Metaphysics and Music Theory

1 = Person

4 = What They Know

5 = What they Do with

Things Evolve

2 is their sentient life under a microscope, bliss or sadness

3 is the Chaos of their happy and/or hostile mind

6 is their center of gravity and what makes them shiver

7 is their End or their Adaptability, Abyss or transparency,

The numbers are synchronistic intervals of all existence.

Because existence = 1, now divide it up.

1, 2, 3, 4, 7, 10, 12, 14, 16, 20, (and many others) are great for dividing all of existence up.

The Universe operates soley based on what is possible, therefore there is a finite code of what is possible and how it occurs from the simplest compositions of the most basic essences, to the most complex. By tapping into a phenomenon that consists soley of the most basic principles of the universe. People can logistically analyze and cross verify the delineation of existence from singularity, to rebirth, existence as we know it, consciousness, the universe, Earthly existence, society, and so on.

The funny part is that it seems there was recognition of patterns, or observation before anything had the ability of response; response being a primordial niche of creation in of itself.

The planes, are synchronistic sets of coinciding phenomena; stages of the delineating spectrum of all existence. This spectrum spans from the complexity of human notion to the three, most deduced, primordial essences: Space, light, and force.

1 The Ultimate Plane: All the universe and observation of anything outside of the universe

1 The Universe, Everything, The Ammassed One

2 Anti-Matter Plane: Positive & Negative Charge, On/ Off, Dichotomy Itself

4 Light & 5 Force (The Ultimate Dichotomy)
    Light: Low Hz Light, like microwaves cause, eery, dangerous, and re-magnetizing and subsequent torquing of polar and multi-polar molecules. High Hz light changes atomic and quark nature. Both can ionize matter, disoluting bonds, dispersing energy.
    Force: Low Hz Force, like earthquakes, or bass music, contains more SPL and takes more force per area to produce. Low Hz are synchronistic with the light spectrum in their eery slowness. Highs can be made by collapsing the force per area. Harmonics, imaging, and atomic resonance.

3 Fundamental Plane: The three most primordial essences of the universe
1 Space, 4 Light, 5 Force.

4 the Universal Plane: Expanded Essences in Measureable Allocations
1 Space, 2, Movement, 4 Light, 5 Force

12 the Practical Plane: The 12 most practical phenomena of the universe

C Space A

D Time B

E Power C#

F Light D

G Force E

A Matter F#

B Electricity G#

C# Friction A#

D# Impedence C

F# Combustion D

G# Observation E

A# Response G

Information is the journey, now what are you trying to achieve.

Music Theory:

A 12 sided, edged, pointed shape, the dodecahedron, AKA music in a ball, facilitates the modeling of coils, rods, cones, tissues, wrinkles, wires, bundles, cubes orbs, and tubes.

Polyhedrons are usually used to simulate orbs. Multi-hedrons are, however the concept of a 4th-dimension: Something inside.

An instrument produces its range and timbre, like a frequency response, tapping into harmonic & reflection imaging. This creates a noticeable imaging gradient which occurs in accordance to the spectrum of the instrument’s imaging possibility spectrum.

The mind’s eye is great at visualizing these musical gradients and spectrum too.

Plates, landmarks, places with special alignment to the solar system produce various harmonic imaging phenomenon in the brain.

But Latino Classical Music System is the prime example of using logic beyond the scope of Earthly existence. Tapping into the moods of Earthly existence, bending the perception of speed, and imaging proportions with tempo, and +-tune.

In A=440 Western Tuning’s…

C supports the approximate G of our Earth and all of its unique harmonics well.

D would be a some sort of fixed note, being imposed on G from above.

C feels close to humans, as if it is some sort of mathematical, or emotional center. It might just be very expressive though for the whole illustration process music taps into, considering the multiple harmonic sweet spots of music and instrumentation.

A works in a similar notion. It is the first letter of the alphabet, probably because of its functions and is C’s relative minor..

There are many paths, but there’s a lot of synchronicity to find out there.

The Western frequency ratios are especially measuremental, synchronistic, and ultra rational.

These frequency ratios coincide with the modern number system and all of the nature which those numbers can represent.

The Western Frequency Ratios, are the most deduced ratios, and that is why they are so synchronistic They appeal to the combinative pattern of all existence!

The Western system skews the notes, smoothly with math, to fix the tendencies of pitch. Although this music system is meant to facilitate harmony, it’s mathmatical basis allows for access to even the most extreme of atonalism, and melody.

Hz is allotted more definition when ascending. There are more Hz, in-between each note of A= 440 (Western Tuning) the higher the pitch in Hz.

440.00Hz is probably for the tubes in our brain, and how instruments have been honed in.

The shape, and construction of instruments are imaged by harmonics. They give the instrument sweet spots, and add up to provide it a timbre too.


Each note played will morph each other’s waves, acoustic resonance, harmonic imaging, while also modulating tonality.
They can then be morphed, altered, truncated, repeated, bent, slid, modulated shape into various sounds, or feels.

440Hz, also alludes to a styling of the Delta wave phenomenon, which like a river delta, is a a spot were the harmonics are churning, and do so in quite an enchanting manner.

This delta concept of pitch is amazing for triggering psycho acoustic imaging phenomenon that seem to do with delta brain waves, home feeling, adventure feelings, rebirth, being alive.

But there are so many ways to find frequencies, that appeal to the universe, and unlock important doors into the code of existence.

Music is all about strategy.

Methods and Theories

Universal/“Talk Box” Universe Modes & Wave-Envelope Music Theory:

1 = -+- = Descending Ascending 8 Descending = Attack Swell

3 = -0+ Descending Stop Ascending 6 = Hold Decay

7 = +0- = Ascending Stop Descending 4 =Sustain Damp

5 = +-+ = Ascending Descending Ascending 2 = Release Harmonics = (Grows&Evolves or Damps)

Understanding X-Scaling:

8 diatonic steps = octave

8 pentatonic steps = 15th [which = a 5th, or process further; 15 what next?

8 chromatic steps = m6

8 steps along the Circle of 4ths &5ths (CoF&F) or any 2 interval scale of choosing. 5ths&7ths, m3&3, etc.]))

Atonal Pentatonicism:

111222333444555666777

(7-1-m2) Ionian

(m2-2-m3) Dorian

(m3-3-4) Phrygian

(3-4-#4) Lydian

(#4-5-m6) Mixolydian

(m6-6-m7) Aeolian

(m7-7-1) Locrian

Major Scale Adaptations, and Greater Scales:

Use Major Scale, and all theory, on quarter tones fifths&fourths, 3rds&4ths, and any two interval scale form.

Modulating Chord Scales:

Modulate key/modes/tonalities/modes of key across calculated intervals on the instrument; like scale positions!

Approximate Colors and Pitch:

The Spectrums do seem to coincide in parallel when tied!

(With C being considered the most “fruitful” note, change if desired.”)

C Green A

C# Mint A#

D Cyan B

D# Teal C

E Blue C#

F Purple D

F# Magenta D#

G Fuschia E

G# Red F

A Orange F#

A# Yellow G

B Pea G#

Strange Math:

60 seems to represent the moon, sunlight, day-night and time on Earth. This number seems to mean “moon phase.”

Circle = 1

Divide 1 by anything

It is like dividing the universe

or anything, for that matter.

12ivide 12 by anything

1 3 5 7 9 10 12 14 16 21 23 25 27 29 30 31

0 2 4 6 8 11 13 15 17 19 20 22 24 26 28 30

1 12 23 34 45 56 67 78 89 98 87 76 65 54 43 32 21 10 1

1 10 12 20 24 30 36 40 48 50 59 60 68 70 76 80 84 90 92

There are phenomenal math concepts which existence seems to utilize

One interesting one:

0/1 as 2/1 as 3/2 as 4/3 as 5/4 as 6/5 as 7/6 as 8/7 as 9/8 as 10/9 as 11/10 as 12/11

So, as we ascend (1/2, 2/3, 3/4), each number is apparently a lot like the last.

This equation also means: There’s nothing then there’s something. Then there’s something else similar to the previous.

What this phenomenon shakes out to be though:

0 is a little like ?

1 is a little like 0

2 is a little like 1

3 is a little like 2

4 is a little like 3

and so on.

At the beginning of the spectrum of sound measured in HZ, there is less room between each note, where as the higher Hz have more values inbetween them at a consistent rate.

The above mathematical phenomenon exists because of the intervals being so close together at the genesis. This phenomena is logistically parallel to how the numbers relate to humanity and all of the universe, since everything is simple and humanity is the most complex phenomenon in the known universe.

0 is nothing until assigned a characteristic. Could be equated to many things though, and used as a mathematical mechanism.

There are parallels between these computational, logistic sciences everywhere.

There are many other mathematical reasoning building methods we can use to navigate this lovely number system humanity has honed in on.

There are many methods of rethinking math which all simply bring us back to how well honed in the modern math system is. How every third whole number decimal place there’s a comma, (or period sometimes!):123,456,789 instead of 1,2345,6789, and instead of saying numbers like ten thousand million or something.

The numbers used are synced up to a very great human, but universal relativity. There are sweet spots in the code where metaphor/metaphysics interconnect with humanity. Numbers are amazingly intuitive. Music and simulation are in another ballpark.

Another strange concept, to bring out the universe in our math system is repeating numbers going that way <—-

They are apparently good at expressing numbers with torque. Oddly enough star models of charting intervals, like the pentagram, would be great at modeling this torque phenomenon while geometric polygons are better for modeling orbs, and synthesizing phenomena.

Remember, these are only a few anomalies of the ways which numbers function!



The numbers and notes of Western Music “tied” together:

C#8 D#10 F#12 G#11 A#9 B7 G5 E3 C1 D2 E3 F4 A6

There are many strategies to this, and ways of organizing their various potentials. It’s like building an algorithm, or formula that can musically send a individual on a journey through the universe in some fashion.

Strange Science:

The more divided a spectrum, the more definition there can be, but without unity there’s less synchronicity. All the action of dense, happening areas cause things to come together much quicker. Things evolve quickly and, then they compress.

Human phenomena, metaphor, and biology intersect with these planes of the universe at many different synchronistic intervals. These are like muscles, wrinkles, or neurons in the fabric of the code of what’s possible in the Universe.

The relative bottlenecking of information on what all is happening around a person, their personal awareness, circumstantially builds concious and/or a subconscious world view, depending on the internalization-behavior complex of the individual.

The advancements of humanity have allotted the whole globe a labyrinth of information readily. Societal compression, equalization, and artful simulation are like in audio engineering there to tame SPL and Harmonic Information.

Music is such a primordial phenomenon itself that it appears to be able to tap into the entire code of what is possible in the Universe.

By using math, and sequencing notes on a piano-roll/MIDI edit section, (used in DAWs for audio engineering),  a person can tap into patterns which visually image phenomenon based on the key, and intervals used.

Using atonal pentatonics, UM/TBM, and basic music theory knowledge, iot is possible to assemble images of what is possible for the chaos of existence to create.

Like predict humans, just articulating a set of notes as arpeggios, and get a very well defined image!

What was observed was a well-defined GORILLA with a cheeky mischievous smile, a SNAKE FACED TORSO and a third eye.

Another observed image was a BRAIN MASHED BIRD MAN.

This was done by simply arpeggiating pentatonics up then back down and moving to the next root, and intuitively oscillating upside down. There are many ways to get results too. They wire across the screen and pre-image what the notes are musically alluding to, and also who is the type of person picking notes at that fact!

The m6, synthesis, or 5.5 has yielded the most amazing results of sequencing and producing pre-images of the code of possibility.

These aren’t low definition images either! There have been, cats, bugs, bats, trees,

Musician-programmers can build ascending and descending arpeggios one after another, moving from root to root and oscilating how tall they want their LFO/wave form. Using MIDI notes in a wave like or waveform like manner in junction with Universal/Talkbox Modes and des, which also simuate LFOs and waveforms, results in not just 3-D imaging but well beyond.

Ascend and descend consistently from root to root, using consistent numbers of note per arp. Always think sychronistic choices before fundamental choices, before practical choices before rational choices, before experimental.

try 7 notes up, then same exact notes down. Move pentatonically, but weave some oter scales in. What would sound just a little too dissonant, works and actually might be perfect conditions to get synchronistic pre-imaging

You want to weave synchronicity and expressionistic harmonic information for this pre imaging phenomenon to really achieve things like the Cheeky Gorilla with a third eye, and snake torso.

It also helps to further recognize what harmonic realms these pre-imaging images utilize, to familiarize onself with these magical phenomena.

Through all the harmonic information, two souls of the code of possibility are overwhelming apparent.

Exciting Male Pine Tree & Passionate Firebreathing Snow Dragon Lady.

Have also been pre-imaged as a TV Head Man whom symbolizes educated media response and then Microphone Mouth Woman who intellipassionately speaks, and ingests/burns Media response.

Jack & Jill, Read & Response. Incredible!

The universe shows many people through audio engineering, the potential for sound to image, and PRE-IMAGE wild phenomena and synchronicities of the universe.

It really seems that the universe must have seen the possibility for synchronistically adapt star-people, capable of being as sentimentally nuanced as the highest of divine intelligent sentience.  Also that humans are an optimal choice!

What is possible in humans, is mind blowing!

 

Further Astrolabe Music Theory Explanation:


Atonal Pentatonics:

The m6 can be played as 6 or 5 using the Pentatonic Scale atonally.

Instead of doing this entirely, one could layer pentatonic truncations, and modulations next to one another.

on 1 play 1 on 2 play 3 on 3 play 5 on 5 play 7 on 6 play 9 (which is the 2 again in Western Music.

Both UM/TBM and Atonal Pentatonics help with the layering these ultra rational, potent scale formats into each other, and then creating pre-imaging phenomena, understanding the potential for each notes harmonic content, tonal direction, and thus.

Symmetry and Pentatonics:

1 (Ionian) When looked at backwards, resembles 3 (Phrygian) when played backwards

vise versa = ><

2 is the same forwards and back

4 >< 7

5 >< 6

This concept was used to derive the UM/TBM Modes actually.

by flipping the scales on a circle (dial) of notes. Not the Circle of Fourths and Fifths.

UM/TBM:

The idea of Universal/Talkbox Modes is simple:

build a wave form, LFO, and think of chord progressions, phrasing, and melody. It’s like chord progression, phrasing but through super-computer-sandbox game-audio engineer lens.

Here’s a UM/TBM sequence:

3175 1757 5715 7131

Looks like an epic about left and right, harmonic imaging, as well as read and response with extra dynamic range.


Applying rational alterations to the flagship UM/TBM sequence, 1375.

1357 is already basis for modern understanding of chord building, altering, and overall ornamenting.

There are so many possibilities of UM/TBM though!

like: 12 9 7 5 or 11 8 6 4

3175 is one of MANY four note scales Astrolabe calls the Universal Modes, or Talk Box Modes (UM/TMB for short).

Music can be like building a roller coaster, or preparation for a skateboard loop trick enveloping techniques.

31757317571 is quite the way, but there are many rational sequences. It’s about building waveforms, LFOS!

Three before any number repesents the “power” of following number. There’s a lot of life going on in every “power knead,” but every crawl upon the shoulders is another thing happening.

Transients and harmonic information are the basis for understanding UM/TBM. The sychronistic approach to this is think in transient spikes, starting intense, then drop low , and then build and drop again in patterns of wave form ascension and descendence. Sound attacks, holds, decays, sustains, and releases/ transforms in mny ways to produce even the most natural of sounds. It’s important to utilize strategy when envwlope shaping, LFO, and waveform building, accentuating the harmonic information being played or recorded.

Chaos Magick Black Magick
1 Play Dumb, bystander effect
1.5 Delude, doubt
2 Illusion, deception
2.5 Deride, contempt
3 Overload, regret
4 Mislead, sado masochism
4.5 Dominate, oppress
5 Force, patriarchy
5.5 Conspire, fetish
6 Corrupt, complacency
6.5 Murder by Proxy, cowardice
7 The Ethics of Sacifice, agenda setting

Chaos Magick Black Magick
1 Play Dumb, bystander effect 1.5 Delude, doubt 2 Illusion, deception 2.5 Deride, contempt 3 Overload, regret 4 Mal-Educate, sado masochism 4.5 Dominate, oppress 5 Force, patriarchy 5.5 Conspire, fetish 6 Corrupt, complacency 6.5 Murder By Proxy, cowardice 7 The Ethics of Sacifice, agenda setting