1

The following is an extract (from Vol. 2 of my forthcoming work of 4 Vols. entitled The Quadrivium Revisited), which is finally nearing completion after over a decade of preparation. In the main body of the work from which this excerpt was taken, we examine SACRED GEOMETRY, MUSIC, ISOSEPHIA, ASTROLOGY, NUMEROLOGY, MYTHOLOGY and many related subjects in a new way. A newway which is also a very old waythat may help us to preserve knowledge for present as well as future generations who may find themselveswithout electronic means. In this section, an outline is given of some interesting things about number and music. The writer may be contacted at kerberos51@hotmail.com. Enjoy:

The Quadrivium Revisited

From Volume 2 - Part 1
2005 by D. R. Swigart revised, and first published to the web @ www.scribd.com on

12-12-012

ILLUSTRATION EXTRACT 1: VOL. 2.1 THE HEPTADIC CYCLE OF CHORD CONSTRUCTION

WITH

PLANETS & SYNCHROMATONS

In mid-March, 2001 a curious discovery was made by the writer relating to chord formation in musical theory. It involves the numerical sequence 1-3-5-7-2-4-6 which is descriptive of the

3 periodicity of the numeric intervals of the notes in our modern Harmonized Major Scale. 1 This discovery was finally made possible by a tiara symbol of a certain shape. (See illustration). The sequence enabled, in turn, the further discovery of something with I call the Chordal Sum, or Chordal Puthmen. This sequence was discovered just before the strange visions occurred that I have related elsewhere. 2 Before proceeding to explain this material further, some observations are in order: It is uncertaineven doubtfulwhether some aspects of music as they are revealed in this marvelous sequence were known in early antiquity. The scale used at present (in the west, at least) is a product of efforts which extended from some many hundreds of years B.C.E., but these were not organized into the unified expression they currently possess until the Middle Ages. On the other hand, the special properties attributed to the number seven are alluded to in countless places by ancient authors (even though the reasons given for its importance seem whimsical, abstruse or arbitrary). In any case, this sequence shows that the number seven has wondrously strange properties, indeed, and it is offered here as an example of instruction tailored for the purposes of mnemonic and didactic, as well as for its intrinsic value. (Cont. to next page:)

This is an independent discovery. To my knowledge the information concerning this all important sequence has never been published elsewhere in any form, and is strictly the result of original research. But that does not mean that it is not out there. In any case the discovery is, if nothing else, 'independent'. It has been shared with about a dozen individuals since that time which included four professional musiciansto whom the information was new. While it may be out there, I have yet to see this tracing scheme described anywhere else. The closest thing to it is the Harmonic Heptad of Phillip Dorrell in his What Is Music?, 2005, p.105 (the official website for this book is http://whatismusic.info/), where he seems right on the verge of this coherency, yetdespite an elaborate and exhaustive approach through various modelsit eluded him. Perhaps Erich Zann came the closest to unlocking the secret aspects of this configuration. But since no journals or memoirs of any kind which can be safely attributed to him have ever been discovered following his strange and sudden disappearance in 1921, it seems we shall never know.

ILLUSTRATION EXTRACT 2: VOL. 2.1 THE TIARA OF ASTRAIA

AND THE

DISCOVERY OF THE CHORDAL PROGRESSION

To go more fully into an explanation of the 1-3-5-7-2-4-6 cycle, I believe that the approach to number given here is especially appropriate to understanding some of the relations which make up the Normal Audible Sequential Periodicity (NASP) of the rate of vibration corresponding to each tone in the Harmonized Major Scale. (The term NASP will be more fully explained as we proceed). The symmetry and proportions utilized in visual constructs can also give us clues in understanding how the brain interprets intervals in terms of audible sequential periodicity (ASP), and vice-versa. We will also examine the validity of the ideas offered this treatise by a study of organic and other constructs to see how Nature uses these same proportions (or not) in her creations as we proceed. All of this study properly relates to what we may rightfully term the SCIENCE OF VIBRATIONS. But there are some further preliminary concerns: The expressions which will be offered herein concerning number in terms of geometrical shape based on sequential periodicity are theoretical, and involve rather complex assessments of what cursorily appear to be subjective considerations founded on aesthetics. Yet, upon closer examination, we find that we can set these up in fairly consistent configurations which reflect the mathematical elements involved in the creation of a given tone. In this sense, our study here is highly akin to the same use of analogy and signature which we have studied elsewhere. However, it must be admitted that because of the difficulties involved in establishing a consistent analogical context, these may have to remain in subjective realms. But our further application here may yield insight into more than what would normally be categorized as mere aesthetics. 3 Let us also realize that while these can be translated to an audible form under certain conditions, this translation is merely a distant tracing via another medium, much like seeing the outline of a vase by wrapping it in wet paper. Accordingly, then, as these traces are made sensible to us, they will have differences in certain aspects of range and context, and thus would, when so translated, be heard by the human ear as ASP. The latter could not be simply characterized as normal, since they are not heard in their original contextual state by the human ear. The analogy of the process involved here is, if you will, that of a transitional puthmen (vid. infra). The recurrence of the numbers which appear in this study (and which I continued to investigate over a period of several years) was rather constant, and led to certain unveilings which
3 The clues we uncover in this investigation may lead, for e.g., to solutions in the realm of harmonics as understood in applied electrical circuitry---as the latter are essentially a variant form of, say, SP, or VSP (vibratory sequential periodicity), in this case that of the rate, polarity and frequency of electrons travelling over a conductor.

6 it is believed will prove of great interest to the student, as well as the more advanced. I am hopeful that mathematicians and/or physicists more adept than myself will examine and further explain the relevant issues in greater detail. 4 With that as a preamble, then, let us proceed: The chords of the Major Harmonic Scale are composed of combinations of the 7 harmonic notes of said scale, in groups of 4 notes. (On the other hand, the Harmonic Scale is composed of 7 groups consisting of only 3 notes, and leaving off the last note). We will consider the former, and for our purposes here, we will mark each of the intervals as numbersin themselves representing vibratory rates taken in context with one anotherrather than the letters commonly employed for this purpose. Mark this carefully. This is done to illustrate more effectively the diverse numerical ratiocinative (and thus sequential) correspondences in the scheme of harmony. We must always bear in mind that the human brain interprets the latter from the interplay of NASP. In other words, the brain counts the intervals between the tones offered and contrasts the relieved placements: What is present in the ASP, as well as what is left out, will both have an impact. These ASPs are interpreted as harmony or disharmony according to whether or not the former fall within certain definite proportional relations, which establish themselves as part of an aesthetic which differs slightly in its expression from culture to culture. In looking at the vast range of varying aesthetics which we find employed in musical expression across the world, what is the one thing which the latter have in common? They all establish a certain pallette which gives a context which establishes a baseline for what is considered the normal part of the respective NASP (normal audible sequential periodicity) for their particular expressions. We will eventually see in this study that audible harmony is an expression of the recognition of symmetries which are similar to those occuring in visual phenomena, with the difference being that the former describe a type of audible sequential symmetry based upon certain patterns which can be seen in mathematical terms as consisting of odd and even combinations (i.e., periodicities). This usually happens without the untrained eye and ear realizing it, and is really quite an astonishing phenomena when carefully considered. In our western Harmonized Major Scale, then, the NASPs correspond to a certain convention in respect to the establishment of ascending and descending rates of vibration (pitch) in whole steps and half steps (in musical parlance). The constant exposure to a certain set of conventions and contexts in which an NASP is expressed apparently condition the ear of an individual to associate various subjective states within culturally defined bounds. A process known to psychologists as imprinting is likely involved. This is merely a more succint description of the fact that different cultures have different ideas of what constitutes happy music vs. sad music,

It is believed that new ways of conceiving of the periodicity of electron flow suggested by these musical correlations may lead to new modes of the transmission of electricity utilizing devices which may allow the accomplishment of things which have previously eluded the field of electrical harmonics. It may also lead to some interesting results in the study of brain waves, and the nature of consciousness in relation to time, and even the possibilities of time travel.

7 dancing music, marching music, etc. 5 The writer believes that this approach to these studies can render certain aspects of musical harmony less mysterious and easier to grasp on a conceptual and somewhat less subjective level. This does not vitiate the beauty and mystery which surrounds the subject; quite the contrary. If nothing else, it rather allows the translation of the latter to be more extensively appreciated in more diverse ways. For the purpose of simplicity, and since C is ascribed to the lowest possible note, we will use the key of C as tonic, or center of feeling to describe our number substitution scheme for the sequence of the intervals of the seven tones of the Major Harmonic Scale. 6 The octave of the tonic will not be considered yet, since it is a repetition, so to speak, of the cycle. If we view the notes as the number of their placement, then, in the key of C, our substitution for the letter will be as given in Table I, below: (See page following.)

A comparison of some these conventions throughout the world will reveal to the erstwhile student some startling differences. It is interesting to note how deeply these conventions become linked to the emotional set of those who are constantly conditioned along the lines which their culture inculcates. These links are similar to the sense of balance, and they constantly take place in the background of the sensorium without the involvement of conscious cognition until some pointed effort brings them into focus. However, there is the occult consideration that many visionaries of different background may experience for themselves the 'diminshed' sound of the 'astral tones' encountered in states of projection. The reason for this is mysterious, and may have to do with the economy of that scale. The tonic in music refers to the 'starting point'. This can be done from any tone. One usually thinks of a string stretched to a certain tension, etc. But, actually, the origin of the word is from the Gk. tonos whose first meaning is not what is stretched, but rather that which does the stretching. Namely, the idea is that we are considering the tension, or rate of vibration established by the tensioning of a string, etc. Secondarily, then, refers to stretching, and as that related to pitch, etc. Thirdly, it refers to force, strength, energy and so forth. Finally, it was used as a metaphor to denote "...the tenour of one's way, a course, Pind., Plut." (Liddell&, GEL, p. 812b).

ILLUSTRATION 3: VOL. 2.1 TABLE I

NUMBERS ASSIGNED TO LETTERS OF MUSICAL SCALE Using this number-based description of the scheme, then, we find that the IM7 chord, which is made up of the notes (in key of C) consisting of C, E, G, & B can be expressed by the numbers 1, 3, 5, 7 (instead of the usual C, E, G, B). Accordingly, we find that the table of correponding chords will be as follows:

ILLUSTRATION EXTRACT 4: VOL. 2.1 TABLE II

Remember that we are using only the integers 1 through 7 in the case of constructing these

9 seven chords of the Major Harmonic Scale. This is interesting, as it hints to us that the numbers 8 and 9 may occupy special positions. Notice that in each of four columns we have the numbers 1 through 7 appearing, and the sequence in each case is begun with the number heading up each respective column. Also, note carefully the diagram below of the seven-pointed star. Trace the lines from the point labelled 1 as they form inside the circle, proceeding clockwise. You will see that the seven points trace out the precise notes, in order, belonging the IM7 chord to the viim75 chord, and then back to the beginning again by taking every other point in succession. The sequence is 1-3-57-2-4-6-1- (repeating), etc... In other words, the Major Harmonic as well as the three note Harmonic chords may be found by tracing every other note/number. The Major Harmonic Scale of four note chords presents itself in order, while the three note chords of the Harmonic Scale can be traced in the reverse order.

(See page following.)

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ILLUSTRATION EXTRACT 5: VOL. 2.1 TRACING CHORD STRUCTURE WITH THE HEPTAGRAM

For the Major Harmonic Scale four-note chords we see that 1-3-5-7 = notes C, E, G, B which are the notes belonging to the IM7 chord. The next numbers in the sequence are 2-4-6-1, or notes D, F, A, C which make up the iim7 chord. The next four in the cycle are 3-5-7-2, which comprise

11 the notes E, G, B, D of the iiim7 chord, and etc. For the Harmonic scale of three note chords we see that 1-3-5 = the notes of the IM chord. The next three being 7-2-4 gives the three notes B, D, F of the viim5 chord. The following notes 6-1-3 are thus A, C, E of the vim chord, and so on. 7 We have many other patterns involving the strange properties of the number 7 which can be considered: One of the more important examples involves the circle and (7 2). At the level of cursory observation, the mathematical association of the NASP with the properties of a circle with a diameter of (7 2) units is not a direct one. We can, however, find some curious and compelling evidence well worth our perusal in these studies. Let us be content for our purposes at this stage by proceeding a type of investigation of some of the 'synchronicities', if you will, which occur in the cases we shall consider. The concepts involved here are similar, after a very real fashion, and not far removed (if indeed not the very same) from those said to have been utilized by the Pythagoreans. The latter involved what is called the puthmenos puthmen, which is ordinarily described as a numerologically reduced number-root. I.e., a number of more than one digit is reduced to its subsets, and finally into a single digit, or 'root', which is usually called the puthmen (but the subset nunbers could also be so-styled). For e.g., then, the number 135 has a 'root' or puthmen of (1 + 3 + 5) = 9. But we quickly see that, for e.g., the number 246 has, at the first addition, a puthmen of (2 + 4 + 6) = 14. This is not a single digit, however, and thus is a subset of the original numbers before they have been reduced completely. So, in this sort of case, those two digits of this subset are usually added together to continue the process of reduction. Thus, 246 = (2 + 4 + 6) = 14 = (1 + 4) = 5. Therefore, our final puthmen in this case is 5. There are thus nine final or basic puthmens, namely: 1, 2, 3, 4, 5, 6, 7, 8 and 9. I have found it useful, however, to also think of the subsets---such as the 'unreduced' 14 obtained in our previously given example---as additional types. For that matter, I would suggest that any number which is the result of a reduction at any stage of other termsin this or any similar fashionmay also be considered a type of puthmen. This especially would apply, for e.g., to those numbers which serve as a type of root, such as tangent, sine, and cosine (in the case of angles). It is not a coincidence that Pythagoras was a musician as well as a geometer, nor is it a coincidence that he studied in Egypt and Babylon. Elsewhere in this treatise, you will find that I employ something I call the acrostic method of isopsephia. 8 Whether or not it was utlized in precisely the fashion described is not crucial; it is offered as a step which is natural and useful, and may, if you wish, simply be considered as part of a newly proposed system which I offer for your evaluation: In the acrostic method, one takes a
7 I evolved this heptagonal tracing pattern for the chords while studying musical theory, and sent it off in a copyright letter to myself on March 17, 2001, so that the sequence of the discovery could be documented. It may not seem like much, but it represents many hundreds of hours of research. I believe that this was one of the secret applications of the concept of the puthmen. I also conjecture that that there were more comprehensive models with deeper explanations which were not given to the uninitiate, if for no other reason that they would be unable to follow the train of thought required without the prior study required of the more advanced initiate.

12 word/number and at first proceeds in the usual fashion. Take, for e.g., the Gk. form of the name Adam, i.e., . This is (1 + 4 + 1 + 40) = 46. For our purposes here, I maintain that the number 46 has no tangible contribution. On the other hand, using the acrostic method gives us results which can, surprisingly enough, be validated by examination of the folklore concerning Adam. In the acrostic method, then, the significant figure is derived by taking, in sequential order, the first number given in the amount specified by each individual letter, thus: 1 + 4 + 1 + 40, or 1414. Here we have something very interesting, since this can be taken as a reference to the 2 or 1.414... In any case, if nothing else, I am introducing the acrostic idea as a rehabilitative effort, if you will, and will continue to use it whether or not it was what they intended, because it is useful. In fact, we have some rather convincing evidence that this assignment of the 2 as 1.414 was not coincidental. As a musical note, it would correspond to the 5th. 9 As this is a type of essential expression of the numbers involvedwhich are reduced in each case by dropping the ciphers, or multiples of ten involvedthe case can be made that this was an esoteric form of the puthmen, used for preserving and transmitting the work of more complicated numbers, as opposed to reducing everything to the numbers 1 through 9. Indeed, the latter can be seen as a sort of mystical speculation of a dubious and impractical sort, which did not transmit the more refined and useful aspects of the system employed, and hence could be openly revealed to the uninitiate (and among whom it has accordingly won such great acceptance). It was, in effect, a permissible type of hint. 10 For the first note of a given chord we will assign a value, for e.g., in the first case of the IM7 chord (made up of the notes corresponding to 1, 3, 5, 7- see Table II) as follows: the first number of the sequence may be given a value of of (1 1000), the second number in the sequence a value of (3 100), the third a value of (5 10) and the fourth a value of (7 1). So, our first chord (IM7) will be a number that will be expressed as [(1 1000) + (3 100) + (5 10) + (7 1)] = 1,357. The same process, applied to each chord in turn, will leave us with the figures which make up the column in Table III below, and add up to 31,108.

TABLE III: THE FIRST CHORDAL SUMS OR CHORDAL PUTHMENS 135 246 357 461 572
More details of the interesting folklore surrounding ADAM as well as 5th and other intervals in artistic expression are given elsewhere in the main text. 10 Yes, this is a theory... I leave it to the student to examine the evidence provided to decide the merits of the proposition. 9

13 613 +724 = 3, 1 0 8 Or: 1, 3 5 7 2, 4 6 1 3, 5 7 2 4, 6 1 3 5, 7 2 4 6, 1 3 5 + 7, 2 4 6 =31,108 An important thing to consider is the fact that the numbers 1 through 7 appears in each column, and thus (1 + 2 + 3 + 4 + 5 + 6 + 7) = 28, which is a 'perfect number' in mathematics. 11 You will note that each column totals 28 and the four columns thus added to one another would have a total, and thus a first puthmen of (4 28) = 112. It is hoped that the relevance of these observations will become apparent as we proceed into other inquiries. Now, continuing this same Method, we will create a second column of figures wherein each chords numbers are given with the 1st digit having a value of (10 ), the 2nd = (0.1 ), the 3rd = (0.01 ), and the 4th = (0.001 ) for a second Chordal Sum or Chordal Puthmen of 31.108, since (1.357 + 2.461 + 3.572 ... + 7.246) etc., = 31.108. As well, we will create a third figure wherein each chords numbers are given with the 1st digit having a value of (0.1 ), the 2nd = (0.01 ), the 3rd = (0.001 ), and the 4th = (0.0001 ), for a total of 0.31108. It will be seen that each of the three figures we have generated (and which differ by factors of 10), namely, 31,108 31.108 and 0.31108 Now, let us take the second figure, i.e. 31.108, and see what we can learn about it in a different context, where it appears in a more generalized form connected with geometrical shape: if a square has sides of 7 units, and is enclosed by a circle, then diameter of said enclosing circle will be = (7 2) = 9.899494937... units. Very well. If is is taken as 22/7ths (or 3.142857...), then circumference of said circle with diameter of 9.899494937... units will = (3.1428... x 9.8994...) = 31.11269837... units. Yet, true
11 I.e., it is the sum of its divisors, which in this case are the numbers 1, 2, 4, 7, and 14, as (1 + 2 + 4 + 7 + 14) = 28. The first three perfect numbers are 6, 28 and 496). Note that (6 + 28 + 496) = 530 and cf. with cubit of 0.530 m.

14 will give a circumference of 31.10018057... units. An average between these two usages is thus found to be at {[(31.112... + 31.1001...)] 2} = (62.212... 2) = 31.10643947... units. We can see that there is a similarity between this averaged figure and our table's 31,108 or 31.108, since the two figures differ by a mere 0.0015600...units.

(Cont. on next page:)

15

ILLUSTRATION EXTRACT 6: VOL. 2.1 PROPERTIES OF THE ENCLOSED 7 7 SQUARE

Now, let us divide the quadrants of our hypothetical circle with a circumference of 31.11269837... units into 7 equal arcs each (with each of the said 7 arcs thus thought of as corresponding to our seven chords). We are not deviating from common sense by continuing in this fashion in our inquiry, for we know that musical expression is continuous, that it loops, and is circular after a fashion. Cf. the term rounds in music, etc. Yet, we know from close investigation of the properties of a circle, that one quarter of the circle is all we really need for

16 practical purposes of exegesis of what will apply to the circle as a whole. 12 Our circle will be, accordingly, thus divided into (7 4) = 28 equal arc segments, the length of each segment will = (31.11260837... 28) = 1.111167799... segment units. Especial note must be made of the fact that: (31.1126... 100) = 0.31112... This is the very nearly the tangent of 17.2861426... = with cos = [(cotan 1 ) 60]. The actual tangent in question is 0.3112000159... Curiously, if we take the degrees in 3.21428571..., or 1/112th of a circle, as simply 3.21428571..., then note that the latter = 45 / 14ths. The reciprocal of this figure, i.e., 14 / 45ths = 0.3111111111.... The pythmen can thus serve as a practical springboard for mnemonics & didactic. As an example, In Table IV, we may form three basic headings: Music, Geometry and Astronomy. Each category has a form of the number 31,108 especially applicable to that category, which varies from the others by differing factors of 10 (thus only differing in their representation by the positioning of the decimal point, as we saw earlier).

ILLUSTRATION EXTRACT 8: VOL. 2.1 TABLE IV: THREE DIDACTIC CATEGORIES OF THE NUMBER 31108

The number 31 as a Key was something which did not occur to me during my investigations into the properties of the stoicheia and musical 'puthmens' which revealed the Chordal Sum of 31,108 described above. 13 The reason for this is unclearrather baffling, in fact, as I had been familiar with the work of Frater Achad since 1980. 14 I merely followed a mathematical trail and looked diligently for connecting links on the basis of number and mathematical usefulness alone. There were some peculiar things which occurred to point me on the way, however. 15 A forcible commendation of the spiritual value of this 'key' of 31 is that which is revealed in practical terms by mathematical analysis. In large part, a true Key may be recognized by its
12 13 Cf. the Goddess Apt at Thebes, whose symbol was a quadrant. See Gardiner's O45 & 46, infra. The crucial part of this work was performed c. 2000-2001, though it later expanded from there into many other directions. 14 Fr. Achad (the qabbalist Charles Stansfield Jones), in his Liber 31 (Jones, L31, p. 36, 1918), takes as his departure the importance of the numerical value of the Hebrew term for God' as 31 = ( or AL). See Jones, L31, p. 36, and entry in APPENDIX IV (Biographies).

17 undeniable fitness for the construction of mnemodacts of practical value. This is because of the underpinnings of analogical reflex involvedindeed, the understanding of which forms the very basis of the Hermetic approach. Accordingly, the types of mnemodacts to which I refer are intended for the preservation of much more than the rather sketchy and seemingly whimsical speculations which are the usual 'qabbalistic' fareand whose practical reach seems to get no further than the fact that = 3.141592653... . Much of the impetus of the speculation in early literature broaching the importance of 31 revolves about the importance of the numerical value of the Hebrew term for God as 31 = . But there are other strange links that can be cited: cf. the fact that = 31.006276680... Even stranger is the fact that (0.3111111111... 0.31108) = 0.00003111111111...! Then, there is the fact that (0.31108 ) = 0.099019839... = (versin 25.712794435...), which is 1/14th of a circle accurate to 0.020877906 @ 360 e.c.e.! 16 Finally, cf. the highly important, pivotal 312' 51.429" as 1/112th of a circle. These last numbers lead us into the semitone, and are thus crucial to the entire scheme. 2005, 2012 by D. R. Swigart, revised, and first published on 12-12-012

15

One day in 2003, I had a dream that a priest of some kind was standing next to me. He pointed to papers in front of me, on which was written 0.311... He said with great emphasis that this was very important, and that I ought to look at this number from every angle until I saw why. Without this dream, I don't know if it would have continued to interest me, because at the time these connections were not clear at all. Note: I might also add that ccording to one theorist, the proportion of 5 : 5 : 3 is connected to that of the ley lines. A tangent of 0.3 is thus implied (as 1.5 : 5.0, etc.). Cf. this to our 0.311... . The source of this proportion has not been identified, and this will not be included in the final work without validation. Any input on this is appreciated. 16 Working in reverse, we see that the true versin of 1/14th of a circle being equal to 0.099031132..., then (0.099031132... ) = 0.311115477...