From: MetPhys@aol.com
Forgot about the diagram sorry. I had it scanned in the other day. Even put it to music! The middle circle is the dominant chord in various positions. I followed the four little circles around the middle circle. One says Major 3rd, another minor 3rd, Major 6th, Minor 6th. These are inversions and lines come out of the circles and are represented by phrases on the outer music stave. Anyway I put the music to midi file.
Addenda: I went a very specific route when putting the notes together. I started with the inner circle with the dominant chord, then moved through the phrases related to the Major 3rds, then the minor 6ths (the inversion of a major 3rd), a Minor 3rd and then Major 6th (the inversion of a minor 3rd). Then I put in the rest of the notes sequentially.
One or two notes are very much a guess. Some, however, one can use basic music theory stuff to work out what the note must be. There is a sequence of key changes that follow a certain logic. There is definitely a clue in this diagram. It follows the logic of the neutral being the dominant flow kinda thing. Then there is a harmonic sixth, which pops up a lot when Keely discusses rotation.
Anyway there is no copyright on an exercise like this as far as I'm concerned, but there is copyleft. Anyone want to build on it can do so as own god damn file!
I have built the tune up and mixed it together with the mirrored version of what this diagram is showing. You will notice the switch in tonaility just after all that Timpani drum stuff at 1 minute 56 seconds. The major dominant sound has switch to a minor half diminished sound.
Luigi
From: hoopoe@popd.ix.netcom.com
met-
hi, i found my notes on the tzolkin. i used a 13 note sequence in both of the ones i did, the first is diatonic:
C G D A E B F C G D A E B
on a 13 X 20 grid i just started at the top left and went down, when the series ended i started from the beginning of the series and continued until the end.
same with the over tone series:
C E G Bb C D E F# G Ab Bb B C
with this i was mostly concerned with the relationships within the 'double helix' over lay and overall with relationships that i found 'vital' and 'full of potential' in terms of musical composition and improvising, so I'm sure you guys are probably looking for a different result, but maybe you will find something useful in this anyway.
I'm sending you jpg's of my actual notes because i don't have the time to re-write it all out again, i hope you'll be able to read them ok.
the top and bottom words on the overtone series tzolkin says 'unison'.
if you have any questions please feel free to contact me (anyone).
also i see you put up my last email under the Tzolkin thread, that's cool, but i just want to say i didn't mean for that info to necessarily be connected with the tzolkin, but hey if its useful that's fine.
Thanks Met.
_T
© Copyright. Robert Grace. 2002
To: luigi.di-martino@ntlworld.com
Subject: Unknown 1899 Keely Diagram (MetPhys)
Date: 07/19/02
To: MetPhys@aol.com
Subject: Tzolkin Music Notes (jpg) (hoopoe)
Date: 07/19/02
