level of the soul and symbolically relates to the awakening of the heart. It is important to remember the warning about the barrier: "The second psychic knot is located at this heart centre. It represents the bondage of emotional attachment, the tendency to live one's life making decisions on the strength of the emotions rather than in the light of the spiritual quest."

Awakening this chakra is the key to fate and freewill. "Anahata chakra is almost completely beyond empirical dimensions. One depends solely upon the power of one's own consciousness rather than on anything that is external or concerning faith. In Anahata chakra, the freedom to escape from a preordained fate and to determine one's own destiny becomes reality." As such, it is said that there is a wish fulfilling tree in this chakra.

It seems that awakening of a chakra follows the pattern of the Lightning Flash on the Tree. In Anahata the negative tendencies of Gevurah usually surface first, like fear and pessimistic attitudes towards life. One has to remember the power of wish fulfilling at this level in order not to manifest negative wishes. "It is important to have a firm and alert control over the mental tendencies and fantasies of the mind."

In order to move on, one needs to cultivate the qualities of Hesed. A positive way of thinking is vital. Also enjoying the arts at their best can be helpful. "Anahata chakra awakens refined emotion in the brain and its awakening is characterized by a feeling of universal, unlimited love for all beings."

Vishuddhi Chakra (Throat); Da'at

Besides Vishuddhi being described as the void in the tantra, there is also the knowledge aspect as in Kabbalah. "The more abstract aspect of Vishuddhi is the faculty of higher discrimination. Hence any communication received telepathically can be tested here for its correctness and accuracy. Similarly, Vishuddhi allows us to differentiate between realization coming into our consciousness from the higher levels of knowledge, and the mere babblings of our unconscious mind and wishful thinking."

Vishuddhi is also known as the 'nectar and poison centre'. This would mean 'death and transformation' in more familiar terms. The nectar is transcendental fluid, 'the Dew of Heaven'. "As long as Vishuddhi chakra remains inactive, this fluid runs downward unimpeded, to be consumed in the fire of Manipura, resulting in the processes of decay, degeneration and finally death in the body's tissues. When Vishuddhi is awakened the divine fluid is retained and utilized, becoming the nectar of immortality. The secret of youth and regeneration of the body lies in the awakening of Vishuddhi chakra."

Vishuddhi is also the key to psychological regeneration. "At the level of Vishuddhi and above, even the poisonous and negative aspects of existence become integrated into the total scheme of being. They are rendered powerless as concepts of good and bad fall away. At this state of awareness the poisonous aspects and experiences of life are absorbed and transformed into a state of bliss."

Interconnected with Vishuddhi chakra is Bindu Visarga. Very little is known and written about it as it is beyond the realm of all conventional experience. On the Jacob's Ladder it would relate to the Yesod of Beriah, which underlies the Daat of Yezirah. "Bindu is a trap-door opening in both directions." It is said to be the origin of manifest individuality. "From this point or seed an object, an animal, a human being or whatever, can arise and manifest. Each and every object has a Bindu as its base. That which was previously formless assumes shape through the Bindu, and its nature is fixed by the Bindu as well."

Ajna Chakra (The Third Eye); Binah-Hokhmah

Ajna is the chakra of higher intellect. "Ajna is the witnessing centre where one becomes the detached observer of all events, including those within the body and mind. Here the level of awareness is developed whereby one begins to 'see' the hidden essence underlying all visible appearances. When Ajna is awakened, the meaning and significance of symbols flashes into one's conscious perception and intuitive knowledge arises effortlessly."

"Up until Ajna chakra awakens, we are under delusions. It is only after awakening of Ajna chakra that the laws of cause and effect can be known. Thereafter your whole philosophical attitude and approach to life changes." As said, it is very important to develop the qualities of Binah and Hokhmah already at the very beginning of one's spiritual journey. "Only those who have reason and understanding are able to cope."

It would seem that the awakening of the Ajna chakra follows the sequence of the Lightning Flash, activating first the Binah and then the Hokhmah aspect of this level. It is said that from Ajna there is only a short way to Sahasrara or enlightenment; from Hokhmah we would see how to get there.

Sahasrara Chakra (Crown); Keter

Sahasrara is actually not considered to be a chakra; it is the source of the chakras. "It is the crown of expanded awareness. The power of the chakras does not reside in the chakras themselves, but in Sahasrara. The chakras are only switches. All the potential lies in Sahasrara."

Patanjali classifies samadhi or enlightenment in three different stages. This would correspond to the position of the Keter of Yezirah on Jacob's Ladder overlapping the Tiferet of Beriah and the Malkhut of Azilut. "Sahasrara is both formless and with form, yet it is also beyond, and therefore untouched by form."

There are many descriptions about enlightenment, but ultimately it is not possible to define such an experience. "Supermental awareness is not a point; it is a process, a range of experience. Just as the term 'childhood' refers to a wide span of time, in the same way, samadhi is not a particular point of experience but a sequence of experiences which graduate from one stage to another."

In the course of one's development, the chakras may be only partially or temporarily awakened. They can also awaken independently from each other and do not necessarily follow the traditional sequence. In Kabbalah, an individual whose all chakras have fully and permanently awakened would be called the Messiah.

© Rebekah Kenton

NOTE FROM DEE:  the above article is strictly Rebekah's group's opinion.  Others have used the term 'Christed' which is a different connotation.

 

TOPIC:  THE MISSING NOTES

 

INVENTOR OF THE PIANO 

In Europe during the Baroque Period, musicians and artists were supported by the church, the state, and the rich. Such a patronage system was the case in Italy for hundreds of years, Including the late 1400s and early 1500s when Michelangelo worked as a sculptor and artist for the Medlci family in Florence. From 1690 until his death Bartolomeo Cristofori (1655-1731) went to work at the court of Prince Ferdinand de' Medici in Florence as a designer and custodian of keyboard Instruments. He Is noted for various innovations in harpsichord construction and especially for the invention of the piano.

Francesco Mannucci noted in his diary (February 1711) that in 1698 Cristofori began work on the "arcicembal che fa il piano e il forte" (harpsichord with soft and loud) The inventory of Medici instruments for 1700 establishes that at least one had been completed by that date. An article by Scipione Maffei In 1711 stated that In 1709 Cristofori had built three "gravicembalo col piano e forte" The unique characteristic of his invention was a mechanical action that made it possible to sound simultaneously as many notes as one had fingers and therefore, to be able to produce any work in the entire literature of Western music with variations of loud and soft according to the player's touch at the keyboard. Cristofori's "piano e forte was a combination of harpsichord shape and power with almost clavichord expressiveness. It Included a complex mechanical action with a hammer that rose towards a string (heavier than a harpsichord string) four times as fast as the key movement (eight times as fast in his later instruments). It also included an escapement to allow the hammer to rebound from the freely vibrating string, a check for the hammer to prevent bouncing, and a shift so the hammer would play only one of the two strings to reduce volume.

KEYBOARD



As a piano player, its easy to see where the missing notes are, but we will clarify for all others who are not musically inclined.

FREQUENCIES OF THE ORGANS OF THE BODY AND PLANETS

www.greatdreams.com/hertz.htm

New Bible Codes Discovered

www.greatdreams.com/gem13.htm

The codes on this page were found in the Bible which has been with us for thousands of years, ... There are twenty-two degrees between Fa and So on the music scale. ...... of these 28 points are listed on various pages on greatdreams.

 

MUSIC TOPIC:  440 HZ

FREQUENCIES OF THE ORGANS OF THE BODY AND PLANETS

www.greatdreams.com/hertz.htm

Hertz frequencies chart from Barbara Hero ... CYCLES PER SECOND (HERTZ), AND CORRESPONDENCES TO MENTAL STATES, .... 440, A (musical note) ...

THE THREE PHASES OF THE SUN (SON)

www.greatdreams.com/solar/phases.htm

The international standard of tuning is 440 Hz = the note "A". set in stone by J.S. Bach at a point in history where the remarkable discovery of "The Code" had not ...

PHI - SOUND AND HEALING

www.greatdreams.com/sound.htm

528 HZ & JUPITER'S ELECTROMAGNETIC LOVE CONNECTION ..... visual vector ratio from 440 to 880 angstroms, and each color of the rainbow is created in ...

Unique Divisions of the Scale

www.greatdreams.com/grace/1/30uniquedivisions.html

30.26 From Note A 440 to A 432. (Note: 432 Hz agrees perfectly, in scale, with gematria and world grid points). James Furia's works: Scale · Octave ...

THE SYMBOLISM AND SPIRITUAL SIGNIFICANCE OF 144 and 128 ...

www.greatdreams.com/sacred/144.htm

54 + 126 + 260 (Mayan Tzolkin) = 440 (musical note, "A" in standard CPS). A = 1. 440 + 1 ... The centering note is "A" at 432 cps, rather than the standard 440. ...

PYRAMID

www.greatdreams.com/pyramid_database.htm

432 is sometimes assigned to the Cheops pyramid's Kings Chamber. ..... Median DNA frequency = 544.4Hz. 136.1 is 2 octaves below 544.4Hz. 147.6 / 136.1 ...

New Math, New Understanding

www.greatdreams.com/grace/NF/newbailymath.html

216 x 2 = 432 conception, 432^2 = 186624mi / s., the speed of light and 432 x 2 .... h or proportionality factor called Planck's constant is 6.625 x 10^ -34 J/Hz. J ...

Electrons and Mythologies

www.greatdreams.com/grace/99/99WWWelectrons.html

I know the early Rife frequency to be 11780000 Hz not far from decimal harmonic of 11880. ... 373250 / 864 = 432 (A note Pythagorean tuning)  ...

Electrons and Mythologies

www.greatdreams.com/grace/99/99PPPelectrons.html

Sep 25, 2002 – If Cheops fundamental were 432, which is the note A, then the ... 8 Hz is a sub-harmonic of the 256 Hz middle C of the scientific music scale. ...

1. The Giza Communications / Synchronizing Device

   www.greatdreams.com/grace/100/124cheopspan.html

   ... and here, Matrix Message (12) "A" Note - 432Hz and the Kings Chamber. ... Another effect noted that the pyramid seemed to be resonant at 500 and 1000 Hz." ...
   

2. Electrons and Mythologies

   www.greatdreams.com/grace/99/99XXXXelectrons.html

   This also gives the vibration of 432 to the note D, and leads one to the ..... The frequencies are 396 hz, 417 hz, 528 hz, 639 hz, 741 hz, and 852 hz. ...
   

3. Electrons and Mythologies

   www.greatdreams.com/grace/99/99AAAAelectrons.html

   ... which I have corroborated on another chart as very close to A or A flat. at approx 54 - 108 Hz. ..... SUBHARMONIC FREQUENCY OF FOUR TWO THREE =432 ...
   

4. 99 Sections List- Part 3

   www.greatdreams.com/grace/50/99s3.html

   99.68.7 More on 432 (Luigi) · 99.68.8 The mirror of the 144 Pi numbers (Luigi) .... 99.74.10 F# at 727 Hz (Joe De) · 99.74.11
   

5. STRING OF PEARLS COMETS

   www.greatdreams.com/lostland/string-pearls.htm

   (.002 - .007 Hz.) If you convert this 2 mhz to a wavelength, ...... 593 BC) the first regular SolarMoon Greek calendar which was edited by Meton in 432 BC ...
   

6. COINCIDENCE AND 11:11 - PART III

   www.greatdreams.com/11coin3.htm

   The frequency correlation list says this about 1.45 Hz - 'Tri-thalmic entrainment ...... The Cycle of Time Number 432 http://www.greatdreams.com/432.htm ..
   
   AN EXPERT SITAR PLAYS - VIDEO
   http://www.youtube.com/watch?v=hTPxqUtlLdo
   
   REMEMBER BEATLELS GEORGE HARRISON?
   http://www.youtube.com/watch?NR=1&v=t79aI-I6ucA
   
   A HARD DAYS NIGHT ON SITAR BY GEROGE HARRISON
   http://www.youtube.com/watch?v=-NZ0zMSTEP0&NR=1
   
   

RAVI SHANKAR MANTRA MEDITATION

http://www.youtube.com/watch?v=YyDU5QwSSRU&feature=fvst

RAVI SHANKAR - ASATO MAA

http://www.youtube.com/watch?v=7uOoNT88HP4&feature=related

RAVI SHANKAR = SVARA ,AMTRA

http://www.youtube.com/watch?v=iBor3GixeMc&feature=related

The Geometry of Music

 

This is The Beatle's George Harrison Playing the Sitar

THE SITAR HAS THE MISSING NOTES
THAT WERE DELETED BY THE INVENTOR OF THE PIANO

 

While Hindu music is founded upon and made up of tones which are living members and therefore souls, Western music in its ideal aspect is made up essentially of intervals. Thus is constituted the great and eternal musical dualism which can be resolved eventually into unity, only as East and West, each having reached the center of its own sphere and fully understood its own dharma, realize that they are complementary, being two aspects of the same Energy which is Sound itself, two paths to the one goal of human world service through the revelation of Tone. The individual and the group, the free man and the brotherhood or state, self-liberation and the entering into relationship; all these dualities are various aspects of the great duality of Spirit and matter, of the One and the many. In music we have thus, on the one hand, the single tone and its pilgrimage through the many stations of the Harmonic Series, of the Path of incarnation and liberation; on the other hand, we have brotherhoods of tones, resonances which are like ova of sound, and what we might call tuneful space — space filled in its fullness by tones, or, as the old Gnostics called it, the Pleroma. 

With this last word we come to a basic conception of the true Music of the West, or Music of Prakriti (as by West we do not mean only a geographical location), a conception which, however, we have never seen expressed so far, save perhaps in the intuitive strivings of a young Californian composer, Henry Cowell. The ordinary European mind in its sterile intellectualism conceives space as emptiness, as that void which extends between objects of the stellar universe. Likewise it conceives the interval between the units of the musical scale as mere nothingness, as the abyss of "wrong notes". Intervals are not units of space but intellectual relations between two absolutely separate musical units; a mere proportion between algebraic entities. 

To the true student of life such a standpoint is essentially false. Space is not emptiness but fullness of being. Space is the highest possible conception of the Absolute, of THAT which is the eternal reality of Spirit and matter as one. Space conceived as a fullness of being and therefore as a Host of cosmic beings is the Pleroma (which means fullness). The Pleroma of souls manifests in music as the pleroma of tones, that is as a fullness of conjoined tones within certain limits.
 
We realize at once the fundamental difference existing between interval and pleroma. When Europeans speak of the interval of fifth they speak of a certain relation between two undefined musical notes. A fifth is the proportion 3:2, and nothing else. If realized as actual sounds it will mean striking together or successively two notes, the pitch or quality of which does not matter in the least. A chord is formed when two or more notes are thus struck together. What is a chord? A group of two or more notes related the one to the other in a specific manner, i.e., properly spaced. But the space between these notes is not considered; it is mere emptiness. Each note is in a sense an autonomous and separate entity. In classical music a certain magnetic or tonal attraction is understood to exist between these separate entities; but in modern music, especially in Schoenberg's "atonal" school, there is no attraction or repulsion considered whatsoever. Every note is a perfect, self-sufficient, anarchistic unit — but an intellectual unit, let us not forget! 

If, on the contrary, we conceive a fifth as a pleroma instead of as an interval, we get a radically different entity. We deal then with a portion of musical space which is a fullness of tone, with a host of tones theoretically infinite in number; no longer with two abstract notes with emptiness in between, but with a pleroma of compact, homogeneous sound-substance. Sound is substantial energy, and thus a music based on substantial fullness works with the living power of sound which is the very power of Space. Space is really a fullness of akasha whose characteristic is sound. 

The music of pleromas is thus the music dealing with masses of akasha, with portions of sonorous space. It is the music of Substance, of prakriti. The science on which such a music is based can be thus truly called the Geometry of Music — using the term geometry, however, not in its modern European sense, but with its archaic and Pythagorean meaning: the science of parceling the fullness of Space which is life. 

Geometry, we are told by H. P. Blavatsky, was the fifth key out of the seven keys to the cosmic Mysteries. Among the others we may mention the physiological, historical and numerical keys. Geometry, in its mystical sense, was the fifth key because of its relation to the fifth principle of the cosmos which is really Daivaprakriti, the synthesis of the six great saktis. It deals, therefore, with substantial energy in Space, with the parceling and surveying of Space, the first operation in the building of any cosmos or organism — and not with the mere intellectual computation of angles, figures, volumes, which are without spiritual or vital contents, which are only applied formulas. 

Mystic geometry became intellectual geometry, and Pythagorean arithmosophy mere mathematics, after the failure of the Greek civilization to keep true to the Platonic Spirit and its adoption of the Aristotelean sensorio-intellectual method. So did the music of pleromas of sound (which may have never been much more than an ideal in Greece) become the music of intervals, the music of pure intellectuality, as exemplified in the early Flemish polyphonists and, to a large degree, in Bach. 
But before studying further the principles of such a Geometry of Music, let us see here that pleromas of sounds in their purest form are not mere dreams. They have played a very important part in the racial sense of tone, especially perhaps since the beginning of the era opened in the East by Gautama the Buddha, and in the West, by Christianity. This refers to gongs and bells and also to all types of magical drums and tomtoms built by men who understood the resonances of matter. 

A gong or bell produces a true pleroma of sounds. If you strike it at various points of its surface, various tones are released; yet all these tones converge to the one central tone, which is the key note or heart of the brotherhood of tones. Here you have a mass of vibrating substance, throbbing with multitudinous lives united in a compact group (or lodge or host). Sonorous space is thus made tangible. We can feel its constitution, its resonant Life, its form also. Its geometrical properties are intimately connected with the power and meaning of the resonance obtained. In it we can see the symbol of prakriti, the great Mother vibrating under the impact of purusha-purusha that strikes the gong from without, but that beats within the bell; symbolical facts truly. We shall see later on how the Western chorus or orchestra aims unconsciously at constituting by the power of tone alchemy pleromas of tones or magnified gongs. But while gongs are spiritual and homogeneous yet static hosts of tones, the polyphonic choruses of the West (brought to perfection by Vittoria and Palestrina) are dynamic brotherhoods of individualized and self-moving tones (i.e., melodic cycles). 

If we consider the Harmonic Series of overtones beginning with its primary (or fundamental), we see that while the frequencies of the overtones increase regularly by a constant value (which is the frequency of the primary), i.e., 100-200-300-400-500, etc., the intervals between these successive overtones decrease progressively. The interval between primary and the first overtone is an octave; then follow a fifth, a fourth, thirds, seconds, etc., until the intervals reached become so small as to be altogether indiscernible. Within the first octave of the series we find no subtones, but if we examine succeeding octaves we find that an ever increasing number of overtones are contained therein, until we come to the point where the interval between overtones becomes negligible and the octave selected seems as a compact mass of continuous sounds. 
The Harmonic Series is thus seen as the ceaselessly accelerated multiplication of one tone (primary) adding itself to itself continuously until the whole universe is filled with its progeny. The lone value (i.e., frequency) increasing by constant steps, the intervals decrease with accelerated speed. We get the reverse process if we build a series of intervals (or pleromas) increasing by the constant addition of the initial interval; then we find that the differences between the values of the two tones forming the limits of the interval increase with accelerated speed. 

In other words, music is built on one of two types of series or progressions: series of frequencies where the initial tone adds itself to itself, and series of intervals where the initial interval adds itself to itself. In the first case we get what is called an arithmetical progression (n, n+n, n+n+n, etc.). In the second case we obtain a geometrical progression of some kind (n, nXn, nXnXn, etc., that is n, n2 n3, n4, etc.), the most well known among the latter being the cycle of twelve fifths which is a series of twelve perfect fifths, the initial notes of which are: 

C. G. D. A. E. B. F#. C#. G#. D#. A#. E#.

The thirteenth fifths would logically be a B sharp; but B sharp is nearly identical to C, to that C which is found seven octaves above the initial C of the series; the difference being a very small interval named the Pythagorean comma. These twelve notes, if reduced to the octave constitute the chromatic scale of European music, or the twelve lyus cycle of Chinese music. 
Let it be repeated again that the cycle of fifths and all similar cycles, to which has been given the name of zodiacs of sound, are series of intervals, whereas what has been called so far the Harmonic Series is a series of tones. Both types of series are really "harmonic," that is reduceable to unity; but this unity is one thing or the other, either a tone monad or a brotherhood of tones, an individual or a group. 

Hindu music is based on the former, on the arithmetic of tone. Pythagorean music proper (which we trust will soon manifest as American music) and Chinese music are founded on the latter, on the geometry of tone. European music is in a way a mixture of both and yet neither one nor the other. It has perverted living tones into intellectual notes; it has seen of the pleromas of sounds but their intellectual shells, intervals. It ignored the melodic flow of sonal energy while trying to be expressionistic and melodical. It never developed any real sense of vital resonance though it was dealing with complex harmonic elements. Moreover, it destroyed the vital and magical power of music by dismissing all knowledge of cosmological correspondences and occult tone correlations, something which even degenerated Chinese musicians never thought of doing. 

Such Series of twelve equal intervals (fifths or fourths or octaves, especially) have been called zodiacs of sound for the following reasons: In our present stage of human development the idea of zodiacs is related to the number 12 which is the number of the manifested universe, the number of prakriti, and of magnetism. There are six great forces (or saktis) in Nature and as every one is dual, we obtain the number 12 as the complete number of the cycle of forces. The twelve Adityas are the twelve great aspects of Aditi, the cosmic Mother. So also the twelve apostles are the twelve cyclic phases of the Christ. 

The twelve fifths are symbols of the very same cosmic realities, and can be considered as the twelve great hierarchies of sound, as the twelve zodiacal Hosts or pleromas. The cycle of fifths represents the outer shell, or skin rather, of the Egg of Brahma — the twelve gates through which the energy of sound radiates. By the proper adjustment of these radiations vital resonances are produced; the outer and the inner worlds become related and both are energized by the great Fire of the Mother, Kundalini — of which the zodiacs of fifths and fourths are symbols. 

Because of this principle of adjustment of inner and outer elements there is constant interchange, and duality rules in the zodiacal fields. Intervals, groups, pleromas and every multiplicity aspect of Life are rooted in the dualism of polarities. Every manifested element or force is dual; among which being the energy of growth which manifests in the structural patterns or organisms, plants and men alike. It has been proven that the distribution of leaves on a stem follows a sort of geometrical progression, the quotient of any of its terms by the preceding one being a constant value (1:618). The same progression is found when the various parts of the human body are measured. 

In other words, while the magnetic inner life of the plant is expressed in terms of the arithmetical Harmonic Series, the morphology of all organisms is ruled by geometrical progressions. The soul or monad is a living number; but the archetypal form of organisms (be they cells or solar systems) is characterized essentially by surfaces which are portions of living Space. Thus we have two different bases for Art expressions of any kind, according as Art is founded upon either the unity of the Self or the duality of Substance. Let us not forget, however, that in the former case this unity expresses itself in two directions, i.e., in the ascending and descending modes, while in the latter, there is only one direction considered. So that in the two we have really a trinity of principles. 

In the Harmonic Series we see duality arising out of unity in a graphic way. For the first octave of the Series includes no overtone, the first overtone being the octave of the fundamental; but the second octave is divided into two unequal intervals of fifth or fourth. If we start with the fundamental Sa, we find that it is Pa which brings this duality, the fifth tone. Pa therefore symbolizes the creative power, that which brings about the polarization of the asexual unity — i.e., mind considered as energy. The interval of fifth is therefore the symbol of Man, of positive power. The fourth, its complement, represents the Woman in a mystical sense, i.e., Buddhi. 

I have said that the growth of the stem is the result of two different forces: the upward push given by the roots and the suction of the solar magnetism. The former is represented by the fifth and the zodiac of fifths, the latter by the fourth and the zodiac of fourths. We have a similar dualism of forces in the human organism. Thus is explained the peculiar nature of fifth and fourth, when understood as pleromas of tones — the fifth being full-sounding, open, self-assertive, the sustainer of all harmonies, with its center below; the fourth being more concentrated, elusive, mystical, a reaching forth toward its center above. The fourth is a great mystery in fact; for it is usually considered as a descending interval, as the reflection above the tonic Sa of its fifth below Ma. But this is an unspiritual conception which is the result of the prevailing degenerescence of the ideal of womanhood, a symbol of male intellectual family autocracy, if not of prostitution. 

The problem is a very mystical one, fully treated in its spiritual sense in the great Gnostic works and especially in Pistis Sophia. Sophia or Wisdom is the fourth; Christ is the fifth. Out of their mystical union arises the new Pleroma, which is the octave. The importance of such a symbol is very great, both philosphically and practically. For on the relationship of fifth to fourth rests the entire structure of the Pythagorean and Chinese scales and of the larger system which I believe will be used in the future music of a regenerated Western civilization. 

To put it briefly, in China the substance of music is a series of twelve lyus which are obtained by a series of ascending fifths and descending fourths. Beginning, let us say, with the note C we get by an ascending fifth G and by a descending fourth the note D. The interval C — D is a tone. It is the progeny of the masculine fifth and of the feminine fourth. The lyus reached by ascending fifths are male; those reached by descending fourths are female. The former belong to the principle yang, the latter to the principle yin — heaven and earth. 

What does this mean if not that woman is the falling back of the tide which had its apex in man? That she is contained within man as the fourth within the fifth? This may be true in a personal and physiological sense — and there is of course a beautiful poesy in this double motion of life, in this procreation of the child pleroma within the family circle traced by the effort of the man. Yet there is something more beautiful in a spiritual sense, that is, to realize in woman the Soul which is beyond descent, which reaches upward too, whose center of attraction is the octave tone of the initial tone of man. Man and woman as Companions, the latter adding her mystic sense to the mentality of the former, and spiritual growth resulting from this dual soaring toward the spiritual Fundamental. Thus instead of procreating a mere tone among the several tones of the scale the union of man and woman recreates the initial seed and Nirvana is reached. 

This, however, might mean spiritual selfishness if the cycle of completion were not extended and the relation of a single fifth to a single fourth were not transformed into that of zodiac of fifths to zodiac of fourths. Twelve fifths make seven octaves plus a comma; twelve fourths, five octaves less a comma. Both conjoined constitute the Great Zodiac of twelve octaves, the complete cosmic sphere. The brotherhood of fifths and the brotherhood of fourths adding their impersonalized strength and devotion form the Seed of the new humanity, the shistas who collectively represent the Body or Vahan of the Kalki Avatar, the White Horse upon which He, it is said, comes from Shamballa to usher in the new Satya Yuga. 

This Seed is the true sangha which was founded by Gautama the Buddha. When the true sangha is completed, when the resonance of the two zodiacs is perfect and fully vibrant, Gautama, the beginning, will become reflected in Maitreya, the completion, after twenty-four cycles (twelve fifths plus twelve fourths) — the twenty-four Elders mentioned in St. John's "Revelation," which, in its historical sense, is a prophecy of the events which take place in the entire Kali Yuga, until the New Jerusalem (the new Race) manifests upon earth. Likewise, when the full zodiacs of sound vibrate together in perfect harmony, then occurs the new birth of Tone within as without. In the perfect resonance of the instrument the spiritual Tone incarnates, as we saw in a preceding chapter. 

From a practical standpoint what is important to grasp is the fact that, the use of such zodiacs or brotherhoods or democracies of sounds presupposes the disenthroning of the octave, the ruling element in all musicalities based on the Harmonic Series. The octave symbolizes blood-relationship and therefore the family, the perfect and complete circle of the home. It does so particularly in Europe where it is conceived as an interval, as a form, as the self-sufficient world of autocratic tonalities. In India, however, the octave is only one of the many stations on the Path of sound. It is only the magnetic circle within which tones which are spiritual entities temporarily evolve. It is either ascending or descending, perpetually in motion. In Europe the octave is so much sound-space divided into twelve equal intervals. It is pre-eminently static. 

In other words, the octave can only be spiritually conceived as the basis of music when it is considered as a fragment of the Harmonic Series. When the Harmonic Series ceases to be the substance of the musical flow, and intervals or pleromas take the place of the single tones perpetually evolving, then the octave becomes truly the symbol either of spiritual selfishness or of a purely physical system of blood relationship, which gives birth to family selfishness when the principle of temperament is accepted; temperament being the operation by which the twelve intervals of fifths are reduced in some manner so as to fit in the interval constituted by seven octaves. 

As the octave loses its ruling function the harmonic system changes entirely and tonality has no more meaning. The fifth or fourth and to some extent the thirds, which subdivide the fifth in two unequal parts, become the pivots of the harmonic system, or say rather of a new sense of resonance. 

The aim of the geometry of Tone is to disclose the law of cosmic resonance. Resonance is the very principle of the true music of the West, the Music of Prakriti. But resonance is not born of the Harmonic Series, as usually said by Western musicians. The basis for harmony (or the science of chord formation) is not the Harmonic Series, as usually believed; but the cycles of fifths and fourths. True melodies are founded on modes (or rags) which are segments of the Harmonic Series; but true chords or true polyphony (two methods of creating resonance) ought to be constructed on principles resulting from various cyclic aspects of the zodiacs of sound. Before this most important point is fully understood neither Western nor Eastern music will ever be pure, nor can they fulfill their higher magical theurgic dharma, nor find their common center. 

When Western musicians understand this they will give back to the term "harmony" the meaning it had in Greece at the time of Pythagoras; and the science of resonance will take the place of both European harmony and orchestration. The aim of Western music will be grasped. This aim is the building of resonances which are of the soul and not of the body, which are animistic and not animal, spiritual and not merely psychic — resonances which Atma may illumine from within. 
Harmony is unity of resonance. It means really the same thing as Maitreya. It is the fullness of the life of prakriti homogenized by the intense, all-absorbing devotion to purusha. It is the Flower becoming the Fruit, whose death will mean the release of the Seed — or food and sattvic energy to entities of a higher kingdom. The science and law of harmony is exactly the science and law of true brotherhood. It is based on the principle of real Alchemy, of the mystic and never publicly understood Rosicrucianism. For the Rose and the Cross are nothing else but symbols of the universal Flower and the universal Root. The Cross is mystically the womb of the Christs, Kro being, by the law of spiritual phonetics, the container and mother substance of Kri. 

Rosicrucianism is spiritual Alchemy. lt is the spiritual doctrine of the West.(1) Applied to music it gives the basis for the musical zodiacs and the system founded thereon; a system which was applied, more or less consciously, the first time by the great Russian composer Scriabin. Scriabin built his later works on the principle of true resonance using the cycle of fourths as his musical substance. Even this, however, is not yet understood by his biographers and by musicians in general who persist in studying his works in the false light of the old European attitude to music. In America today a few composers are unconsciously working toward a music founded on the cycle of fifths. Schoenberg's atonalism in Europe is but the shadow and utter perversion of this New Music of the West which is to come. 

Until Europeanism, as a generic attitude toward life and manifested in whatever nation or race it may be, is dead, the new West cannot fully blossom forth. European nations lost their chance of regeneration after the Great War; and America is in the throes of a birth, the outcome of which is not wholly discernible perhaps. The same thing is true of music. Until tonalism, which is musical feudalism, is dead, the true zodiacs of tones cannot fully, openly resonate throughout the new continent, Scriabin's influence is very small indeed in Europe where a deadly neo-classicism is master. European musicians chose Stravinsky instead of Scriabin. It meant spiritual failure and aesthetic death under the cloak of technical excellence. In America the dawn is hardly breaking as yet; but there is hope. To the extent to which the pioneers of the race will be able to live, brotherhood and to purify their minds of European intellectualism and materialism, to this extent will Western music be regenerated. To such an extent will the true Geometry of Music be understood as a key to the mastery of Life as well as of art, science and philosophy taught by Pythagoras who was in a very real sense the Western aspect of Gautama the Buddha, the teacher of Harmony. 

---

1. Let us not mistake many modern groups or schools who have adopted the sacred name of "Rosicrucian" for the most occult original brotherhood founded late in the fourteenth century at the time of the great Tibetan Reformation of Tsong-Kha-Pa. No known organization bearing that name has any right to bear it, as far as we can see. Historical Rosicrucianism is dead in Europe for all aim and purpose. But the spirit of it lives forever. 
from:  http://www.khaldea.com/rudhyar/rhm/rhm_c5.shtml

"...vast numbers of tribes and cultures...developed music independently, and in the most varied surroundings...They exhibit enormous differences in their language, customs, clothes, modes of life and so forth, but all who have advanced beyond homophonic music have, if not precisely the same musical scale, at least scales which are built on the same principle. 

"The main differences are found in the numbers of notes which form the scale. By stopping at differing places in the sequence. F-C-G-D-A-...,* we obtain the various scales which have figured in the musics of practically all those races which have advanced beyond the one-part music of primitive man." 

* There is no theoretical reason for starting with F rather than with any other note of the scale. F has been selected merely in order to keep off the black notes of the piano for as long as possible. 

A musician will recognize 5, 7 and 12 as the numbers of pitches per octave in pentatonic, diatonic and chromatic scales; and also as the number of black keys, white keys and keys per octave of the traditional musical keyboard.

The simplest musical interval is the octave, a 2/1 frequency ratio. The next simplest are the fifth, a 3/2 ratio (more or less, in various tunings) and its inversion, the fourth (4/3, more or less). The numbers in the musical Fibonacci series 2, 5, 7, 12, 19 ... all are generated by increasingly long series of musical fourths and fifths, as Sir James Jeans described and shown in the table on this page:  http://www.greatdreams.com/grace/100/105phigridmusic.html

 

Keyboard difficulties

Another problem is that a practical keyboard to play in a 19-tone temperament does not evolve simply from the traditional keyboard. 

A 19-tone keyboard based on the traditional keyboard would have pairs of black keys (Db and C#, Eb and D#, etc.), and an additional black key between the semitone intervals E-F and B-C. Every diatonic semitone would, then, become a two-step interval, and every diatonic whole tone a three-step interval. The octaves would have to be lengthened to make room for the fingers, with all of the additional keys.

An alternative, favored by Yasser, would be exchange the positions of the black and white keys, front to rear. This keyboard might be somewhat easier to play, but it would still have long octaves and require difficult relearning.

Amother fundamental reason that the 19-tone system has not developed naturally out of the 12-tone system is that the 12-tone system works rather well. The 2, 5, and 7-tone systems which lead up to the 12-tone system have very impure fifths. The fifths in the 12-tone system are quite good. 

But going from 12 to 19 tones requires that we make the fifths worse rather than better. 

In 19-tone, the minor third is very pure but the major third, though more harmonious than in the 12-tone temperament, is slightly flat, compromising the melodic role of the leading tone.

 

Poor intonation of additional intervals

We should also hope that a system with more than 12 tones would provide good approximations to additional harmonic intervals used in non-western and experimental music (and discussed by Yasser), but the 19-tone system does poorly at this. The 19-tone scale is, for example, not capable of distinguishing between the 7th and 11th harmonics, or of distinguishing the 11th from the augmented fourth. 

The rule of seven plus or minus two 

The seven-tone scales in the twelve-tone system approach the limit of what the human mind can assimilate. The rule of "seven plus or minus two" in sensory psychology states that for any sensory continuum, humans describe between five and nine different categories: to give an example, we describe the gray scale using the categories white, off-white, light gray, medium gray, dark gray, near black and black. Though we can discriminate more shades of gray when they are placed side by side for comparison, we do not give names to them, or use the discrimination between them as part of a conceptual structure based on unaided observation and memory. 

The musical octave is regarded by sensory psychologists as a continuum like the gray scale, and it follows that 12 distinct pitch classes may be more than we can easily assimilate as elements of a musical structure.

Historically, the evolution toward a 19-tone scale would in fact have succeeded if not for the problems discussed here. The mean-tone temperament used from the late Renaissance through the early Classical era had unequal semitones; it is possible to play Yasser's theoretical 12-tone scale in one key signature on any keyboard instrument tuned in the mean-tone temperament. Not only this, many keyboard instruments, especially organs, had extra keys -- for example, separate keys for Eb and D# (see for example Jeans, p. 173). The extra keys let the instruments play in several more key signatures than a standard 12-tone keyboard and still avoid the discordant "wolf fifth" which resulted from the mean tone series of fifths' not closing at 12. Handel, among others, had an organ with such a keyboard. The logical culmination of such keyboards with doubled sharps and flats would have been a 19-tone system.

But unlike the transition from the 7-tone to the 12-tone keyboard, the transition to 19 tones never occurred. Instead, 12-tone equal temperament gradually replaced mean-tone temperament beginning around 1700 AD and culminating around 1850 AD.

(Note: It is very important to be able to ignore the talk about musical "wolves" of dissonance and the inability of the 19 note scale not fitting into what we consider "proper" interval. The 19 note scale fits with the squaring (Correction: 09/15/04 powers) of 2^18 and 2^37 (Correction: 09/15/04 2^19 and 2^38) which suggests a difference of slightly more than an octave between Leahy's 242144 and 137438953472, suggestive of the fine-structure constant. 

"Then Euclid proves mathematically the impossibility of such a resolution as this Nichomachean reasoning in Sectio Canonis, Theorem 9, (Jan 157. 5-158.7). he begins with the postulate: "Six sesquioctaval intervals are greater than one interval in the double proportion"

MUSICIANS CAN READ MORE AT:  http://www.greatdreams.com/grace/100/105phigridmusic.html

 

Each sound or syllable, especially in Hebrew, emits a special frequency when spoken or sung - frequencies of spiritual value.

Sounds generate electromagnetic frequencies. These form the basis for today's computerized language translation and word processing programs. They can print out the Hebrew or English characters and words in response to the sound or wave frequency recognitions or vibrational reconnaissance. 

Another thing is that there are twenty-two characters in the Hebrew alphabet. There are twenty-two degrees between Fa and So on the music scale. There are 22 paths on the Tree of Life.  And there is a twenty-two year sun cycle

MUSIC TOPIC       440 hz 

FREQUENCIES OF THE ORGANS OF THE BODY AND PLANETS

www.greatdreams.com/hertz.htm

Hertz frequencies chart from Barbara Hero ... CYCLES PER SECOND (HERTZ), AND CORRESPONDENCES TO MENTAL STATES, .... 440, A (musical note) ...

THE THREE PHASES OF THE SUN (SON)

www.greatdreams.com/solar/phases.htm

The international standard of tuning is 440 Hz = the note "A". set in stone by J.S. Bach at a point in history where the remarkable discovery of "The Code" had not ...

PHI - SOUND AND HEALING

www.greatdreams.com/sound.htm

528 HZ & JUPITER'S ELECTROMAGNETIC LOVE CONNECTION ..... visual vector ratio from 440 to 880 angstroms, and each color of the rainbow is created in ...

Unique Divisions of the Scale

www.greatdreams.com/grace/1/30uniquedivisions.html

30.26 From Note A 440 to A 432. (Note: 432 Hz agrees perfectly, in scale, with gematria and world grid points). James Furia's works: Scale · Octave ...

THE SYMBOLISM AND SPIRITUAL SIGNIFICANCE OF 144 and 128 ...

www.greatdreams.com/sacred/144.htm

54 + 126 + 260 (Mayan Tzolkin) = 440 (musical note, "A" in standard CPS). A = 1. 440 + 1 ... The centering note is "A" at 432 cps, rather than the standard 440. ...

PYRAMID

www.greatdreams.com/pyramid_database.htm

432 is sometimes assigned to the Cheops pyramid's Kings Chamber. ..... Median DNA frequency = 544.4Hz. 136.1 is 2 octaves below 544.4Hz. 147.6 / 136.1 ...

New Math, New Understanding

www.greatdreams.com/grace/NF/newbailymath.html

216 x 2 = 432 conception, 432^2 = 186624mi / s., the speed of light and 432 x 2 .... h or proportionality factor called Planck's constant is 6.625 x 10^ -34 J/Hz. J ...

Electrons and Mythologies

www.greatdreams.com/grace/99/99WWWelectrons.html

I know the early Rife frequency to be 11780000 Hz not far from decimal harmonic of 11880. ... 373250 / 864 = 432 (A note Pythagorean tuning) ...

Electrons and Mythologies

www.greatdreams.com/grace/99/99PPPelectrons.html

Sep 25, 2002 – If Cheops fundamental were 432, which is the note A, then the ... 8 Hz is a sub-harmonic of the 256 Hz middle C of the scientific music scale. ...

1. The Giza Communications / Synchronizing Device

   www.greatdreams.com/grace/100/124cheopspan.html

   ... and here, Matrix Message (12) "A" Note - 432Hz and the Kings Chamber. ... Another effect noted that the pyramid seemed to be resonant at 500 and 1000 Hz." ...
   

2. Electrons and Mythologies

   www.greatdreams.com/grace/99/99XXXXelectrons.html

   This also gives the vibration of 432 to the note D, and leads one to the ..... The frequencies are 396 hz, 417 hz, 528 hz, 639 hz, 741 hz, and 852 hz. ...
   

3. Electrons and Mythologies

   www.greatdreams.com/grace/99/99AAAAelectrons.html

   ... which I have corroborated on another chart as very close to A or A flat. at approx 54 - 108 Hz. ..... SUBHARMONIC FREQUENCY OF FOUR TWO THREE =432 ...
   

4. 99 Sections List- Part 3

   www.greatdreams.com/grace/50/99s3.html

   99.68.7 More on 432 (Luigi) · 99.68.8 The mirror of the 144 Pi numbers (Luigi) .... 99.74.10 F# at 727 Hz (Joe De) · 99.74.11 Welcome, Joe DeBrouse! ...
   

5. STRING OF PEARLS COMETS

   www.greatdreams.com/lostland/string-pearls.htm

   (.002 - .007 Hz.) If you convert this 2 mhz to a wavelength, ...... 593 BC) the first regular SolarMoon Greek calendar which was edited by Meton in 432 BC ...
   

6. COINCIDENCE AND 11:11 - PART III

   www.greatdreams.com/11coin3.htm
   

   The frequency correlation list says this about 1.45 Hz - 'Tri-thalmic entrainment ...... The Cycle of Time Number 432 http://www.greatdreams.com/432.htm ..
   
   AN EXPERT SITAR PLAYS - VIDEO
   http://www.youtube.com/watch?v=hTPxqUtlLdo
   
   REMEMBER BEATLELS GEORGE HARRISON?
   http://www.youtube.com/watch?NR=1&v=t79aI-I6ucA
   
   A HARD DAYS NIGHT ON SITAR BY GEORGE HARRISON
   http://www.youtube.com/watch?v=-NZ0zMSTEP0&NR=1
   
   

RAVI SHANKAR MANTRA MEDITATION

http://www.youtube.com/watch?v=YyDU5QwSSRU&feature=fvst

RAVI SHANKAR - ASATO MAA

http://www.youtube.com/watch?v=7uOoNT88HP4&feature=related

RAVI SHANKAR = SVARA ,AMTRA

http://www.youtube.com/watch?v=iBor3GixeMc&feature=related

The Geometry of Music

While Hindu music is founded upon and made up of tones which are living members and therefore souls, Western music in its ideal aspect is made up essentially of intervals. Thus is constituted the great and eternal musical dualism which can be resolved eventually into unity, only as East and West, each having reached the center of its own sphere and fully understood its own dharma, realize that they are complementary, being two aspects of the same Energy which is Sound itself, two paths to the one goal of human world service through the revelation of Tone. The individual and the group, the free man and the brotherhood or state, self-liberation and the entering into relationship; all these dualities are various aspects of the great duality of Spirit and matter, of the One and the many. In music we have thus, on the one hand, the single tone and its pilgrimage through the many stations of the Harmonic Series, of the Path of incarnation and liberation; on the other hand, we have brotherhoods of tones, resonances which are like ova of sound, and what we might call tuneful space — space filled in its fullness by tones, or, as the old Gnostics called it, the Pleroma.

With this last word we come to a basic conception of the true Music of the West, or Music of Prakriti (as by West we do not mean only a geographical location), a conception which, however, we have never seen expressed so far, save perhaps in the intuitive strivings of a young Californian composer, Henry Cowell. The ordinary European mind in its sterile intellectualism conceives space as emptiness, as that void which extends between objects of the stellar universe. Likewise it conceives the interval between the units of the musical scale as mere nothingness, as the abyss of "wrong notes". Intervals are not units of space but intellectual relations between two absolutely separate musical units; a mere proportion between algebraic entities. 

To the true student of life such a standpoint is essentially false. Space is not emptiness but fullness of being. Space is the highest possible conception of the Absolute, of THAT which is the eternal reality of Spirit and matter as one. Space conceived as a fullness of being and therefore as a Host of cosmic beings is the Pleroma (which means fullness). The Pleroma of souls manifests in music as the pleroma of tones, that is as a fullness of conjoined tones within certain limits. 

We realize at once the fundamental difference existing between interval and pleroma. When Europeans speak of the interval of fifth they speak of a certain relation between two undefined musical notes. A fifth is the proportion 3:2, and nothing else. If realized as actual sounds it will mean striking together or successively two notes, the pitch or quality of which does not matter in the least. A chord is formed when two or more notes are thus struck together. What is a chord? A group of two or more notes related the one to the other in a specific manner, i.e., properly spaced. But the space between these notes is not considered; it is mere emptiness. Each note is in a sense an autonomous and separate entity. In classical music a certain magnetic or tonal attraction is understood to exist between these separate entities; but in modern music, especially in Schoenberg's "atonal" school, there is no attraction or repulsion considered whatsoever. Every note is a perfect, self-sufficient, anarchistic unit — but an intellectual unit, let us not forget!

If, on the contrary, we conceive a fifth as a pleroma instead of as an interval, we get a radically different entity. We deal then with a portion of musical space which is a fullness of tone, with a host of tones theoretically infinite in number; no longer with two abstract notes with emptiness in between, but with a pleroma of compact, homogeneous sound-substance. Sound is substantial energy, and thus a music based on substantial fullness works with the living power of sound which is the very power of Space. Space is really a fullness of akasha whose characteristic is sound.

The music of pleromas is thus the music dealing with masses of akasha, with portions of sonorous space. It is the music of Substance, of prakriti. The science on which such a music is based can be thus truly called the Geometry of Music — using the term geometry, however, not in its modern European sense, but with its archaic and Pythagorean meaning: the science of parceling the fullness of Space which is life.

Geometry, we are told by H. P. Blavatsky, was the fifth key out of the seven keys to the cosmic Mysteries. Among the others we may mention the physiological, historical and numerical keys. Geometry, in its mystical sense, was the fifth key because of its relation to the fifth principle of the cosmos which is really Daivaprakriti, the synthesis of the six great saktis. It deals, therefore, with substantial energy in Space, with the parceling and surveying of Space, the first operation in the building of any cosmos or organism — and not with the mere intellectual computation of angles, figures, volumes, which are without spiritual or vital contents, which are only applied formulas.

Mystic geometry became intellectual geometry, and Pythagorean arithmosophy mere mathematics, after the failure of the Greek civilization to keep true to the Platonic Spirit and its adoption of the Aristotelean sensorio-intellectual method. So did the music of pleromas of sound (which may have never been much more than an ideal in Greece) become the music of intervals, the music of pure intellectuality, as exemplified in the early Flemish polyphonists and, to a large degree, in Bach. 
But before studying further the principles of such a Geometry of Music, let us see here that pleromas of sounds in their purest form are not mere dreams. They have played a very important part in the racial sense of tone, especially perhaps since the beginning of the era opened in the East by Gautama the Buddha, and in the West, by Christianity. This refers to gongs and bells and also to all types of magical drums and tomtoms built by men who understood the resonances of matter. 

A gong or bell produces a true pleroma of sounds. If you strike it at various points of its surface, various tones are released; yet all these tones converge to the one central tone, which is the key note or heart of the brotherhood of tones. Here you have a mass of vibrating substance, throbbing with multitudinous lives united in a compact group (or lodge or host). Sonorous space is thus made tangible. We can feel its constitution, its resonant Life, its form also. Its geometrical properties are intimately connected with the power and meaning of the resonance obtained. In it we can see the symbol of prakriti, the great Mother vibrating under the impact of purusha-purusha that strikes the gong from without, but that beats within the bell; symbolical facts truly. We shall see later on how the Western chorus or orchestra aims unconsciously at constituting by the power of tone alchemy pleromas of tones or magnified gongs. But while gongs are spiritual and homogeneous yet static hosts of tones, the polyphonic choruses of the West (brought to perfection by Vittoria and Palestrina) are dynamic brotherhoods of individualized and self-moving tones (i.e., melodic cycles).

If we consider the Harmonic Series of overtones beginning with its primary (or fundamental), we see that while the frequencies of the overtones increase regularly by a constant value (which is the frequency of the primary), i.e., 100-200-300-400-500, etc., the intervals between these successive overtones decrease progressively. The interval between primary and the first overtone is an octave; then follow a fifth, a fourth, thirds, seconds, etc., until the intervals reached become so small as to be altogether indiscernible. Within the first octave of the series we find no subtones, but if we examine succeeding octaves we find that an ever increasing number of overtones are contained therein, until we come to the point where the interval between overtones becomes negligible and the octave selected seems as a compact mass of continuous sounds. 
The Harmonic Series is thus seen as the ceaselessly accelerated multiplication of one tone (primary) adding itself to itself continuously until the whole universe is filled with its progeny. The lone value (i.e., frequency) increasing by constant steps, the intervals decrease with accelerated speed. We get the reverse process if we build a series of intervals (or pleromas) increasing by the constant addition of the initial interval; then we find that the differences between the values of the two tones forming the limits of the interval increase with accelerated speed.

In other words, music is built on one of two types of series or progressions: series of frequencies where the initial tone adds itself to itself, and series of intervals where the initial interval adds itself to itself. In the first case we get what is called an arithmetical progression (n, n+n, n+n+n, etc.). In the second case we obtain a geometrical progression of some kind (n, nXn, nXnXn, etc., that is n, n2 n3, n4, etc.), the most well known among the latter being the cycle of twelve fifths which is a series of twelve perfect fifths, the initial notes of which are: 

C. G. D. A. E. B. F#. C#. G#. D#. A#. E#.

The thirteenth fifths would logically be a B sharp; but B sharp is nearly identical to C, to that C which is found seven octaves above the initial C of the series; the difference being a very small interval named the Pythagorean comma. These twelve notes, if reduced to the octave constitute the chromatic scale of European music, or the twelve lyus cycle of Chinese music. 
Let it be repeated again that the cycle of fifths and all similar cycles, to which has been given the name of zodiacs of sound, are series of intervals, whereas what has been called so far the Harmonic Series is a series of tones. Both types of series are really "harmonic," that is reduceable to unity; but this unity is one thing or the other, either a tone monad or a brotherhood of tones, an individual or a group. 

Hindu music is based on the former, on the arithmetic of tone. Pythagorean music proper (which we trust will soon manifest as American music) and Chinese music are founded on the latter, on the geometry of tone. European music is in a way a mixture of both and yet neither one nor the other. It has perverted living tones into intellectual notes; it has seen of the pleromas of sounds but their intellectual shells, intervals. It ignored the melodic flow of sonal energy while trying to be expressionistic and melodical. It never developed any real sense of vital resonance though it was dealing with complex harmonic elements. Moreover, it destroyed the vital and magical power of music by dismissing all knowledge of cosmological correspondences and occult tone correlations, something which even degenerated Chinese musicians never thought of doing. 

Such Series of twelve equal intervals (fifths or fourths or octaves, especially) have been called zodiacs of sound for the following reasons: In our present stage of human development the idea of zodiacs is related to the number 12 which is the number of the manifested universe, the number of prakriti, and of magnetism. There are six great forces (or saktis) in Nature and as every one is dual, we obtain the number 12 as the complete number of the cycle of forces. The twelve Adityas are the twelve great aspects of Aditi, the cosmic Mother. So also the twelve apostles are the twelve cyclic phases of the Christ. 

The twelve fifths are symbols of the very same cosmic realities, and can be considered as the twelve great hierarchies of sound, as the twelve zodiacal Hosts or pleromas. The cycle of fifths represents the outer shell, or skin rather, of the Egg of Brahma — the twelve gates through which the energy of sound radiates. By the proper adjustment of these radiations vital resonances are produced; the outer and the inner worlds become related and both are energized by the great Fire of the Mother, Kundalini — of which the zodiacs of fifths and fourths are symbols. 

Because of this principle of adjustment of inner and outer elements there is constant interchange, and duality rules in the zodiacal fields. Intervals, groups, pleromas and every multiplicity aspect of Life are rooted in the dualism of polarities. Every manifested element or force is dual; among which being the energy of growth which manifests in the structural patterns or organisms, plants and men alike. It has been proven that the distribution of leaves on a stem follows a sort of geometrical progression, the quotient of any of its terms by the preceding one being a constant value (1:618). The same progression is found when the various parts of the human body are measured. 

In other words, while the magnetic inner life of the plant is expressed in terms of the arithmetical Harmonic Series, the morphology of all organisms is ruled by geometrical progressions. The soul or monad is a living number; but the archetypal form of organisms (be they cells or solar systems) is characterized essentially by surfaces which are portions of living Space. Thus we have two different bases for Art expressions of any kind, according as Art is founded upon either the unity of the Self or the duality of Substance. Let us not forget, however, that in the former case this unity expresses itself in two directions, i.e., in the ascending and descending modes, while in the latter, there is only one direction considered. So that in the two we have really a trinity of principles. 

In the Harmonic Series we see duality arising out of unity in a graphic way. For the first octave of the Series includes no overtone, the first overtone being the octave of the fundamental; but the second octave is divided into two unequal intervals of fifth or fourth. If we start with the fundamental Sa, we find that it is Pa which brings this duality, the fifth tone. Pa therefore symbolizes the creative power, that which brings about the polarization of the asexual unity — i.e., mind considered as energy. The interval of fifth is therefore the symbol of Man, of positive power. The fourth, its complement, represents the Woman in a mystical sense, i.e., Buddhi. 

I have said that the growth of the stem is the result of two different forces: the upward push given by the roots and the suction of the solar magnetism. The former is represented by the fifth and the zodiac of fifths, the latter by the fourth and the zodiac of fourths. We have a similar dualism of forces in the human organism. Thus is explained the peculiar nature of fifth and fourth, when understood as pleromas of tones — the fifth being full-sounding, open, self-assertive, the sustainer of all harmonies, with its center below; the fourth being more concentrated, elusive, mystical, a reaching forth toward its center above. The fourth is a great mystery in fact; for it is usually considered as a descending interval, as the reflection above the tonic Sa of its fifth below Ma. But this is an unspiritual conception which is the result of the prevailing degenerescence of the ideal of womanhood, a symbol of male intellectual family autocracy, if not of prostitution. 

The problem is a very mystical one, fully treated in its spiritual sense in the great Gnostic works and especially in Pistis Sophia. Sophia or Wisdom is the fourth; Christ is the fifth. Out of their mystical union arises the new Pleroma, which is the octave. The importance of such a symbol is very great, both philosphically and practically. For on the relationship of fifth to fourth rests the entire structure of the Pythagorean and Chinese scales and of the larger system which I believe will be used in the future music of a regenerated Western civilization. 

To put it briefly, in China the substance of music is a series of twelve lyus which are obtained by a series of ascending fifths and descending fourths. Beginning, let us say, with the note C we get by an ascending fifth G and by a descending fourth the note D. The interval C — D is a tone. It is the progeny of the masculine fifth and of the feminine fourth. The lyus reached by ascending fifths are male; those reached by descending fourths are female. The former belong to the principle yang, the latter to the principle yin — heaven and earth. 

What does this mean if not that woman is the falling back of the tide which had its apex in man? That she is contained within man as the fourth within the fifth? This may be true in a personal and physiological sense — and there is of course a beautiful poesy in this double motion of life, in this procreation of the child pleroma within the family circle traced by the effort of the man. Yet there is something more beautiful in a spiritual sense, that is, to realize in woman the Soul which is beyond descent, which reaches upward too, whose center of attraction is the octave tone of the initial tone of man. Man and woman as Companions, the latter adding her mystic sense to the mentality of the former, and spiritual growth resulting from this dual soaring toward the spiritual Fundamental. Thus instead of procreating a mere tone among the several tones of the scale the union of man and woman recreates the initial seed and Nirvana is reached. 

This, however, might mean spiritual selfishness if the cycle of completion were not extended and the relation of a single fifth to a single fourth were not transformed into that of zodiac of fifths to zodiac of fourths. Twelve fifths make seven octaves plus a comma; twelve fourths, five octaves less a comma. Both conjoined constitute the Great Zodiac of twelve octaves, the complete cosmic sphere. The brotherhood of fifths and the brotherhood of fourths adding their impersonalized strength and devotion form the Seed of the new humanity, the shistas who collectively represent the Body or Vahan of the Kalki Avatar, the White Horse upon which He, it is said, comes from Shamballa to usher in the new Satya Yuga. 

This Seed is the true sangha which was founded by Gautama the Buddha. When the true sangha is completed, when the resonance of the two zodiacs is perfect and fully vibrant, Gautama, the beginning, will become reflected in Maitreya, the completion, after twenty-four cycles (twelve fifths plus twelve fourths) — the twenty-four Elders mentioned in St. John's "Revelation," which, in its historical sense, is a prophecy of the events which take place in the entire Kali Yuga, until the New Jerusalem (the new Race) manifests upon earth. Likewise, when the full zodiacs of sound vibrate together in perfect harmony, then occurs the new birth of Tone within as without. In the perfect resonance of the instrument the spiritual Tone incarnates, as we saw in a preceding chapter. 

From a practical standpoint what is important to grasp is the fact that, the use of such zodiacs or brotherhoods or democracies of sounds presupposes the disenthroning of the octave, the ruling element in all musicalities based on the Harmonic Series. The octave symbolizes blood-relationship and therefore the family, the perfect and complete circle of the home. It does so particularly in Europe where it is conceived as an interval, as a form, as the self-sufficient world of autocratic tonalities. In India, however, the octave is only one of the many stations on the Path of sound. It is only the magnetic circle within which tones which are spiritual entities temporarily evolve. It is either ascending or descending, perpetually in motion. In Europe the octave is so much sound-space divided into twelve equal intervals. It is pre-eminently static. 
In other words, the octave can only be spiritually conceived as the basis of music when it is considered as a fragment of the Harmonic Series. When the Harmonic Series ceases to be the substance of the musical flow, and intervals or pleromas take the place of the single tones perpetually evolving, then the octave becomes truly the symbol either of spiritual selfishness or of a purely physical system of blood relationship, which gives birth to family selfishness when the principle of temperament is accepted; temperament being the operation by which the twelve intervals of fifths are reduced in some manner so as to fit in the interval constituted by seven octaves. 

As the octave loses its ruling function the harmonic system changes entirely and tonality has no more meaning. The fifth or fourth and to some extent the thirds, which subdivide the fifth in two unequal parts, become the pivots of the harmonic system, or say rather of a new sense of resonance. 

The aim of the geometry of Tone is to disclose the law of cosmic resonance. Resonance is the very principle of the true music of the West, the Music of Prakriti. But resonance is not born of the Harmonic Series, as usually said by Western musicians. The basis for harmony (or the science of chord formation) is not the Harmonic Series, as usually believed; but the cycles of fifths and fourths. True melodies are founded on modes (or rags) which are segments of the Harmonic Series; but true chords or true polyphony (two methods of creating resonance) ought to be constructed on principles resulting from various cyclic aspects of the zodiacs of sound. Before this most important point is fully understood neither Western nor Eastern music will ever be pure, nor can they fulfill their higher magical theurgic dharma, nor find their common center. 

When Western musicians understand this they will give back to the term "harmony" the meaning it had in Greece at the time of Pythagoras; and the science of resonance will take the place of both European harmony and orchestration. The aim of Western music will be grasped. This aim is the building of resonances which are of the soul and not of the body, which are animistic and not animal, spiritual and not merely psychic — resonances which Atma may illumine from within. 

Harmony is unity of resonance. It means really the same thing as Maitreya. It is the fullness of the life of prakriti homogenized by the intense, all-absorbing devotion to purusha. It is the Flower becoming the Fruit, whose death will mean the release of the Seed — or food and sattvic energy to entities of a higher kingdom. The science and law of harmony is exactly the science and law of true brotherhood. It is based on the principle of real Alchemy, of the mystic and never publicly understood Rosicrucianism. For the Rose and the Cross are nothing else but symbols of the universal Flower and the universal Root. The Cross is mystically the womb of the Christs, Kro being, by the law of spiritual phonetics, the container and mother substance of Kri. 

Rosicrucianism is spiritual Alchemy. lt is the spiritual doctrine of the West.(1) Applied to music it gives the basis for the musical zodiacs and the system founded thereon; a system which was applied, more or less consciously, the first time by the great Russian composer Scriabin. Scriabin built his later works on the principle of true resonance using the cycle of fourths as his musical substance. Even this, however, is not yet understood by his biographers and by musicians in general who persist in studying his works in the false light of the old European attitude to music. In America today a few composers are unconsciously working toward a music founded on the cycle of fifths. Schoenberg's atonalism in Europe is but the shadow and utter perversion of this New Music of the West which is to come. 

Until Europeanism, as a generic attitude toward life and manifested in whatever nation or race it may be, is dead, the new West cannot fully blossom forth. European nations lost their chance of regeneration after the Great War; and America is in the throes of a birth, the outcome of which is not wholly discernible perhaps. The same thing is true of music. Until tonalism, which is musical feudalism, is dead, the true zodiacs of tones cannot fully, openly resonate throughout the new continent, Scriabin's influence is very small indeed in Europe where a deadly neo-classicism is master. European musicians chose Stravinsky instead of Scriabin. It meant spiritual failure and aesthetic death under the cloak of technical excellence. In America the dawn is hardly breaking as yet; but there is hope. To the extent to which the pioneers of the race will be able to live, brotherhood and to purify their minds of European intellectualism and materialism, to this extent will Western music be regenerated. To such an extent will the true Geometry of Music be understood as a key to the mastery of Life as well as of art, science and philosophy taught by Pythagoras who was in a very real sense the Western aspect of Gautama the Buddha, the teacher of Harmony. 

---

1. Let us not mistake many modern groups or schools who have adopted the sacred name of "Rosicrucian" for the most occult original brotherhood founded late in the fourteenth century at the time of the great Tibetan Reformation of Tsong-Kha-Pa. No known organization bearing that name has any right to bear it, as far as we can see. Historical Rosicrucianism is dead in Europe for allose. But the spirit of it lives forever. 

from: hhttp://www.khaldea.com/rudhyar/rhm/rhm_c5.shtml

MERIDIANS AND THE FREQUENCIES OF COLOR

THE UNIVERSAL KNOWING OF THE SPECTRAL OCTAVE OF THE 3RD DIMENSION

This page is dedicated to Dr. Luying Liaw, Professor of Ancient Chinese History and Master Acupuncturist.  My beloved teacher and healer. [lee chin]

The Universal Knowing of the Spectral Octave of the 3rd Dimension This is also the knowing of the coat of many colors given to Joseph by his father. This is Jacob's ladder. The 12 tribes of Israel were seeded into the DNA of the genome of all human creations. Is-Ra-El is not Hebrew. It is the knowing bestowed to Abraham, Isaac and Jacob as: Is = The I Am Presence, Ra = the Greater Light, and El = the conversion of Light into matter. The body of Mother Earth is divided into meridians for the weights and measures of the geometries of the spectral arcs to be aligned to the apportionments into their pyramidal grids, as containment vessels. Each of the paired arcs servicing both hemispheres of the body of Mother Earth and even so, her co-creations, is on assignment to receive the directives of their harmonic co-creative intent. Our ancients knew of these geometries and built pyramidal temples to honor their remembered directive intents. The Speed of Light is NOT a Constant! During each 120 minute alignment of the spectral re-generators on assignment to the body uni-verse, the speed of light is determined by its drop of points to the receiving terminals arrayed within each meridian. Know these as the G-force wind tunnels of the Chi's life light EM energies of continuum. The Speed of Light: When the trine of red-violet is included in the next octave its 27 cadences become the reality of Max Planck's constant of *h = 6.61 - 10 to the power of 27. The road map of continuum to Infinity. (each acupuncture point determines the cadence for the speed of light in each of the meridians.) The Harmonies of the 3rd Dimensional Octave During each 24 hour time span, each acupuncture meridian is sequentially re-energized by the Greater Light's apportioned spectral frequency re-generators for 120 minutes. These are the arcs and their angles on assignment for the harmonies aligned to the 3rd dimension only. Ark Angels? The Big Bang? When the prior uni-verse had filled its continuum with the expenditures of its allocated energies, The need for the light's expansion theoretically initiated the Big Bang! With the ex-plosion there had to have been an im-plosion. All of the expended energies were inverted and folded into a new space where time had not previously existed. Out of the chaos came the dust particles with their DNA blueprints for the re-beginnings of a new dimensional continuum for the co-creative uni-versal thought cell, Mother Earth, and her co-creations.

Acupuncture Meridians for Red, Red-Orange, Orange, Orange-Yellow & Yellow These acupuncture meridians are in order of their placement on the ascending octave's ladder. Acupuncture Meridian for the Stomach E - Yellow Stomach meridian Tribe of Benjamin *lesser balance = Blue This meridian is receiving its predominant energy from the spectral rays of Yellow. It resonates to the harmonies vibrated within the note of "E". It is grounded into the earths' co-creative programming via the Tribe of Benjamin. Its predominant harmony is balanced by the lesser resonance of the spectral energies of Blue and the Tribe of Issachar. (indicative of the physical need to increase their electrolytes with alternative therapy and blue light) Health for the Stomach Acupuncture Meridian for the Spleen D - Orange Spleen meridian (Tribe of Simeon) *lesser balance = Green This Meridian is receiving its primary messaging intent from the Orange Ray aligned to the harmonics of the vibrational note of "D". It is grounded via the bio-genesis of the Tribe of Simeon. Its predominant harmonic is balanced by the lesser color of green, aligned to the bio-genesis of the Tribe of Simeon. Health for the Spleen Acupuncture Meridian for the Small Intestine D# - Orange-Yellow Sm. Intestine meridian Tribe of Asher *lesser balance = Green-Blue This Meridian is receiving its enharmonic intent from the note of D sharp and the spectral identities combined with the rays of Orange-Yellow. It is to be grounded via the bio-genesis of the Tribe of Asher. Its predominant harmonics are balanced by the lesser quotient of Green-Blue and the Tribe of Gad. Health for the Small Intestine Acupuncture Meridian for the Large Intestine A - Indigo Lg. Intestine Meridian Tribe of Reuben *lesser balance = Red Violet Health for the Large Intestine Acupuncture Meridian of the Gall Bladder F# - Green-Blue Gall Bladder Meridian Tribe of Gad *lesser balance = Red Orange Health for the Gall Bladder Acupuncture Meridian of the Liver F - Green Liver filtration meridian  Tribe of Levi *lesser balance = Orange Health for the Liver Acupuncture Meridian for the Triple Warmer Endocrine Glands C# - Red-Orange Triple Warmer endocrines Tribe of Dan *lesser balance = Red This meridian is receiving its harmonic resonances from the enharmonic note of C Sharp. It's spectral identity is Red-Orange and aligned to be grounded into the co-creative earth programming via the bio-genesis of the Tribe of Dan. Its predominant harmony is balanced by the lesser quotient of Red. Health for the Triple Burner Heart Acupuncture Meridian C - Infra Red  Heart-Conception meridian Tribe of Joseph-Manasseh *lesser balance = Yellow This meridian is aligned to the note of middle "C". Its spectral arcs are RED and it is aligned to be anchored by one of the 1/2 Tribes of Joseph, his son, Manessah. Health for the Heart Health for the Pericardium Acupuncture Meridian of the Governing Points HC - Violet-Red Governing meridian/Immune fueling Tribe of Judah Judah, the 13th zero point turn about to recycle the harmonic octave. It is advanced to the next higher octave by the combined yin harmonics identified as Garnet.  E# - the missing frequency created by the falling away from the orchestrated harmony no longer including the arc angle of Chartreuse.  *all harmonies polarized

Blue, Blue-Indigo, Indigo, Indigo-Violet, and Ultra-Violet The Ultra-Violet Ray's primary and predominant intent is to maintain a lower vibration more compatible to receiving the higher frequency generators. Kirlian photographs of the inner light body indicate that all of the acupuncture points of all meridians are encircled by a frame of UV light. This is the methodology to restrict unlike energies from merging into un-like terminal points and creating a static field array. It also constricts the channeled acupuncture points so as, to respond only to the directives of the higher messaging intents for the interaction of the inner-light body and that of its outer physical garment known as the coat over the many colors within. The Ultra-Violet light is aligned into the Earth's co-creative programming via the bio-genesis of the Tribe of Joseph, and even so, the half tribe aligned to his son Ephraim. (the other half tribe is aligned with the Infra-Red Ray and Joseph's son, Manesseh) The signature of this meridian vibrates its resonances within the 3-D octave's note of "B". Its predominant messaging intent is balanced by the lesser intent of the Indigo meridian. This Yin meridian has 9 acupuncture points arrayed for further broadcast relays within its meridian for the other bodily organisms it services. Acupuncture Meridian for the Lungs (Indigo-Violet) A# - Indigo-Violet Lung Meridian of G-forces Tribe of Zebulon *lesser balance = Yellow-Orange The Indigo-Violet Meridian maintains the G-forces of the Chi energy via the inhalations and exhalations of the lungs. Its enharmonic vibratory signature resonates in the 3-D octave's note of A sharp. It is aligned into the Earth's co-creative programming via the Tribe of Zebulon, and its predominating intent is balanced via the lesser like intent of the ray of Orange-Yellow and the Tribe of Asher. This is a Yin energy having 11 acupuncture terminal points as receiving stations arrayed within its meridian. Health for the Lung Acupuncture Meridian for the Kidney (Blue-Indigo) G# - Blue-Indigo Kidney Meridian Tribe of Naphtali *lesser balance = Indigo-violet This meridian is aligned to the filtration system of the Kidney and is receiving its enharmonic messaging co-creative intent via the arc of Blue-Indigo. Its harmonic vibration resonates in the 3-D octave's note of G sharp. It is aligned into the earth programming via the Tribe of Naphtali. Its lesser intent is harmonized by the arc of Indigo-Violet and the tribe of Zebulon. There are 27 points aligned to the re-broadcasting terminals arrayed within its channeled meridian. Health for the Kidney Acupuncture Meridian for the Bladder (Blue Electrolytes) G - Atomic Blue Bladder meridian of electrolytes Tribe of Issachar *lesser balance = Ultra Violet This acupuncture meridian is receiving its co-creative messaging intent from the arcs of the Blue Ray. Its harmonic vibrations resonate on the 3-D octave in the note of "G". It is aligned into the earth programming via the bio-genesis of the Tribe of Issachar. It is a Yang energy having 68 acupuncture terminal points arrayed within its meridian. It is the service provider to the Bladder organism, where the electrolytes are manufactured and forwarded via the many streams of bodily fluids, specifically transmitting the electrolytic re-charges to the synapses upon the neural threads of the brain. Each synapse is aligned to a specific acupuncture point to maintain the remembered harmony required for each of the bodily organism. Its predominance receives its harmonic balance via its association with the Ultra-Violet Light. Volumes could be written about the active importance of this Blue Ray's assistance to the physical embodiment during its dis-easements. At the present time it is recharging the parking places upon the chakra ladder. Health for the Bladder Acupuncture Meridian for the Pericardium Pulse-Sex circulation constricter B - Ultra-Violet Tribe of Joseph-Ephraim *lesser balance = Indigo The Twelve Meridians Characteristics of the Meridian Flow Distribution of the Twelve Meridians in the Body

THE YELLOW EMPEROR Huangdi (Yellow Emperor) and Yandi (Yan Emperor) are generally regarded as the ancestors of the Huaxia race. His surname is Ji and he is called Xuanyuan. He is the son of Shaodian. It is believed there were many tribes settled down near Yellow River and engaged in farming about 4,000 years ago. Huangdi was the chief of a large tribe lived around Ji River. As the legend goes, at that time, Yan Emperor disturbed the other tribes in the region and Yellow Emperor defeated Yan Emperor at Banquan. Later the tribes lead by Huangdi killed Chiyou, a troublemaker, who was the chief of a large tribe in the east. Then he became the leader of all the tribes. It is also believed there were many inventions originated from the time of Yellow Emperor, such as characters, ships and carts, medicines, music, sericiculture and some daily utensils. His wife discovered how to weave silk from silkworms. Huangdi was said to be the founder of Chinese civilization. Huangdi is also regarded as the central god among the five gods in the heaven in Chinese mythology. China's Yellow Emperor 'killed by meteorite' The official Chinese media have reported the discovery of a 5,000-year-old meteorite that could explain the death of the man celebrated as the mythical founder of the Chinese nation, the Yellow Emperor. According to historical records, the Yellow Emperor Huangdi died in a cataclysmic shattering of the land - and local legends speak of nine dragons breaking up the ancient town of Huangling. Now the China Daily reports that the remains of a meteorite found in north-western China's Shaanxi province could explain those stories. The Yellow Emperor is said to have reigned from 2697 BC. Although his status is part-mythical, thousands of Chinese flocked to a mausoleum erected in his memory to pay their respects last Friday on annual tomb-sweeping day. Mysteries of the Yellow Emperor

The Rainbow of Creation Healing With Sound The Bio-Genesis of the Children of Light

IF ANYONE HAS QUESTIONS ABOUT THE INFORMATION ON THIS PAGE PLEASE CONTACT ME AT  E-MAIL  GRAILLDY@AOL.COM AND IF I DON'T KNOW THE ANSWER, I WILL FIND OUT FOR YOU!