Metaphysics and Music Theory

1 = Person

4 = What They Know

5 = What they Do with It


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,

7 is 11 chromatic steps

11 is the mathematical personality of the m6.

according to 4 1 5 2 6 3 7 #4 m2 m6 m3 m7 = 4 1 5 2 6 3 7 (8 9 10 11 12) [arranged in rational strategies.

9 8 10

10 8 11 9 12

3175 is one of MANY four note scales Astrolabe calls the Universal Mode Method, or Talk Box Modes.

4 1 5 2 6 3 7 #4 m2 m6 m3 m7 = 4 1 5 2 6 3 7 (8 9 10 11 12) [arranged in rational strategies.

=

317571317571

The m6 can be played as 6 or 5 using pentatonics atonally.

The Major scale starting from the 1 (Ionian)

Resembles the 3 when played backwards is 3 and vise versa ><

2 is the same fro and back.

4 ><7

5 ><6

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


7 pentatonic steps is the 3rd

but the seventh’s UM/TBM is the 5

Meanwhile the 2, #4, and m6 have 7 as a UM/TBM.


Applying rational alterations to the UM/TBM sequence 1375 that is layed out chromatically, or… even more?

It will be interesting.


Methods and Theories:

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

1 = -+  = Descending Ascending Descending = Attack or Swell = ?

3 = -0+ Descending Stop Ascending = Hold or Decay = ?

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

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

=?

Alternates:

Flipped on positive negative intervals axis. (The m3 (+3 steps from 1) becomes 6 (-3 steps from 1; Minor third up, minor third down.)

4

1.5

5.5

6

Backwards…

6

5.5

1.5

4

Pentatonic flip ><

= 3

= 1

=4

= 6

Mixolydian:

5

7

4

2

((To Take Further:

Take the above and any UM/TBM alternate’s notes which are not of key, (.5/m intervals) or even notes you wish to precess through recalculations. Translate iany intervals to Universal Modes/Talk Box Modes, Atonal Pentatonic Modes, and the Mathematical Personalities as musical intervals. Then Diatonic or Pentatonic recalculations…

[i.e. m2=1.5= 8=

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 & Diatonicism

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

Mathematical Personalities of Intervals:

1    = 1

m2 = 8

2    = 2

m3 = 9

3    =3

4.   =4

#4  =10

5    =5

m6 =11

6   =6

m7=12

7   = 7

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 of keys at calculated intervals, like scales.

Approximate Colors and Pitch:

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

C Green

C# Mint

D Cyan

D# Teal

E Blue

F Purple

F# Magenta

G Fuschia

G# Red

A Orange

A# Yellow

B Pea

Seconds and 60

Circle = 1

Divide 1 by anything

It is like dividing the universe

or anything.

12ivide 12 by anything

3, 6, 9 12, 15, 18, 21… are our interesting circle numbers

Skipping Rocks (Big intervals comprised of sets of little numbers in many ways rationally.)

Habanero (Fibbonacci)

Circles and Squares (when circle/sphere ideas are used on cube/square ideas and vice versa )

Where You Growing (positive, negative, linear, chaotic, growth)

What’s the Matter? (Geometry, chemistry, and music)

Infitisimately Pretty (pesky little numbers with a pretty refreshing impact ) 7 & 9 & 11 & 9 & 2 & 1)

Anxious Shaking crazy polyrythms sometimes correlated to values of the spectrum of light

Talkx Alotz (1 3 7 5 and so many more extrapolations of the concept like 7542 or 11 9 5 7 that define the sine and its travels through the universe. But so much more, down to the fundamental souls of creation)

Spring Mt. (Any scale of any amount of notes can have notes deducted from it and added to it in logical order. They can all be constructed towards any other possibility optimally for a transition to occur through deduction again up reacjing the note #

Cooil (the intervals of music can be defined as unique relationships a coil has with itself and possibly conjoing coils arranged in some fashions.

10, 1, & 100 being very important numbers they are the sphere based cloud hraven with a cube based marble style and beatifully elaborate fountains that refresh even the sun. Seriously tho try mixing the interva that is 10 chrom steps, diatonics steps, penta steps and 10 whatever types of fatjomable steps.

180 circle numbers and 1080p & Membranes m, charge fields and different things different circle numbers represent in nature.

3 is power though. They bring out the nature of what number they are paired with.

7 and 9show us how some intervals act like some numbers and how everything actually translates, literally.

8 = satisfying 9= filling

Seeing is BElieving (Wave Form Theory and modelling the visual waveform of various instrunents and beyond using midi or.?)

Atonal Pentatonic (adjacent notes can be played as adjacent notes relative to what the music is doing)

Harmonic Information modes eliminate focus on the 4.5, 7 and m2 or the 1 4 and 5 as scalar concepts. Go wild though
.
Primaries and greater scale (apply wholestep wholestep halfstem… to the circle of fourths andfifths moving 2 5ths for wholes and 1 for halves. Greater scales and moving through them like this does exactly what imposing the color primary concept viz arts uses . Yellow red blue, which is whole step back from root two whole steps forwards from root with ma y flips and half flips possible for maleability. Whole tones.

Also make scales by moving like say 5ths as wholevsyeps and yhirds as half steps.

1.5, 2.5, 4.5, 5.5, 6.5, 
1 . 2 4 . 5 . 6