Music and Numbers Through The Looking Glass

Lui Di Martino
Volume One

COPYRIGHT – This work is copyright 2009 by Lui Di Martino. Permission must be sought from the author before any of the contents of this work are used elsewhere.

Dedicated to my soul mate and research queen Lynda Brasier

Table of Contents Introduction – Unbroken thread 1 – The birth of Triangles 2 – Tonal Fountain 3 – The Vedic Square 4 – The Lambdoma 5 – Fibonacci Mode Boxes 6 – The invisible aspect of the Triangle of Keys 7 – Where else? 8 – Fibonacci numbers 9 – More number sequence partners found within divisions 10 – Both sides number flows – building a mirror universe 11 – Opposing forces 12 – Cycling a chord 13 – Swings four ways 14 – Dorian symmetry – explanation of the Keys 15 – Shades of Dark and Light 16 – In and out of the mirror 17 – Chords through the triangles 18 – Triangles in and out 19 – A link between triangle of frequencies and body's response 20 – Working conclusions 1 23 27 41 49 57 61 68 73 79 83 88 93 96 106 117 136 142 146 158 .

and how the information interacts either side of the mirror? If these sorts of statements seem a little far fetched. In effect. Both sides of these mirrored formulas will be seen to need each other in order to function as a whole unit. But is there a shorter way. The mirror structure itself performs the role of uniting both sides of the mirror into one whole unit of information. in a way that will not be based on having to create masses of energy in order to travel vast distances into space. but one that integrates its own information with the information this side of the mirror. A mirror structure is built on the logic of the swapping-over process at the tri-tones. Once a music scale has been cycled. and the obvious question is can we exploit this information in various ways? Therefore at the end of the book there is speculation on how this mirror information exposed can be utilized. Does it add another angle to the idea of a holographic universe. This same mirror structure is then shown to occur in many ways using music theory and also natural number cycles. The interplay that exists between two tri-tones within the major scale system will be exposed. The tri-tone relationships within any music scale will also be focused on. and one asks if setting up or mimicking the results of these dual grids of frequency information can lead to a real penetration into the mirror side.Introduction .The Unbroken Thread The purpose of this book is to convey the results obtained from symmetrical reflection of various formulas. the results shown in the proceeding chapters have yet to be pondered in the way shown. The law of position and the clockwise/anti-clockwise flows go on to show that there is a mirror side that is not an isolated system. both music and number based. as shown within the results of dual formula grids. please consider deferring any final judgement i . and the mirror cycle has also been exposed. It will be seen that these tri-tone positions are catalyst for swapping information over to the other side of the mirror. for example? Is it another useful insight into the nature of consciousness itself? Can it help thinkers concoct various experiments in order to travel in and out of the mirror universe? Teleporting? String theory? Information contained within various grids composed of symmetrically reflected music and number formulas will be seen to travel in and out of the mirror sides. there is a focus on the symmetrical relationships between the various positions. and can we “ride” on that wave as it enters the mirror side at one specific axis point? There is much speculation about creating warp speeds in order to travel through space. In other words do universes exist in mirror pairs that share information.

that we seldom take into consideration. High powered laser set ups can run experiments to test if it is possible to create the right frequency based environment where objects can be placed within it and the information contained in these objects can be teleported into another environment. With a little pondering. For it to ii . at mirror interval frequency to the original. firstly. what at first seems extremely simple music and number cycles. when the mirror side of a formula is plotted. Are you for real? There is a "hidden" process. It begs the question as to which side is real. then the book will have been a worthwhile venture. A few ideas are presented in the last chapter. If string theory has reality as its basis.until the results shown in this book have been allowed to digest. The examples may be relatively simple to date. and various other grids. given the results exposed. That process is the symmetrical reflection of certain formulas. If there is found a cross-over from music theory/number cycles to science. So why should simple information based on cycles have anything worthwhile to offer the science world? This is perhaps a question answerable by any scientist that takes the time to focus on the results in this book. both inside us and outside. It highlights a mirror side. then the information in this book will support the idea of mirror strings. but they nevertheless do cover such things as Fibonacci numbers. a whole unit of information should be exposed by symmetrical reflection of formula (as opposed to just a jumble of unrelated material on the mirror side). or perhaps inspire a new science formula that describes reality. What results do show. From there. the Phi ratio. there is a real basis for building a mirror version of this universe. The reason such questions are asked in the first place is because of the nature of the dual cycles of information being unearthed. one can perhaps see that the relationships unearthed can become applicable to natural process that are going on. is that a whole unit of information is present. Of course in science there is a vast body of knowledge. it is a question of devising appropriate experiments that will test the data. overtones. Again. based on overtone relationships. music scales. The results in this book can be used as a basis for experiments in Consciousness related fields of study. It is too uncanny that. and perhaps on pondering the results will see a relationship there with the many more apt scientific formulas that exists. built up and including many wonderful formulas.

and focusing on any inner structure evident between the two sides of the mirror. and is a basis for further experimenting.then produce the exact same structure in various types of grids. This is possible mainly because of the nature of certain intervals. This type of scale is also a cycle. or lower. The Major scale cycle itself is a Mode. that bear no relation to each other. and the twelve major scales is on the letter C. These seven letters (pitches) can also be roots of their own seven note scales. into lower and lower sounds or higher and higher sounds. The major scale can be written as a series of seven letters. is truly uncanny. CDEFGABC It would be beneficial for any non-musician to search various sources for information on the circle of 5ths. which I hope will clarify the whole process involved. which . This creates the C major scale. As far as the music scale examples go. in that one can repeat it over and over. I'd discovered the mirroring of these cycles for myself some four years previously. will begin a new cycle that ends on the Reh one octave higher. It's uncertain when this was discovered. to replace the doh reh meh symbols. there is a list of animations available for the non-musician. all evolved from what is known as the circle of 5ths. The Major scale (the doh reh meh fah sol lah teh doh sound) is a cycle that has additional inner cycles. As mentioned we will be pondering on the law of Position. There is no need to view the examples in this book as a musical exercise. All musicians are well aware of musical scales. In the western music system there are twelve major scales. and the traditional musical use of them. All these seven possible individual cycles have a mirror partner. especially when one hums the doh-reh. merely by starting at the note D: DEF GABCD iii . A large majority of the music we listen to in our western society is based on the major (and minor) scales. As is often the case in music. Here another scale is produced from the above information. instead of Doh . Beginning the scale from Reh. but I finally gained the confirmation that music scales could be mirrored from reading a book by Vincent Persichetti. I have found that there is a difference between my own angle on these cycles. The very start of the circle of 5ths. which musicians call Modes. These individual major scales are based on a system of sharps and flats that distinguish them one from the other. and other basic music theory. as yet. contains no sharps (#) or flats (b) in its make-up. The most prolific interval in a musical cycle is the Octave. Almost everyone is aware of the sound of a musical scale.meh-fah-sol-lah-teh-doh notes. called “Twentieth century Harmony”.

one is led to believe that there is an intrinsic structure that binds the two sides of the mirror together. It is this mirror structure that becomes the main focus within the book. if one side of the mirror is considered an illusion. The symmetrical reflection of these mathematical ratios is what opens up a mirror side. EF GABCDE This is the third Mode. And this mirror side is not a disjointed affair. which is expressed through different approaches and experiments. Therefore. If a musical note moves forward/upward by one tone to another note. are also the very same results that emerge within other types of cyclic phenomena. the WHOLE UNIT. but actually the missing half of the complete unit of information. This however. known as the Dorian Mode. mirror point Bb – C . then that move is simply mirrored by a reverse move of one tone from the same note. Which side can rightfully say "you are just a reflection"? It isn't that simple. Both sides are inextricably linked together. which transfers to the other side at specific axis points. the Fibonacci numbers. What is really brought into such a question is the assumption that only one side of the mirror is valid. Yet the formulas in question will show their dual nature. for example. The claim is that these dual formulas that are being exposed are one formula in its overall expression. that is. and are seen to share information. Therefore. or second Mode. and so on. Each of the cycles are built using strict ratios. is not the truth of the matter. they unite to produce one overall formula based on the two sides of the mirror.This is the second cycle. known as the Phrygian Mode. One will find that the results apparent within the musical experiments. then so is the other side. and not exposing a real life situation or solution.D iv . The rule of symmetry used within this book is that of equally mirrored moves around an axis point. One argument that criticizes the idea of mirroring formulas is that it the results are merely a reflection.

but it still reflects the very same pairs that are reflected around the C note. that ratio is simply mirrored and one will find the appropriately tuned Bb. and it does have a partner. even though totally unrelated systems were being used. Obviously. It was this fact that became the driving force to experimenting with the mirror side of formulas much more. because they led to the uncanny result of only one unifying structure. As this book is predominantly about symmetrically reflecting (mirroring) scale formulas and number cycles it would be wise perhaps to look at one vital difference between various concepts of what a mirror image actually is. how about the C note. The mirror move will simply be an 8:9 ratio or 200 cents. C to D is an ascending movement of one tone. or 200 cents (used in Equal temperament).The same note here is C. that is the same both sides of the mirror? The axis point is rather different. The C to D move may have been accomplished using a 9:8 ratio. Well. C to Bb is a reverse descending movement of one tone. because it is the axis point. This other axis point is not a visible aspect of the two scales being mirrored. Bb. according to which tuning system is used. And now the note D has a mirror partner. by equal movement relative to an axis/mirror point. It is said that one would put a scale to the mirror: CDEFGABC And in the mirror it would become: CBAGFEDC And joining the two together: Mirror point C D E F G A B C/C B A G F E D C Here it is on the music stave: v . the most apparent thing here is that no musical note is ever alone. from C down to Bb. This relationship will carry far more meaning than at first may seem the case here. Regardless of the ratio one employs for finding this D note. Any further moves are always mirrored in the same manner. an axis-point partner. in that they exist at a symmetrical point either side of the Root C mirror point. and back again continually. It will be seen that what is visible information will swap over to the “invisible” mirror side.

Composers who are looking for something different have mirrored music this way often. is quite different. musical ladders of pitches that move in a sequential order. In music there are scales. 1:2 must become 2:1 in the mirror.This music stave will be known as a ‘treble clef’. vi . These scales are put together by the use of musical Formulas. be it a line to a space to a line etc. Whatever the symbols used it is always the overall formula that is symmetrically reflected. It is the ratios. or vice versa. however. It is certainly a very valid form of mirroring when it comes to manuscript paper. Mirroring the actual frequencies that each note possesses means that one applies equal proportions on either side of an axis point (the mirror point). or scale formulas that are mirrored. which ascends and descends in movements of the seven letters used in music. This would mean that any ratio must be reciprocal. The art of placing music manuscript paper in front of a mirror and then playing the tune “backwards” was pretty rampant in Brahms’ day. Holding a real set of frequencies based on a given formula to the mirror. On the whole the formulas can be defined by a number of symbols.

and reciprocally the mirror movement is one tone to the left. that is worth pondering on. The letter T over this note is part of the formula. T Bb 9:8 C T 9:8 D The mirror note is that of Bb. The note B is a white note on the piano. equalling the new mirror note Bb. This other form of mirroring. and we already know that the Bb is not in the above scale. in some ways. Musically what this means is that the mirror note of the note C remains as C. From this axis point at the note C there is a leap upwards in pitch to the note D. It is not the same as the note B. has opened up questions that cannot be ignored. or instruction as to how far to move upwards in pitch. whilst the note Bb is the next black note downward in pitch (travelling to the left of the piano) The C is in the center acting as an axis. Here is the full scale of C Major again CDEFGABC We have already stuck the C in the center and moved to the D. This has come to mean an upward movement by the ratio of 9:8. Therefore the mirror move must be one tone to the left of the Bb. The T simply means TONE. And that is one of the points. At first one is entitled to think that surely this is not a true mirror image. This is especially true once an investigator realizes that there is actual structure of kind within the mirror environment. To the right is one tone's movement to the note D.The scale reflecting the C major scale in the mirror above is a little different to the one shown previously. or in equal temperament it is a move of 200 cents (an octave covering 1200 cents). The mirror point has the note C twice. the formulas themselves. So what is being exposed? Let's continue with the next note of the C major scale: C D E From D to E is yet another move of one tone. T Ab Bb T C/C T D T E Are symmetry groups related to the symmetric reflection of a musical scale's formula? Symmetry vii .

It is best not to watch all of them first. They are labelled according to the corresponding chapter within the book.groups deal mainly with geometric objects. viii . such as the platonic solids. There are various animations provided with this book. Comparing this to a symmetrically reflected musical scale formula is not the same thing. Again these are labelled accordingly. There are also a few additional animations that cover material not in the book. but rather read a chapter and then watch the relevant animation.

an invisible/in-between axis point. will be shown to be at a position that is dead center of the Major scale. That distance. This is the center point of the scale. from the note C. symmetrically reflected (mirrored). reaches an axis point and is then transferred to the other side of the mirror. it will be shown that a hidden structure is at play. The formula of the Major scale will be reversed. 1 . These will all be discussed at the end of the book. which can be seen to merge both sides of the duality/mirror together and represent it as a whole unit. Obviously a key question is whether this information swapping between mirror sides can be exploited in any way. And it will also be shown that any information in these diagrams is seen to swap from one side of the mirror to the other. at one particular axis.Chapter One The birth of Triangles The following diagrams will show that symmetrically reflecting music scale formulas does not produce haphazard results. By applying this mirroring technique to the major scale. which invariably emerge in sets of three (I call them triangles of frequencies). that is. because it is three whole tones away. reaches the same type of axis again. that will merge both sides of the mirror into one whole. but actually leads to only one overall 'mirror' structure that will consistently appear throughout all the examples in this book. The information in question will be based on such things as frequencies. number relationships that are cyclic in nature (including Fibonacci number cycles). The catalyst responsible for this structure. There are a number of applications that this information can be seen to be useful in. have been shown. is known as a Tri-tone. What this means is that any information that exists this side of the mirror. and then also to the modal system contained therein. both numerical and music scale based. when the results of the mirroring of various cyclic sequences. The resulting whole unit of information is the main focal point. for example. In this chapter we will follow one thread. and again transfers to this side of the mirror. and other phenomena related to things like the natural overtones.

where one can mirror a formula three times in all. It occurs between the 4th and 5th note of the scale. The notes F#/Gb do not belong to the C major scale. The animations cover the construction of some of the following grids as well. What this eventually came to mean was that information was appearing in and out of the mirror.b5 C d e f F#/Gb g a b C Other names for this interval are flat 5th (b5) or diminished 5th. Or one may call the interplay between visible and invisible axis points “involved” and “uninvolved”. It should also be noted right from the beginning that this mirror structure will remain the result of symmetrically reflecting scale formula regardless of the tuning used. The first structure that will emerge in one unbroken 'mirror' thread can be referred to as a Triangle of Keys. Much more will be said on this after the first experiment of mirroring the major scale formula. Observe in this next 2 . As you can see this b5 center axis occurs in between the major scale formula. It originally occurred to me to call the center of the major scale an invisible-like axis point. The formula that builds the scale of C major will be used to highlight how it is part of a “mirror seed”. of which this part is only this side of the mirror's visible aspect. These triangles can be seen as a hidden element within any major or minor scale. The note that occupies this special axis like point in the center of the C Major scale is F#. If you would like to see an actual animation of how to mirror a musical scale formula. This may help to visualize the process. It’s all the same thing when dealing with equal temperament. It was later that I realized that information. also known as Gb. was being shared between the visible axis and the invisible axis. before returning to the beginning again. In other words: CDEFGABC The above scale does not convey the whole picture. you will find a series of animations in the folder that came with this pdf book. or augmented 4th (#4). What we see here is a fragment of a greater whole. in terms of frequency relationships.

The T signifies two steps on a piano. And in terms of Equal Temperament then the Tone is 200 cents. and the S signifies a 1 step movement. One can mentally imagine the center C. whilst the scale to the left of the central C would be descending on the piano keys (these are a mixture of black and white notes). By applying the formula leftwards as well as rightwards from a center axis. shown on the music stave.diagram how the same looking formula flows in both directions and creates two different scales. it may open up further avenues for exploration. These are two cycles that coexist on one formula. and it will be seen that there is structure within this other world of information. and often swaps its information to this visible side of the mirror. at first. one is cutting through into a mirror world tonally speaking. imagine the 9:8 ratio. Here is this scale mirrored. C Major having its formula reversed (Mirrored) mirror point S 3 4 T 5 T 6 T 7 S 1 T 2 T T T 2 3 S 4 T 5 T 6 T 7 S 1 3/1 (C Phrygian) C Db Eb F G Ab Bb C D E F G A B C (C Ionian) If you have viewed the first few animations that come with this book. and simple utter that D is in symmetrical reflection to Bb. and the semi-tone is 100 cents. this may seem like a purely musical exercise. which has an umbilical link with this side. note for note (it is in fact all the white notes of the piano). and follow the logic of the tones (T) and semitones (S) as they are mirrored around that C axis note. One can see the red formula is a mirror of the black formula. and so on. it should be born in mind that sound is a natural occurrence. Even though. The scale to the right of the central C would be ascending on a piano. C is the mirror point in the center: 3 . Should the journey into a mirror world prove to be structural. Start at the center C. and for the Semitone imagine the 16:15 ratio. and that harmonics play a big part in that. E is in symmetrical reflection to Ab. For the Tone. you will have seen how this mirrored dual scale has been achieved. A few minutes on an instrument like a piano and this should pose no problem in understanding.

C is the central note (in red). The first partnership is then 1 IONIAN/3 PHRYGIAN. starting at number 3 – 3 2 1 7 6 5 4. chord. and have structure of some kind. musicians are taught the clockwise sequence of modes. often associated with Spanish Flamenco or dark metal music. or even single note always mirrors to a minor scale or chord or single note. These cycles within a major scale are referred to as Modes. This is the normal doh-reh-meh-fah-sol-lah-teh-doh sound that most people are familiar with. Generally speaking. and here are their names and positions within the main parent major scale: 1 – Ionian 2 – Dorian 3 – Phrygian 4 – Lydian 5 – Mixolydian 6 – Aeolian 7 .C Phrygian C Major (Ionian) As you can see C Ionian has mirrored to C Phrygian. The Phrygian is a Minor sounding scale. This in itself already shows that the two sides of the mirror are interrelated. or vice versa. The numbers above the scales represent the note position from the Root of the scale (the root being the 1 of the major scale) as well as the Modal positions that each note occupies. with contrary flows being evident. It would have been far easier for nature to create gibberish when sets of 4 . This mirroring of the Major scale (Ionian Mode) equates to a major sounding scale mirroring to a minor sounding scale (Phrygian).Locrian The notes and modal positions are symmetrically reflecting through the mirror like this: 1/3 C/C 2\2 D/Bb 3/1 E/Ab 4/7 F/G 5/6 G/F 6/5 7/4 A/Eb B/Db Notice how the 1 2 3 4 5 6 7 sequence has mirrored to an anti-clockwise sequence. The major scale possesses seven modes. Eventually it will be seen that a major scale. according to the law of Position. The number 3 refers to the fact that the Phrygian mode is the 3rd cycle within any major scale. but rarely are told that these formulas are really dual formulas. The number 1 refers to the fact that the Ionian mode is the first mode of any major scale.

The modes of any major scale always flow in the same order. It is seen that C Phrygian resides in the scale of Ab Major. it should become quite clear that both sides of the mirror are really one structure. This will become quite clear shortly. The search here is to find what it is that unites both sides of this duality into one whole. When the whole Mode Box is shown. The seed we are looking for is the Major scale that this mirror Phrygian Mode belongs to (nowadays all the Greek modes belong to a parent Major/Ionian scale). and it is always part of a parent major scale that carries the number 1. Step one shows that the C Ionian Mode (the Major Scale) becomes the C Phrygian Mode (a Minor scale) when the flow of Tones and Semi-tones are reversed. in the next section. which is always known as an Ionian mode. Because we know that the Phrygian mode is a member of a parent major scale we are in effect searching for the root position major scale that houses it. Yet there is a seed/process occurring here that will allow one to continue with this mirroring.formulas are simply symmetrically reflected. Formula Position Mode Parent scale 1 Ion T 2 Dor T 3 Phr S 4 Lyd T 5 Mix T 6 Aeo T 7 Loc S 1 Ab Bb C Db Eb F G Ab = Ab Major 5 . The 3rd mode is always Phrygian. regardless of the major scale in question. It is the 3rd mode of that scale as you can see above (the Major scale carries the number 1).

for example. the D Phrygian is from the Bb major scale. is from the Ab major parent scale.This next chart is for reference. and so on. and it will show all twelve major scales being mirrored. 6 . The C Phrygian. To find which major scale each Phrygian mode belongs to it is just a question of looking for the number 1 on the left hand side. as you may want to check back once there is a grasp of the results shown further on: The twelve Major Keys mirrored Mirror Point Phrygian Modes S 3 C 4 Db T 5 Eb E F T 6 F T 7 G S T 1 Ab A Bb 2 Bb B C Db D Eb E F T 3/1 T Major scales (Ionian Modes) T 2 D 3 E S 4 F T 5 G T 6 A T 7 B B# C# D D# E S 1 C C# D E E F C C# D Eb E F C# D D Eb E F F# G Eb Fb F Gb G F# G# G A D# E# F# G# A# E F F# G G A B Gb Ab Bb Cb G Ab A A Bb B C B C C Db Ab Bb C A Bb B C C# D F# G# G A C# D D Eb E F F# Eb F# G# A# B C# D# E# F# G A B C D E F F# G G Ab A Bb B Ab Bb Ab Bbb Cb Db A Bb C Db D D Eb E Fb Gb F Gb G G Ab A Ab Bb C A B C# D Db Eb D E F# G# G A Bb Cb B C Bb C B Eb F E C# D# F# G# A# All the Phrygian modes on the left hand side of the above twelve major scales mirrored are really just an arrangement of the same twelve major scales themselves. Do not spend too much time here. offset and commencing from the 3rd mode. One may use this chart to check which major scale mirrors to which Phrygian mode.

It is easier to think of Fb as the note E. and the major scale will be mirrored once more from that new axis. is more commonly known as G# Phrygian because hardly anyone thinks in the key of Fb Major. There is no need to really play these scales. which will become evident as we go along. Numerically this will look similar to the first example of C major and its mirror scale. but it is simply an instruction to lower the note in question by two semitones (each “b” representing one semi-tone). Bbb equates to the pitch for the note A (lower the B note by two semitones). It is still a Phrygian Mode.From mirroring C major we have ventured into the scale of Ab Major. You should already have noticed this result within the twelve major scales mirrored diagram. one of its modes. As you can see G# Phrygian is the third mode of the E Major scale (E. all that is occurring here is that the Ab major scale is being reflected across the mirror point. in order to not use the same letter name twice. This way of writing scales is to keep things tidy. Ab Phrygian. Replace these mirror notes on the left hand side with their enharmonic equivalent: (G#) (A ) (B) (C#) (D#) (E) (F#) (G#) = G# Phrygian. from E Major The above would look extremely complicated for a non-musician. That is the beauty of a single formula (and the equal temperament system). The note partners around the Ab/G# axis (in red) are obtained in a similar fashion to those found around the C axis previously.F. Strictly speaking. the major scale in question (that houses the particular Phrygian Mode) is known as Fb major. Therefore the Ab is now the new axis point. As with the scale of C major. as we are dealing with position of notes according to cyclic events and how they hide at a deeper level one consistent structure throughout.G#. You may not have seen the double flat sign before (bb). There are two ways to represent the above mirror scale. We will use the G# as the axis in order to highlight the note partners: 7 . In the above example. because that is always the result one obtains when mirroring an Ionian Mode. its enharmonic equivalent (the Fb connection will also be analyzed in volume two). S Phr 3 Ab 4 Bbb T T T S T T T T S T T T S 5 6 7 1 2 3/1 2 3 4 5 6 7 1 Cb Db Eb Fb Gb Ab Bb C Db Eb F G Ab Ion (from Fb Major). again a Phrygian/Ionian partnership).

This link also agrees with the Lambdoma chart. which is that of E Major. If we do not continue and complete this thread the full potential of the cycle has not been exposed. E (from C major) 4 F 5 G 6 A 7 B 1 C 2 D 3/1 E 2 F# 3 G# 4 A 5 B 6 C# 7 D# 1 E Ion As you can see the mode of E Phrygian is the result. C Ionian/Phrygian and Ab/G# Ionian/Phrygian share what may be called a `mirror link'. The formula and numbers for mirroring E major will read the same as the previous two. practically every experiment in this book leads to the triangles of keys. 8 . Because a major scale has emerged behind the mirror. a little further on. which is about to be exposed. S T T T S T T T T S T T T S 3 Phr. The whole process has jumped up a minor 6th (or down a Major 3rd) interval. We have established a thread where three major keys relate to each other through the mirror via the Phrygian modes up a minor 6th or down a Major 3rd. This is the third mode of the C Major scale. so step three is to mirror this new major key. you should have no trouble seeing that these note pairs are at symmetrical distances from the root axis. As the movement is anti-clockwise we can assume that it is the latter movement that is occurring. Symmetrical association links them. Again notice there is a contrary flow between either side of the mirror. and we are back to the beginning.1/3 G#/G# 2/2 3/1 4/7 5/6 6/5 7/4 Bb/F# C/E Db/D# Eb/C# F/B G/A (Ab/Ab) (Bb/Gb) etc If you study the scales above. This inbuilt cycle is further confirmed in the section on Mode Boxes. Again within this G# (or Ab) Phrygian mode there is the seed for continued mirroring. through one of its modes. The new major scale that has emerged is that carrying the number 1 on the mirror side. as devised by Pythagoras and we will compare the results of this emerging mirror structure with the Lambdoma in the chapter four. the implication is that some inbuilt hidden mirror cycle is occurring. In fact.

Three Mirrors C Maj 3rd Maj 3rd Ab/G# Maj 3rd E Here’s another way of looking at it: Three Mirrors in One C major mirrors to Ab major. rather than no system at all. Ab Major mirrors to E major. Contrary cyclic sequences have been seen to emerge. and E major mirrors back to C major. The link is through the third mode of each major scale. 9 . the Phyrygian.

The next diagram is a representation of all these seven modes. Each mode is built according to a formula comprising a different flow of Tones and Semi-tones. D E F# G A B C# D = Ionian Mode E F# G A B C# D E = Dorian Mode F# G A B C# D E F# = Phrygian Mode G A B C# D E F# G = Lydian Mode A B C# D E F# G A = Mixolydian Mode B C# D E F# G A B = Aeolian Mode C# D E F# G A B C# = Locrian Mode The same flow of modes is due to the same major scale formula being applied at the start. The only difference is that the formula begins on a different note to C. Every Mode belonging to the major scale will now be mirrored. as they are constructed from the parent major scale C D E F G A B C = Ionian Mode (parent major scale) D E F G A B C D = Dorian Mode E F G A B C D E = Phrygian Mode F G A B C D E F = Lydian Mode G A B C D E F G = Mixolydian Mode (Dominant scale) A B C D E F G A = Aeolian Mode (Relative Minor AKA Natural Minor) B C D E F G A B = Locrian Mode All twelve major keys have the same flow of modal relationships. This is still not the whole structure however. One will find the mirror triangles even more prevalent when the results are analyzed.This is only one of quite a few ways of achieving this triangular effect that is evident when musical cycles are mirrored. as will be shown in the next section on Mode Boxes. 10 . Here is a list of the traditional seven modes. Here they are in D major. together with their mirror partners.

MODE BOXES Each Mode of the Major Scale is based on its own unique formula and it is the formula which is reversed as if put through a mirror. One simple major scale will produce all the information below. and the 1 refers to the semitone. for example. This can be equated to the movement of one or two steps on a piano. which I call a Mode Box. Use this mode box as a reference. You will need to check back to it often so it would be best to draw out your own. Mainly because it will be easier for the eye to relate to the flow of numbers rather than a series of T and S letters. The 2 refers to the Tone. I have opted to use numbers throughout this box. or one or two frets on a guitar. It is amazing how it will start to make sense if you do this mirroring for yourself! Instead of using the T and the S. 11 .

12 . becomes Bb by an equal movement of a tone away from the red C/C axis point. it is best to take each formula in turn and mirror it. which is on the C Ionian line. even though the same notes are used. as this is not strictly a book about music.The right hand side of the above box consists of the seven Modes of the Major scale. One always begins in the center of this mode box. From this viewpoint it should be easy to spot that each formula is reflected from here as if a mirror were put to it. made up of different notes to their counterparts on the other side of the mirror. all generated from the parent major scale. The note D. instantly looks different. The left hand side. Most musicians who have studied a little music theory will recognize these seven different scales. Therefore it is the proportions or ratios that are being mirrored. For non-musicians. Using a piano to work out how the mirroring is done. Take each individual line separately and firstly notice how the same formula of tones(2) and semitones(1) is flowing both left and right from the center of the grid. the flow of numbers vertically and the individual note partners from each line that partner each other. To confirm the results within the above Mode Box. will of course allow the reader to fully understand how the mirror scales are emerging. The top line would look like this if only the ratios according to the Lambdoma were used: 1:1 15:1 5:3 3:2 2:3 5:1 9:1 1:1 9:1 5:1 2:3 3:2 5:3 15:1 1:1 The Lambdoma. using the axis positions at the center. Yet we are not so much concerned with how these scales sound. Yet the mirror is not reflecting the pitches themselves. being the mirror side. which is a chart of representing Overtones (also known as harmonics) would fully comply with this set of ratios. as you can see. The seven cycles actually sound very different to each other. because these change in the mirror. The important thing is to understand that these seven cycles are being individually mirrored. Then take note of the modal names and how they pair up across the mirror. it should be relatively clear that the right hand side consists of seven different orders of the notes C D E F G A B C.

as is general procedure: 13 . There is a clockwise flow on the right. 6. This table below holds true for all twelve Major keys. After 3 will come the 4. as shown by the arrows either side. Here are all the mirror major scales that have emerged: Ab C E Gb Bb D F# These major scales are expressing a particular mode/cycle from within their own seven cycles. as shown in the mode box above. This is known as Double Reflection. The names of the modes will be abbreviated. When one digests the many relationships living within this Mode box they will see how the mirror not only converts the C Major scale and its modes into other tonalities and keys but it is also busy establishing its own inbuilt structure. There are in fact six major scales within this section of the Mode Box (if we come to count Gb and F# Major as one). 1. and then the 5. 2 and finally the 3. home of C Phrygian above. is from the same C major scale opposite. on the first line.If one study the numbers within the mode box occurring vertically it will be seen that the two sides of the mirror move contrary to each other. being the modes 1 through to 7. which is actually at the bottom left of the box. which is the actual E Major scale itself. We also see that D Dorian. the Phrygian. Let’s concentrate only on the left hand side. The Ionian mode mirrors to the Phrygian mode and vice versa. and an anti-clockwise flow of Modes on the left. and within those keys one may begin their mirroring from any Mode. and moves the opposite way to the right hand side’s flow. for example. Moving down the list to E we see that the mirror scale is that of E Ionian. 7. These seven mirror modes do not belong to only one major scale as the seven modes on the right hand side do. The Dorian Mode does not behave this way as it seems to contain the duality within itself and is perfectly symmetrical. The anti-clockwise flow begins at the 3rd Mode. We have seen the first major scale was that of Ab Major. This is how the Modes are paired when their formulas are mirrored. the next mirror scale down. Modal partnerships emerge as ‘dual’ in nature. This carries many implications and will be looked at much more in depth as we explore musical and numerical symmetry.

We are looking at a similar Major scale type structure on the left but all its logic is opposite and it commences from the 3rd position. signifying the Ionian mode. signifying the Phrygian Mode. This means that definite structure has appeared. They are like two wheels in motion: Flow of Mode box 1 7 6 5 4 2 3 1 7 6 2 3 4 5 The left hand circle starts at the number 3. you will notice one is clockwise and one is anti-clockwise. and it flows anticlockwise. with one vital difference.along the 45-degree angle on the mirror side. Again there is the 5/6. observe the notes .C E G# Bb D F# A# . Also of note is the fact that the Ionian is a major scale and the Phrygian is a Minor scale.1 3 2 2 3 1 4 7 5 6 6 5 7 4 Ion/Phr Dor/Dor Phr/Ion Lyd/Loc Mix/Aeo Aeo/Mix Loc/Lyd It's the same dual flow as seen when only C major was mirrored. If you observe the two flows of numbers above. One is dealing with the major scale both sides of the mirror. the non-mirror side is a major scale with its seven modes. and it flows clockwise. signifies a Lydian Mode (major sounding) and a Locrian Mode (minor sounding). All the mirror modes are similar types of modes as on the right hand side. The right hand circle starts at the number 1. All the relationships share this major/minor duality together. One important aspect to understanding the inbuilt mirror structure lies at the 45-degree angle on the left hand side of the mode box. and the mirror side is seven modes belonging to seven different major scales. which signifies a Mixolydian Mode (major) and an Aeolian Mode (minor) pair. for example. the red on the right and the black on the left. 14 . The 4/7. In the following representation of the C Major Mode Box.

The sharp (#) replacing the flat (b) is actually highly significant to the way musical contraction and expansion interact in a mirroring environment. three times in all. The second augmented triangle is Bb D F#: The note A# is the same as the Bb so one can even consider that the two triangles are hovering around another axis. We have seen that by simply mirroring and re-mirroring the Major scale. What is interesting about the arrangement at the 45-degree angle of the left hand side of the mode box is that two of these triangles have appeared. and will be focused on fully toward the end of the book. 15 . we find one triangle. which make create cyclic triangular flow. One can also see how all the numbers on either side of the mode box are moving in contrary flow. Each number signifies the position the note occupies within the parent major scale. The keys that emerged were C E Ab major. as indeed the other number pairs are. A 3/1 is consistent throughout the mode box.Left hand side of Mode Box All different Major keys Seven Modes of C Major 3 Ab Major C Major E Major Gb Major Bb Major D Major F# Major 4 Db 3 5 Eb 4 F 3 2 Ab 1 Bb 7 C# 6 D# 6 F 5 G 4 3 2 C 1 D 7 E# 7 G 6 A 5 B 4 3 1 Ab 7 B 6 C# 5 4 Eb 3 2 Bb 1 C 7 D# 6 Eb 5 F 4 G 3 3/1 2 D 3 E 4 F 5 G 6 A 7 B 1 C 3 E 4 F 5 G 6 A 7 B 1 C 2 D 4 F 5 G 6 A 7 B 1 C 2 D 3 E 5 G 6 A 7 B 1 C 2 D 3 E 4 F 6 A 7 B 1 C 2 D 3 E 4 F 5 G 7 B 1 C 2 D 3 E 4 F 5 G 6 A 1 C 2 D 3 E 4 F 5 G 6 A 7 B C 2 D 1 E 7 F 6 G 5 A 4 B C 2/2 E 2 F# 1 Gb 7 A 6 B 5 C# D 1/3 G# A E 7/4 Bb Cb Db D 2 E 1 F# F 6/5 G 5/6 F# 2 G# A 4/7 A# B The first thing to notice here is the numerical relationships between modes from either side of the mirror. for example. and all is very systematic.

remember that these triangles repeat linearly this way. but to distinguish the fact that these notes are representative of major scales themselves. so together with the twelve major scale diagram. with an axis in between them. However. These different groupings are really a dance between the visible and the invisible nature of axis points. I have called this series of notes the Circle of Tones Structure. There are no semitone movements within this scale. We have already found the notes C E G# (Ab) in the previous experiment so this 45-degree angle must be of significance. By the end of this book I am hoping to show that these triangular frequencies travel in and out of the mirror. The dual note/major key. The triangles along the 45-degree angle have rearranged themselves compared to those along the vertical line – Ab C E – Gb – Bb D F#. the F#/Gb position is associated with the Poles within music. That axis point happens to exist at the 45-degree angle. A later chapter will deal with this “in and out” of the mirror phenomena. each movement being that of one tone. 16 . These triangles can also be written as an ascending scale – C D E F# Ab Bb. these seven mirror modes belong to other major scales.Be aware of all these things as we move deeper through the mirror. Also. If you have been in accord with things so far then this angle will be focused on further as more evidence of its peculiarities are exposed. These other major scales create exactly the same triangular structures as at the 45-degree angles. Vertically the major scales are Ab C E – Gb – Bb D F#. There is a scale within music called the whole tone scale. so this is another indication that the poles are swapping at this in-between point. Gb and F# for example. the non-musician should be able to see the logic of the Mode box. Every major scale comes with this structure. are the most important aspect of all. The ensuing loop that is created sees the emergence of this triangular-based structure. which is why the same triangles/circle of tones exists there. meaning they exist this side one instance and the ‘other’ side the next. Also. It is because the mirror cycle is started off-base commencing from the third position that the modes are sent on some kind of a tonality journey through a series of major scales. To make this possible another axis point is employed. and will be seen as the catalysts that swap information from one side of the mirror to the other. The Major scale always carries the number 1 above it.

the colours shown overleaf are the most common ones that are associated with these musical notes. The numbers signify the calculated frequency of each note (cycles per second). Notice how 1/3 and 3/1 are always symmetrically linked at every point of the mode box. There are of course differences of opinion when attaching colour to frequency. The number positions of the Dual Modal partnerships The next example of the Mode Box of C Major contains numbers and colours.This next example is the mode box with the note names removed. showing only the numerical positions. This is true for the other pairs 4/7 and 7/4. However. 5/6 and 6/5 . and 2/2. 17 .

18 . One could view the very center of the major scale as 374 (the mean between the F and the G) on one side. any ratio is simply divided instead of multiplied. the reader is urged to further explore this for themselves. To get the mirror frequencies here it is a question of Reciprocity of movement. and the 8/9 leads to the note Bb. The multiplied ratio leads to the note D. and also the formulas for each of its modes. that is. For example. Ratios are used in order to ascertain each step of the scale. to the right of the note C is made into an 8/9 instead. the 9/8 ratio used to find the note D. As there are many web sites that convey this information on how to build scales and the frequencies involved.Another view of Mode Box One can see here how the frequencies fit in within a major scale formula. and 187 on the mirror side.

or its inversion. E to Ab. D mirrors to Bb and A to Eb. that the note B mirrors to Db. In the case of C major the two triangles are – C Ab E and D Bb F#. C D min 6th Ab Bb min 6th E F# min 6th C D min 6th min 6th min 6th C D maj 3rd maj 3 rd Ab Bb maj 3rd maj 3 rd E F# maj 3rd maj 3 rd C D 19 . This twin axis partnership between the root and the tri-tone position will be discussed fully further on. Only C and F# are axis points and therefore have no mirror partner. the major 3rd interval. Each Major scale can mirror 3 times in an unbroken link and produces a triangle relationship (like C Ab E). That is because they are both axis point partners. for example. and the F# is the invisible axis at the 4. G to F. In the key of C we find. Each note of the triangle is separated by the Minor 6th interval. As well as this.Triangles tree of note pairs C B Bb A Ab G F# F Db D Eb E The mirror note partners are opposite to each other here. the seven modes of each individual major scale can be mirrored and there are found two triangles within the result. There are only four possible triangles within the twelve Key Major and Minor scale system. as indeed it does in this diagram.5 position of the C major scale. The C is the visible axis.

Therefore if two triangles of keys belong to six major scales. One will find that the scale of D Major will also have these particular two triangles on the mirror side of its formulas. These triangles of frequency can also be plotted on a circle. The circle of tones are also the six major scales where the triangles of C Ab E and D Bb F# belong. as they are cyclic (one can repeat the major scale over and over and these triangles will appear vertically and at the 45degree angle on the left hand side of the mode box) 20 . In fact it is easy to know which major scales house the same two triangles. Ab. even though there are six other major scales involved.These two triangles will all be related to C Major. when a mode box for D major is produced. Every note is separated by a tone. as everything is symmetrical. Therefore E. The triangles themselves are telling us which major scales they belong to. then four triangles of keys belong to twelve major scales. Bb will also contain these very same two triangles when a mode box is drawn for those particular key. C Db D Eb Ab E A F Bb F# B G It is these same four triangles that we will consistently find by using various musical and number approaches.

or 9:8 ratio. all the way round the circle. These two symbols can be called two Circles or Cycles of Tones. shown as alphabetical symbols. with the Phrygian commencing on the red etc. When seen as a mode box made up of equal temperament tuning. whereas in Equal Temperament it is 700 cents. Different temperaments will give slightly different intervals.. The Dorian. 21 . regardless of the tuning used... for example: CDEFGABC 256/243 C Db 9/8 9/8 9/8 256/243 9/8 9/8. the notes will be tuned in cents. it would also be a mistake to think any tuning delivers the same kind of result on one's mind. D to E is also one tone. with each semitone being 100 cents. C to D is one tone. However. One rather psychedelic looking example of the mirroring of the major scale formula is this “leaf effect” caused when all seven cycles are continually mirrored.. Obviously. A Pythagorean tuning for the major scale would look like this: 9/8 9/8 256/243 9/8 9/8 9/8 256/243 To this tuning would be attributed a series of pitches. The color-coding should help one trace these modal formulas. for example is an interval of 702 cents according to Just Intonation (Pythagorean tuning)..Notice that all the notes are a Tone apart form each other. The perfect 5th. when experimenting on the properties of the mode box. different tunings will produce different perceptual results. between each note. a mode box will look rather similar.9/8 9/8 256/243 9/8 9/8 9/8 256/243 Eb F G Ab Bb C D E F G A B C Here we see the logic that. for example begins on the central yellow.

In this section, hopefully this mirror structure has stuck in the mind, and also that you agree the results of mirroring scales do produce these triangular key relationships, being the groups of the separate major scales within a whole mode box, and the mirroring of the major scale three times in all to produce one triangle of keys. The real key to understanding how the information is part of a whole unit is to focus on the tri-tone area and then to bring in the Dorian mode connection, which is like an axis position as well (it carries a 2/2 relationship in the mode box, and it will be seen to be related to the F# tri-tone position in the mode box, at the 4.5). Before that, these triangle relationships will be shown to emerge within other examples, that are not always music theory based.

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Chapter two

A Tonal Fountain
Upon mirroring the major scale formula, it is noticed that the two mirror sides are disjointed. At first glance there is no more than asymmetry. To find a point that unites both sides of the mirror is no easy task, but one that a non-musician can undergo, due to the fact we are talking of positions rather than the art of actually making music from all this. The animations should help. Even this is really only the beginning, because, further contemplation may lead to the conclusion that this easy looking info is implying something rather fundamental in terms of unification of things like duality itself, the positive/negative or expansion/contraction principles evident within nature.. Do not all structures possess a frequency, a number relationship, both inward relating towards its own components, and outwards towards other objects? The mirroring of a major scale begins with a 3/1 relationship. The first mode of the major scale mirrors to another major scale that begins from that mirror major scale's 3rd mode. No access point here. Brick wall. One could say that this asymmetrical relationship stops the manifestation sliding back into invisible oblivion. Next, one would think of plotting down all seven modes to see where there may be an access point to the other side of the mirror. However, the access point is actually evident within the first 3/1 relationship itself: 3 - C Db Eb F G Ab Bb C/C D E F G A B C - 1 C is the visible axis. It pairs up D/Bb, E/Ab etc, either side of the mirror. The only note missing from the twelve chromatics here is the F#, between the 4th and 5th position of both scales. It already qualifies as another type of axis point, 4.5/4.5. This means that at the 4.5 either side of the mirror there is the same note. F#/F#. Because this is a similar type of relationship to the C/C (the original mirror axis point), it qualifies as another axis point. At that in-between axis point the dual mirror partners are in perfect symmetry. Here is how the two F# notes either side of the mirror perform their symmetrical association with the same mirror note pairs that are around the C axis:

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C Db Eb F (f#) G Ab Bb C/C D E F (f#) G A B C The F, descending from the f# on the left, mirrors to the G ascending from the f# on the right. This G/F mirror pair also happens around the C axis (F/G are in bold). The F/G both represent a semitone move away from the f#. After the F/G, the next note on the left from f# is the Eb, which mirrors to the A on the right. Again A/Eb are mirror pairs around the C axis. There is a visible/invisible axis partnership occurring here, and it is the tri-tone that creates it. Db will mirror to B, around the two f# positions, and one returns to C/C again. The rest of the symmetrical relationships ascend from the f# on the left, and descend from the f# on the right. Here is the sub-section in order to show this: (f#) G Ab Bb C/C D E F (f#) One can begin with the F to the left of the f# on the right hand side. This symmetrically pairs up with the G, to the right of the f# on the right hand side. Then rest of the dual mirror relationships are E/Ab, D/Bb and C/C again. Again, these are exactly the same pairs as around the C/C axis. The disjointedness at the start actually shows that, amongst its positions is an axis that creates symmetry at a 4.5 position either side of the mirror.. In these examples, the F# point can be seen to be the axis for all the modal pairs, as seen in the Mode Box: 1) F Aeolian G mixolydian

C Db Eb F (f#) G Ab Bb C/C D E F (f#) G A B C

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This accounts for the Ab/E and C/C positions. It will be far easier to see visually. 25 . The Lyd/Loc pair is another example. at E. The Ionian will be on the left hand side of the mirror.5 positions. All the other pairs will emerge in likewise fashion. The animation will be called “F# Tonal fountain”.5 axis. Both will be in symmetry around the F# axis at the 4. Then when the modal pair swaps over to a Phr/Ion there will be the C Phrygian one side of the mirror mirroring to the C Ionian on the other side. and the Phrygian will be on the right hand side. One can see. the Ion/Phr pair (red arrows). at Ab. for example. This will equate to the notes and modal positions of B/Db (Lyd/Loc) and G/F (Loc/Lyd) Another way to see this symmetry born around the F# is to view one of the animations that accompanies this book.2) Eb Mixolydian A Aeolian C Db Eb F (f#) G Ab Bb C/C D E F (f#) G A B C As we can also see both Mix/Aeo and Aeo/Mix appear in symmetry around the 4.

Where exactly that is will be seen to be in relation to one of the triangles of frequencies. It should be evident that if a relationship is equal on both sides.The DOR above the two F# positions is short for DORIAN. it is also an axis point relating to something somewhere. which carries the 2/2 relationship. 26 . It will be argued shortly that these F# positions are actually manifestations of another Dorian mode.

and is becoming increasingly popular in the west. and it will be shown that the Vedic square confirms the results in the Mode box. then the following exercise would justifiably be seen as numerology. there will be other examples . as will be seen. highlights the 4. addition. such as the Fibonacci numbers. and obviously other bases will throw up other sequences. divisions. Once shown that the Vedic Square produces these. which also expose the same triangles of frequencies. subtraction. What will be shown in this chapter is a series of clockwise and anti-clockwise sequences of numbers.Chapter three The Vedic Square The Vedic Square is a mathematical tool popular in countries like India. and even algebraic equations. One should not underestimate the power of breaking down totals to single digit.5 axis of perfect symmetry away from musical examples. a Vedic square is no more than a 9 by 9 multiplication table. mainly because of the speed one can learn to mentally attain the results to fairly complicated multiplications. All numbers can be broken down to a number between one and nine. Sometimes it can be simplicity itself that goes on to lay a solid foundation. The reason for focusing on the nine number sequences that emerge with this particular base system is that it throws up the same triangles of frequencies as in the music theory examples. In effect . They work for the general number line. Without the reason for investigating this inbuilt triangle of frequencies structure further. For the purposes this book. It has long aided mathematicians in the Far East. and also shows just how one little seed (the nine sequences) can create an infinity of relationships. who can realize complicated maths results in very fast time without the need to write anything down. confirms the Dorian mode connection using number as a basis. Here is an example: 37 = 3 + 7 = 10 = 1 + 0 = 1 27 . Bear with this approach. with the totals reduced to single digit. exposing the nine individual single digit number sequences is in order to highlight a consistently emerging mirror structure based on triangles of frequencies.

Other numbers that share this same ‘cyclic’ sequence are 1. 19. The number 1 will be seen as the beginning of a cycle of numbers based on 37. It is the first nine numbers that house all the possible sequences (the zero is teamed with the number 9 as will become apparent). Not all sequences are as straightforward as this and you will see that some will be mirrors of others. say. 10. the number 11 would represent the sequence 2 and so on.46. which is obtained by cycling the number 37. tripled. Try this yourself.1 2 3 4 5 6 7 8 9. doubled. 28 . 28. the number 19 and cycle it in the above manner. Here is the number two cycled. The number 10 would obviously represent the number sequence 1. The sequence will cycle over and over like this: 37 = 3 + 7 = 10 = 1 + 0 74 = 7 + 4 = 11 = 1 + 1 111 = 1 + 1 + 1 = = = 1 2 3 4 5 6 7 8 9 1 etc. You will see the same sequence emerge.Therefore the number 37 can also be broken down to and represent the number 1. quadrupled etc. 148 = 1 + 4 + 8 = 13 = 1 + 3 = 185 = 1 + 8 + 5 = 14 = 1 + 4 = 222 = 2 + 2 + 2 = 259 = 2 + 5 + 9 = 16 = 1 + 6 = 296 = 2 + 9 + 6 = 17 = 1 + 7 = 333 = 3 + 3 + 3 370 = 3 + 7 = 10 = 1 +0 = = As you can see the number sequence that has emerged here is . Take. What we do now is add 37 to 37 and break it down again to a number 1 to 9. that is. 37 + 37 = 74 = 7 + 4 = 11= 1 + 1 = 2 If we keep adding on the original number to the total we will uncover a "number sequence" which will be related to the number 37 and its natural cycle. In fact there are only nine possible number sequences and these sequences represent every number into infinity.55 etc. This is like multiplication tables.

Other numbers that share this same sequence will be – 11 20 29 38 etc. If we follow this procedure with the number three we uncover another sequence: 3 6 9 = = = 3 6 9 3 6 9 etc.2 4 6 8 = 2 = 4 = 6 = 8 sequence = 2 4 6 8 1 3 5 7 9 10 = 1 + 0 = 1 12 = 1 + 2 = 3 14 = 1 + 4 = 5 16 = 1 + 6 = 7 18 = 1 + 8 = 9 20 = 2 + 0 = 2 etc. sequence = 3 6 9 12 = 1 + 2 = 15 = 1 + 5 = 18 = 1 + 8 = When this is done with the first nine numbers we will uncover all the sequences. the first nine numbers being all that is needed: 1 2 3 4 5 6 7 8 9 2 4 6 8 1 3 5 7 9 3 6 9 3 6 9 3 6 9 4 8 3 7 2 6 1 5 9 5 1 6 2 7 3 8 4 9 6 3 9 6 3 9 6 3 9 7 5 3 1 8 6 4 2 9 8 7 6 5 4 3 2 1 9 9 9 9 9 9 9 9 9 9 29 . Instead of listing each number in the above manner I will only give the sequence that the first nine numbers uncover.

the third flows contrary to the sixth. as the pairs work their way back to the beginning. For example. and is its own constant. 1*1 = 1. 1/8 2/7 3/6 4/5 -----------4. forming the first number sequence of the Vedic Square. 6/3. Observe how the first number sequence mirrors the eighth sequence (flow in opposite directions to each other).5 axis 5/4 6/3 7/2 8/1 9/0 One flow is constant and you can see that it is that of the 9. 1*3 = 3 etc. Buckminster-Fuller showed how the 9 is also a zero by using indig numbers. which is the return of the 1. and therefore the zero has occurred “within” the 9. The number sequences emerge horizontally as well as vertically.1/8 2/7 3/6 4/5 . Four of the number sequences mirror the flow of another four. which will be shown shortly. and so on. Producing a 9 by 9 multiplication table would yield the same grid. The zero needs to accompany the 9. 1*2 = 2. 5/4. the second flows contrary to the seventh. which too carries the duality within itself. 8/1. yet cannot stand on its own after its initial beginning. and the fourth flows contrary to the fifth .One can spend half an hour or so satisfying themselves that any number cycled in a similar way will only produce these nine number sequences. and so the sequence would repeat all over again. 30 . 7/2. but would be broken down to the number 1 when cross adding the digits.5. the first flows contrary to the eighth. At this point there is a swap over at the 4. 2*2 = 4. 2*3 = 6 etc. forming the second number sequence of the Vedic square. 1*10 = 10. Then 2*1= 2. After the 9 will come the 10.

What struck me first is that when you add up a number from both sides of the mirror the total is always a 9. 3/6. or 2/7. Vertically the result is always a 9 when the two numbers are added together. are mirrors of each other up/down and left/right. In this case they both belong to the 2 4 6 8 1 3 5 7 9 sequence. Therefore both these numbers have a clockwise spin inherent within their doubling and tripling etc. Here is an example of how to invert an interval in music: C to G is a 5th interval G to C is a 4th interval C to D = 2nd D to C = 7th These too are adding up to 9. and be part of the 7 5 3 1 8 6 4 2 9 sequence. for example. This is true when all number sequence partners are displayed as above. so there is a relationship there. Something like a 99999799999 perhaps?! Cycling this number will produce the 7th number sequence. This is precisely the same numerical relationship that is found within musical inversions.123456789 876543219 One sequence flows left to right (clockwise) whilst the other sequence is in contrary flow. Numbers like 776567 can be related to a number like 47 just because of their hidden number sequence cycles. they all add up to 9 together. 1/8. As you can see the numbers are mirrors of each other both vertically and horizontally. An anti-clockwise partner to these numbers would need to break down to a 7. The numbers 1 and 8. for example. 246813579 753186429 Using such a simple set of number sequences allows access to seemingly unrelated numbers due to their clockwise/anti-clockwise relationship. 31 .

It will be seen that between numbers 4 and 5.These number sequences of the Vedic Square also correspond to the indig numbers +/-1 +/-2 +/-3 +/-4 ++/--4.5. clockwise and anti-clockwise. One can see straight away that the cross over point was at the 4. Every number can then be associated with one of these two flows when in direct proportion to another thing. For example. the oneness is plus at the number 1 and minus at the number 8. as seen in the number sequences. 32 . as devised by Buckminster-Fuller. so to speak. This is what BuckminsterFuller has to say about these four possible plus/minus integers: ‘one produces a plus oneness two produces a plus twoness three produces a plus threeness Four produces a plus fourness Where after we reverse: Five produces a minus fourness Six produces a minus threeness Seven produces a minus twoness Eight produces a minus oneness 1 2 3 4 5 6 7 8 +1 +2 +3 +4 -4 -3 -2 -1 We can see that a 2. for example.5 is a 9 halved after all. Also the plus/minus signs refer to the dual flows. This 4. The 1 and 8 are number sequence partners and flow in an opposite direction to each other. It is reckoned that every number can be made up of these indig numbers.5 position. or clockwise and anti-clockwise flows. This is true for the 2/7 3/6 and 4/5. between the fourth and fifth number. at the 4. produces a plus twoness when the number is cycled – 2 4 6 8 1 3 5 7 9. Yet it was from a clockwise positive state to an anti-clockwise negative state. The number 9 does indeed behave in a similar fashion to the number zero. there is a swapping over of partnerships.

The 7 has a minus 2 about it. the mean between those two numbers being 4. in that there is a visible axis and an invisible/in-between axis. Around the uninvolved axis one will find the 1/8. the 4. Here is the second number sequence of the Vedic Square to highlight this: 2 4 6 8 -1 3 5 7 9 2 4 6 8 -1 3 5 7 9 Around the 9 axis are the correct + and . and you can see that it does. are what Buckminster-Fuller recognizes as +2 and -2. 4/5 pairs. also producing the right number partners. and you can see from the above number 7 sequence that this is true. The mean number between the 1 and 8 is going to be 4.numbers according to Buckminster-Fuller.5. This is true for the 2/7 sequence. For it to remain true there has to be a hidden 9 in between the 1 and 8 in the above sequence. 2/7. The 2 and the 7 number sequence. This is where the visible and invisible axis really make sense. In between the 8 and 1 is the “invisible” or uninvolved axis. which are the same relationships as around the number 9. Here is a diagram to show the relationship between number sequences of the Vedic Square. This is really the first correlation that the number sequences have with the mirroring of the musical Modal system. 3/6. He states that the 2 has a plus twoness about it. as well as the number 9 itself.5 and the Indig numbers: 33 . acting like some kind of axis point. the same as around the number 9. in the light of the sequence of numbers it creates. for example.5.1 2 3 4 5 6 7 8 36 = 9 = = = = = = = = = +1 +2 +3 +4 -4 -3 -2 -1 0 All the number partners can be seen to emerge from the center.

5 4. In summation .5 axis and the 9 axis everything is symmetrical. But running them as symmetrically related pairs.numbers 1 2 3 and 4 cycle in a clockwise fashion. The 4.6/3 – 7/2 – 8/1 Running numbers alone will obviously show them increasing or decreasing. but in the last example it seems that there is a four-way relationship functioning when the mirror flows are brought together. The 1/8 for example occurs twice around the 9 axis.5/4 – 6/3 – 7/2 – 8/1 . They delve back into zero point at the 4.5 axis.5 1/8 – 2/7 – 3/6 – 4/5 .Another reoccurring theme within the mirroring of natural cycles will be seen to be the swap-over factor. It should be noted that around the 4.5 swap over tendencies will be followed 34 . and it is also a swap-over point. This is no different to the previous set of numbers around the 9 and 4. Does the 1 to the right of the 9 mirror to the 8 on the left.5 axis. Numbers 5 6 7 and 8 cycle contrary to the first four numbers. shows them crossing over the mirror point.1/8 – 2/7 – 3/6 – 4/5 – 5/4 .9 . and place similar relationships in a tonal sense as is above in numerical cycles. get swapped over the mirror axis and continue their flow. 4. The number 4.5 brings these two contrary flows to perfect symmetry. with the remaining 1/8 being the remaining pair? The musical examples that follow also suggest this.

both really equaling a 9. 31. The magnitudes are forever changing. And this 9 is further related to the number 0. but the ratio between each mirror number pair is consistent.5.5.5 is now perfect symmetry for the contrary cycles existing between the numbers 10 and 17. Both contrary cycles evident within the first eight numbers always add up to a 9 together.5.5. The next 4. The whole pattern is established within the first 9 numbers.5. This next diagram aims to show this simple expansion/contraction process through all number.5) 23 24 25 26 27 28 29 30 31 (31.5 axis is then at 22. The 9 is also partnered with the 0.5.5 there is an expansion through 13/14 to the outskirts at 10/17.5 are all 4. being perfect symmetry between the numbers 19 and 26.5. 1 2 3 4 (4. The 4. the 4/5 begins to expand outward from the 4. As the 1/8 begin to compress toward the 4.throughout the book.5.5s. and begins to compress to the 13. for example. begin to compress inwards toward the 4. 13.5) 14 15 16 17 18 18 20 21 22 (22. 13.5) 5 6 7 8 9 10 11 12 13 (13. And so on throughout number. 7/2 and 8/1. is switched over. 3/6 and 4/5. plus the .5) 32 33 34 35 36 4. 35 . traveling through the 6/3.5 and the 9 are also axis points.5. After this the number 10 begins the contrary cycles all over again.5. In the first example we see the 1/8 on the outskirts. and each example shows that this is an obvious aspect of the axis found at 4. 22. This 13. into infinity. The 4.5 is 1+3 = 4.5 is shifted and is represented as the number 13. This flow meets the axis at 9. traveling through 2/7.5. and one can see that the mean number between these two extremes is the 4. whilst from the 13.5.

5... one can also witness their symmetrical relationships amongst many divisions. the still point. there is surely a case at least for their being known to exist in such a manner.5 axis.This is how clockwise and anti-clockwise cycles keep themselves in perfect symmetry around the 4. but able to see all the creation from its vantage point. It is rather uncanny that this phenomena exists..5 acts as an axis: 58823529 4..5 and 0 axis points. not part of the duality (unchanging). and it is not limited to only a few divisions. I certainly don't know what it is. There is nothing in existence that does not have a number or ratio. 58823529 41176470 One could say that the 4.. whether these results appear by accident or not. In a later chapter many more examples are given as an introduction to these contrary number pairs within constants.. but to an infinite amount of divisions that display constants in the results. like 10/17. the 5 (-4 indig) swaps to the 4 (+4 indig) across this 4. Once the contrary cycling number pairs are ascertained.5882352941176470. For example. Instead of seeing the resulting constant as 0.. If there is a formula that can be created in order to find these examples...5882352941176470 5882352941176470 5882352941176470. It is akin to the mystical expression that the Father is perfectly symmetrical. The prime numbers are the most prolific.. 36 .5 ------------------------------------- 41176470 The positive and negative aspects of each number are swapped over across the 4. However. for example. one can see this constant as two sets of mirror contrary cycling numbers that express their clockwise and anti-clockwise nature in symmetry that adds to a 9: 10/17 = 0.

(2) 3 9 9 9 9 9 In base 13 it is . In base 10 it is ........ In base 5 it is (4) 5 7 8 4 2 1. In base 8 it is -(7) 8 1 8 1 8. and 2 from the last....(1) 2 4 8 7 5 1..(8) 9 9 9.(4) 5 7 8 4 2 1 Take base 3 as an example.... In base 7 it is (6) 7 4 1 7 4 1..... these are the numbers for the first few position: 243 81 27 9 3 (2) The far right is for the numbers 0-2... After that the next position is worked out by multiplying 3 by 3 = 9.. There will be 1*243... and so on.. 2*9. The next position is 3 by 9 = 27. In base 2 the repeating single digit sequence is 1 2 4 8 7 5 In base 3 it is (2) 3 9 9 9 9 9 In base 4 it is (3) 4 7 1 4 7 1.. A number like 371 in base 10.. In base 12 it is .... 1*81.. 1*27... 37 ... 0*3. and the positions each number in any particular base occupies...... The next position is the amount of threes.. If one wants to confirm that the grid below is correct.... in base 3 would look like this – 111202..... Reading from right to left.. In base 9 it is .Bases and their number sequences: Taking each possible base.. a quick study of bases would help one to do so.. In base 6 it is (5) 6 9 9 9 9.(3) 4 7 1 4 7 1 In base 14 it is ... in base 11 it is ...(9) 1 1 1 1 1... a simple single digit grid appears....

The grid: 1248751 (2) 3 9 9 9 9 9 (3) 4 7 1 4 7 1 (4) 5 7 8 4 2 1 (5) 6 9 9 9 9 9 (6) 7 4 1 7 4 1 (7) 8 1 8 1 8 1 (8) 9 9 9 9 9 9 (9) 1 1 1 1 1 1 This next table shows how the number sequences of the Vedic Square display the same four triangles of the Mode boxes. the 45 degree angle plays a vital role in this kind of evolution. In fact it will be seen that an infinity amount of numbers would do so. 38 . Added to that the above bases grid. Like the 4. and one can also find the triangles of frequencies evolving in the way shown below.5. All in all. then 45 degree angle is like a carrier for the circle of tones mirror structure. but then the Vedic Square does represent that infinity of numbers.

The Nine number sequences and the Triangles 1 2 3 4 5 6 7 8 9 = Bb 1 =C 12 =G 123 =B 1234 = Eb 12345 =G 123456 =B 1234567 =D 12345678 = F# 123456789 = Bb 1234567891 = D 12345678912 = F# etc 2 4 6 8 1 3 5 7 9 = Bb 2 =C 24 =G 246 =B 2468 = Eb 24681 =G 246813 =B 2468135 =D 24681357 = F# 246813579 = Bb 2468135792 = D 24681357924 = F# 4 8 3 7 2 6 1 5 9 = Bb 369369369=F 3 =G 36 =D 369 = F# 3693 = Bb 36936 =D 369369 = F# 3693693 =A 36936936 = C# 369369369 = F 3693693693 = A 36936936936 = C# 4 =C 48 =G 483 =B 4837 =D 48372 = F# 483726 = Bb 4837261 =D 48372615 = F# 483726159 = Bb 4837261594 =D 48372615948 = F# 483726159483 = A 4837261594837 = C# 48372615948372 = F etc 516273849=B 5 =E 51 = Ab 516 =C 5162 =E 51627 =G 516273 =B 5162738 = Eb 51627384 = G 516273849 = B 6 3 9 6 3 9 6 3 9 = Eb 6 =G 63 =B 639 = Eb 6396 =G 63963 =B 639639 = Eb 6396396 =G 63963963 =B 639639639 = Eb 6396396396 =G 63963963963 = Bb 639639639639 = D 6396396396396 = F# 39 .

40 .753186429=F 7 = Bb 75 =D 753 = F# 7531 = Bb 75318 =D 753186 = F# 7531864 = Bb 75318642 =D 753186429 = F 7531864297 = A 75318642975 = C# 8 7 6 5 4 3 2 1 9 = Ab 8 =C 87 =F 876 =A 8765 = C# 87654 =F 876543 =A 8765432 = C 87654321 = E 876543219 = Ab 9 9 9 9 9 9 9 9 9 = Bb 9 =D 99 =G 999 =B 9999 = Eb 99999 =G 999999 =B 9999999 = Eb 99999999 =G 999999999 = Bb 9999999999 = D 99999999999 = F# Each sequence can be extended and all four triangle of frequencies emerge.

It basically represents the natural overtone ratios that are produced when things like strings are plucked or a brass instrument is blown through. But with careful inspection it will be seen how F# can also be considered an axis point.Chapter four The Lambdoma. verifying the mirroring of ratios Below is a grid called the Lambdoma. or a bell is struck. 41 . Each ratio is taken from the perspective of the C axis/fundamental. which is said to have been constructed by Pythagoras.

Most musicians can hear this octave of the fundamental when they pluck a string. except that the second note is one octave higher in pitch. a simple explanation of how this grid describes sound within material objects. called Overtones (also called harmonics or partials). but the ratios above are more or less the same. one will hear what is called the fundamental tone. Could the same be true for this 11:1 and1:11 within the Lambdoma? There is a similar arrangement of axis points here. In fact here is a diagram of. for example. In fact it can be seen that F# is F# whenever two reciprocal ratios are represented. Acoustic engineers prefer the word Harmonics. We will stay just with the 11:1 and 1:11. so here is. or Hertz. but these are to do with dissonance and consonance. say. or Two cycles per second. and more faint than the fundamental.5/Tri-tone position of the major scale there is an perfectly symmetrical in-between axis point. The next ratio is that of 2:1. showing how octaves evolve when that string is progressively cut in half: 42 . This chapter will attempt to show how the Lambdoma. the C major scale and its mirror show no conflict. and can be represented as whole number ratios. hopefully. is seen as One Cycle Per Second. or clangs on a big bell. Note also that the note's frequency here. When one bows and plays a violin string. They are all fainter than the fundamental tone. It has been seen that at the 4. The grid above shows how C is the fundamental note. I am sure this kind of grid may not make sense to some. the C and the F#.Notice how at 11:1 and 1:11 the overtone is F#. like the 10:7 and the 7:10. Yet this tone that we all hear is actually composed of many other tones as well. a violin string. This first overtone from the fundamental produces the same note. There are slight differences between the idea of overtones and harmonics. This is shown as a 1:1 ratio..

and signifies two octaves above the fundamental. Where will this halving of the string end? In between the main octave ratios are other ratios. at 450 Terahertz. By using the law of octaves. within the Lambdoma will be shown as the note C. scientists are able to determine a musical note that is being emitted by the sun. another C at 4:1. This ratio will produce the interval of an octave plus a perfect 5th above the fundamental. by which waves sum up or divide. and it will fall into the wavelength required to create the colour red. Colour and other electro-magnetic forces are all related to frequency. Should the string above be cut and cut and cut. Here are the first few overtones plotted on the music stave: The bottom note here is a low C. Using the law of octaves one may cut the fundamental C1 a total of 2^26. The next note is the C one octave above.The whole string signifies the Fundamental pitch. then the E above that. it will enter the domain of colour frequencies. In simple terms as wavelength relationship they would both adhere to similar type ratios. The 4:1 is the half string being cut in half again (or 4 of these slices would be required to complete the whole string length). 1:1. This note is really too high for us to hear at its original frequency 43 . All these. which have cycles per second in the trillions. being the string cut midway is the ratio for an Octave above the fundamental. The 2:1. The question remains whether sound waves and electromagnetic waves are the same. such as 3:1. then the G above that. which in this case will be the note G. and so on.

3:1. are the same mirror note partners as in the C major scale and its mirror scale. All one has to do is halve or double the number of the frequency continually. etc. 44 . Brass instruments only produce the odd numbered overtones. until our ears pick up a note. the number 2 will be 2:1 etc. for example. at a 3:1 ratio. The F/G pair. G/F. F/G. and one would hear a faint G note. 2:1. the same mirror note pairs as around the C axis of the Major scale. So far we are dealing with multiplications. C/C. the fundamental string divided into three parts/separate wavelengths.(somewhere in the region of 50 to 100 Mhz) but a note will repeat itself by lowering it in octaves. for example. hopefully it will begin to make more sense. In symmetry to this. so that the number 1 will be 1:1. Again we see that the 2:1 ratio to the right produces an octave. D/Bb. however. If one played the 1:1 C note on the violin. as well as raising it by octaves. What about the divisions? Here is the fundamental note C set as an axis. Not all objects. 4:1 etc. are 9:1 and 1:9 respectively. This too complies with the law of halving as number in order to produce the same note one octave lower in pitch. and this complies with the law of doubling a number to produce the same note an octave higher. This is what we see amongst the multiplication ratios and the divisions. In symmetry to this is the 1:2 ratio to the left. Studying the Lambdoma above again. E/Ab. produce all the overtones all the time. for example. the wavelength would divide itself along that string. and the division ratios on the left: Overtone series of C with symmetrical reflection applied: 11 10 9 8 7 6 5 4 3 2 1 2 3 4 5 6 7 8 9 10 11 F# Ab Bb C Db F Ab C F C C C G C E G Bb C D E F# Remember to view each position with an added :1 after it. D and Bb. the 1:3 ratio would produce the overtone F. with the multiplication ratios on the right of it.

This is the 4. whereas in the Lambdoma this same axis is at the F# 11:1 and F# 1:11. So F# = F# through the mirror (it symmetrically reflects itself). Here is the scale of C major and its mirror again: C Db Eb F G Ab Bb C D E F G A B C The note F# sits in the very center of both sides of the mirror. in between the F and the G. between the notes F and G. 45 . This of course equals an 11. Obviously the other notes do not qualify as axis points because they share partners across the mirror that are not the same note.5 axis. That point occurs at the 11:1 and 1:11. 3 4 5 6 F 7 G 1 Ab 2 Bb 3/1 2 D 3 E 4 F 5 G 6 A 7 B 1 C C Db Eb C Around the C note axis appear mirror note pairs. The F#. As seen in the Mode box (chapter one) the C on the mirror side starts its cycle on the number 3. but these are from the point of view of other root notes.5 and 6. and on the number 1 on the right hand side. As mentioned.What is also confirmed in the Lambdoma is that at one point after the C there is another axis point.5. therefore can also be seen to be positioned at the numbers 4. four and a half moves to the left and right. The F# is not part of the scale. that of F#. The note C is an axis point because C = C in the mirror. lying at the Tri-tone positions in both scales. There are other ratios for F# within the grid. this is the same note. Remember that this 11:1 and 1:11 axis is from the point of view of the C axis at 1:1. One axis point is the visible fundamental (the C axis). and the other is the “invisible” or in between axis (the F# axis). C/C D/Bb E/Ab G/F etc.

7/4. the major scale would naturally emerge within the first few overtones sounding from each string. we will show the positions of the mirror pairs as numbers 3/1. 46 . The 7/4 and 6/5 already shows the number 11 quality. In this chapter we have dealt with the natural phenomena of sound. A chapter is dedicated to how this is achieved in the second volume of this book. This will be shown in the chapter “tonal fountain” It may be claimed. one tuned to C and the other to G or F. 4/7. Therefore the results within them. as in F-Lyd/G-Loc. There is also a case that the first three prime numbers give rise to the major scale.5 of the F# axis points did equal an 11. There are other reasons why the 11 should be so consistent through the pairing up of notes that are symmetrical reflections of each other. cannot be taken as actually occurring within nature. as held within the law of Overtones/Harmonics. and in some ways it would be a fair point. 5/6. 6/5. The others do as well. Together this equals an 11:11. Therefore the 3/1 mirror pair can also be designated as 3/8. 2/2.If F# reflects to F#. and this functions as an 11 within the Lambdoma. This law is perfectly expressed within a grid like the Lambdoma. as claimed within this book. The 2/2 can be designated as 9/2. Here are two octaves of the C major scale: 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 C D E F G A B C D E F G A B C The 1 can also be an 8. again an 11. 1/3. that musical scales are man made sequences of notes.5 + 6. then is the major scale and its mirror also endowed with an 11 connection? The 4. if we shift some of the relationships up by an octave. Instead of using the modal mirror pair names. If one studied the overtone structure of two strings. Then the 1/3 can be designated as 8/3.

If the above were the key of C Major then one would find.Here is the Major scale formula written as ratios relating to the Lambdoma. 47 . These ratios apply to any major key. and then against the C major scale and its mirror. two of which are enharmonic. not as a non-mirror side with the inclusion of a mirror side. that is. not just C Major: 1:1 15:1 5:3 3:2 2:3 5:1 9:1 1:1 9:1 5:1 2:3 3:2 5:3 15:1 1:1 One can see that the top line of a mode box shown as ratios reflects perfectly around the 1:1 axis. In a mode box of course. This is because one Lambdoma is related only to one Fundamental. and therefore the resulting triangles of frequencies that emerge are part of the overall picture within a Mode Box. one exposes seven major scales. After the second line of a Mode Box there will be an asymmetrical picture. as in the Lambdoma shown in this chapter. that the 9:1 would represent the note D and the 1:9 would represent the note Bb along the top line. for example. Therefore one would need to draw out at least six Lambdoma charts to prove that the mode box does reflect in a natural way. which is all related to the main note C. seven root fundamentals. The Mode Box behaves as one overall unit. One can check this against the Lambdoma.

1:1 . 1:1 C At this point the pattern repeats. 5:1 E.Here is a rather complicated looking set of ratios. Here are the notes and ratios together along this 45-degree angle: 1:1 C.1:9 . 1:5 Ab. which is a grid that represents natural sound and its wavelength relationships expressed as whole number ratios.1:1 .3:2 . known as the Circle of Tones. C Ab E and D Bb F#. 1:9 Bb. who prefer to see things in terms of ratios.3:5 .1:5 . 9:1 D. 1:11 F#. 48 . Yet the patterns flowing along this other 45-degree angle hide even more secrets. These are the two triangles of the C major Mode box. It is made up of two left hand sides of a Mode Box. This should help those.1:5 . As do all the patterns flowing from top left to bottom right.2:3 .1:9 .1:15 15:1 5:3 1:5 3:2 1:11 5:1 1:11 5:1 3:5 9:1 1:15 15:1 15:1 5:3 15:1 5:3 1:5 3:2 1:11 5:1 1:11 5:1 3:5 9:1 1:15 15:1 15:1 5:3 3:2 2:3 3:5 9:1 1:1 1:9 3:2 3:2 2:3 3:5 9:1 1:1 1:9 3:2 2:3 3:5 1:15 1:15 1:9 1:5 1:11 2:3 3:5 1:15 1:15 1:9 1:5 1:11 5:1 1:15 15:1 15:1 1:5 1:11 5:1 5:1 1:15 15:1 15:1 1:5 1:11 5:1 9:1 1:1 5:3 5:3 3:2 2:3 9:1 9:1 1:1 5:3 5:3 3:2 2:3 9:1 Here is the 45-degree angle from bottom left to top right: 1:15 1:15 9:1 9:1 1:15 1:15 9:1 1:15 1:15 9:1 9:1 1:15 1:15 9:1 All patterns flowing from bottom left to top right along the 45-degree angles have repeating sequences of ratios about them.1:15 .3:2 .2:3 . 9:1 D. The only results one needs to focus on are those along the 45-degree angles: 1:1 1:9 1:5 3:2 2:3 3:5 1:15 1:1 1:9 1:5 3:2 2:3 3:5 1:15 15:1 5:3 1:5 3:2 1:11 5:1 1:11 5:1 3:5 9:1 1:15 15:1 15:1 5:3 15:1 5:3 1:5 3:2 1:11 5:1 1:11 5:1 3:5 9:1 1:15 15:1 15:1 5:3 3:2 2:3 3:5 9:1 1:1 1:9 3:2 3:2 2:3 3:5 9:1 1:1 1:9 3:2 2:3 3:5 1:15 1:15 1:9 1:5 1:11 2:3 3:5 1:15 1:15 1:9 1:5 1:11 5:1 1:15 15:1 15:1 1:5 1:11 5:1 5:1 1:15 15:1 15:1 1:5 1:11 5:1 9:1 1:1 5:3 5:3 3:2 2:3 9:1 9:1 1:1 5:3 5:3 3:2 2:3 9:1 . and to see how the reversing of the C major formula complies fully with the Lambdoma.3:5 .

To the left from this central red column. and a full analysis is left for volume two. and again across a 45-degree angle. In doing this one unearths the same triangle flows as within the mode box. Analysing this Fibonacci mode box is rather tricky. What is worth focusing on for now is that the same triangle of frequencies are appearing on the mirror side along the 45 degree angle.Chapter five Here the Fibonacci numbers will be treated in the same manner as the Mode Boxes. each interval created on the right has been mirrored. Fibonacci Mode Boxes 55:1 34:1 21:1 13:1 8:1 5:1 3:1 2:1 1 2:1 3:1 5:1 8:1 13:1 21:1 34:1 55:1 Eb B G E C Ab F C C C 3:1 C G 5 E 8 C 13 Ab 21 F 34 C# 55 A 1 2:1 3:1 C Eb B G E C Ab F G 5 E 8 C 13 Ab 21 F 34 C# 55 A 1 C 2 D D F C# A F# D Bb G 5:1 E 8 C 13 Ab 21 F 34 C# 55 A 1 C 2 C 3 C# G# G# B G D# C G# E C Ab F C# A C Ab 21 F 34 C# 55 A 1 C 2 C 3 G 5 8:1 13 Ab F C C Eb B G E Ab F C# 55 A 1 C 2 C 3 G 5 E 8 13:1 21 34 E C A E E G Eb B F C# A 1 2 C C 3 5 G 8 E C 13 21:1 34 55 D Bb Gb Eb Bb Bb C# A C# A 1 C 2 C 3 G 5 E 8 C 13 Ab 21 34:1 55 A F# D Bb G D D F A C 2 C 3 G 5 E 8 C 13 Ab 21 F 34 55:1 1 F C# Bb F# D B F# F# C C G E C Ab F C# All the ratios from the central red column travelling to the right are based on a fundamental tone. 49 .

like me. each move on one side of the mirror is reciprocated on the other side. how wonderful the tapestry is that Nature plots out. and Nature is known to use the information on the right hand side in order to regulate certain growth patterns. In determining 50 . One cannot call the mirror side on the first line. based on the major or natural minor scales. the distribution of leaves and branches on trees. After the initial Eb and F. Of course one could simply take my word for it! But for those. For it to occur within the Fibonacci series does strengthen the idea that they signify a point of unity between the two sides of the mirror. where we found C major mirroring to the C Phrygian mode. Obviously they look like a star of David. As in the very first experiment. it is a question of bringing in other overtone series built on different fundamental notes. The mirror side does not create the same overtone series that belongs to the non-mirror side. conifer seeds. Plotting these frequencies on a circle will produce one of the dual triangle symbols shown in the first chapter. we find that the overtones built on the C fundamental (first two lines) adhere to the same principle. the C Phrygian Overtones. like spiralling galaxies. in order to maintain the true mirror notes either side of the red note at the central column. in terms of the symmetrical picture. On the one hand. After all. the two triangles that have appeared are: B Eb G C# F A These notes are in bold along the 45 degree angle on the left hand side. built on different fundamental tones. In turn this creates tonality that really belongs to other overtone series. the nautilus shell. Overtones do not obey the Modal structure this way. and many other things. The 2:1 line is the same as the 1:1 line above it.One will need to see that. These particular two triangles will appear in six of the twelve possible mode boxes. because the second line is merely an octave higher than the first. The very first thing that needs to be focused on is the different tonalities either side of the mirror. with enough study. there are two sides exposed within the above grid. who require an explanation it will become apparent. It is the mirror side's undertones that reveal the overall twin triangle structure.

The first Fibonacci mode box begins with C. then after nine it begins with F#. Below the top left Eb is the note C. G# C E . 51 . A small fragment of the next Fibonacci mode box will be given here in order to show this. The axis is always the red notes in the centre. This is also true for the C and F#. and therefore each note can build a Lambdoma grid of its own. at the bottom centre: Eb Eb F. Along this diagonal the other Circle of Tones is produced: C D. yet also with its own mirror logic. The diagonal here runs from the Eb all the way to the A. This can be highlighted with one or two examples. the result will be a circle of tones. Any note can become the fundamental.these overtone series one is led into a mirror world that fits consistently with this sides logic. establishing a strong link with the results in the C major mode box. and then when put in sequential order produce the Circle of tones – C D E F# G# Bb. and when combined they will produce the Circle of Tones – B C# Eb F G A. The 8:9 ratio would be that used for the movement of one tone. It’s strange how these things always add up. Also the top left Eb and the centre A is a tri-tone interval. If we now continue the Fibonacci numbers for another nine movements. and six of these are what produce the circle of tones. The cycles have been mirrored according to the musical notes and how they are proportioned around the axis point of each new line. building twelve Lambdoma charts would probably help one understand what is going on. And this one reason the full analysis of this | Fibonacci mode box is left for volume two! The first nine movements of the Fibonacci numbers have been taken and cycled in the same way the Mode Box of C Major was cycled. C# F A. B Eb G. As always the diagonals on the left hand side display the Circle of Tones. it is uncanny that the thread will be picked up by the note F# on the number 89. In fact. At the top left is the note Eb. B Eb G and C# F A. After the initial three notes there are the two triangles of frequencies. It doesn’t matter which note one begins with. Bb D F# Firstly they are grouped up as two triangle of frequencies. where C and F# are the invisible tri-tone relationship.

An octave higher and it commences at 116 until 122. The notes have been determined by their cycles per second. 52 .25 would fit because it is lower than the F# 89. Therefore the reciprocal move to the left is also a minor 6th.25 The resulting 58. 116. If we add the 36 and 58.25 is a Bb pitch.89 144 233 377 610 987 1597 2584 4181 C Ab E C# A F D Bb F# D D Bb G Eb B G# E C Bb E C G# F C# A F# Bb G Eb B G# E C F# The triangles of frequencies will not only appear along the 45 degree angle. and is a Bb until 61 cycles per second. What then of the D next to it? Halving 144 will give 72.25. there is swapping once more to the second circle of tones with the appearance of the G Eb B triangle of frequencies. It then gives way to the next triangle from the other circle of tones . and given that we are dealing with approximate minor/major 6th intervals it may be close enough to go along with. C# A F. Well not quite anyway. With careful inspection one will notice them attempting to appear along the horizontal line as well. for example.25 together we get 94. The numbers on the left hand side are rather difficult to determine. This resulting Bb may be determined by simply lowering the Bb 233 by octaves. This is quite close the F# 89. When we remember that a note can be spread across a few numbers within its approximate range (Bb commences at 58. The first move from F# to D is that of a minor 6th. with the gap becoming wider. 233/2 = 116. and halving again will give 36.5/2 = 58.5. Even though 36 will fit one can see that the left hand side is not producing a Fibonacci sequence. Will this be true for the numbers on the left? Certainly so! Because doubling or halving a number will produce an octave of the same pitch. No where more so than along the F# line. And lastly. But then comes the question as to whether 58. the first circle of tones appears with the second triangle from it – Bb F# D. After this. On the far left here one sees the first triangle -C Ab E. so that 89 cps is the note F#.

618 is only an approximation of a minor/major 6th. and also given he fact that the Phi ratio is not really a finite number as far as we know. because as mentioned. Should the second Fibonacci mode box be completed. starting at the F#. 53 . further confusing the issue. This is because we can add it to the D 36 and then add both numbers together and get close to the 58. a note can cover more than the number that it is being represented with. just like the colour red has many shades. so there is little chance that things will add up perfectly when these notes are mirrored to the other side. Moving on to the A we can assume it is an A at 13. Yet because the arrow is pointing right to left there is more of a subtraction system to the left hand side of the mode boxes above. Therefore it is more a question of playing to the numbers. the right hand notes are already approximations.75. yet a workable structure nevertheless.25 equals 30. one choosing either in order to keep the flow of notes going. Then the Fibonacci numbers are equated with the Phi ratio even though that too is an approximation. In other words. one would find the same Circle of Tones structure along the diagonals on the left hand side. This is not surprising because the Phi ratio at 1.75.75 (55 halved and halved again).75 then adds to the 21 to make 34. It is more 89 less 58. As you can see this is nearly the total for the note C# at 34. This 13. We can start deducing from all this that the left hand side is really producing some in-between pitches to the ones written.The note F on the top left will probably be the F 21. depending on how one may wish to use it.25.

Here is the first Fibonacci mode box colour coded: 55 34 B 55 21 G 34 B 55 13 E 21 G 34 C# 55 8 C 13 E 21 A 34 G 55 5 Ab 8 C 13 F# 21 D# 34 B 55 3 F 5 Ab 8 D 13 C 21 G 34 Eb 55 2 C 3 F 5 Bb 8 G# 13 E 21 B 34 A 55 1:1 2 C 3 G 5 E 8 C 13 Ab 21 F 34 C# 55 A 1 C 3 G 5 E 8 C 13 Ab 21 F 34 C# 55 A 1 C 2 C 5 E 8 C 13 Ab 21 F 34 C# 55 A 1 C 2 C 3 G 8 C 13 Ab 21 F 34 C# 55 A 1 C 2 C 3 G 5 E 13 Ab 21 F 34 C# 55 A 1 C 2 C 3 G 5 E 8 C 21 F 34 C# 55 A 1 C 2 C 3 G 5 E 8 C 13 Ab 34 C# 55 A 1 C 2 C 3 G 5 E 8 C 13 Ab 21 F 55 A 1 C 2 C 3 G 5 E 8 C 13 Ab 21 F 34 C# Eb 1 C 2 D 3 C# 5 Ab 8 E 13 D 21 A 34 F C 2:1 Eb 1 D 2 G# 3 F 5 C 8 Bb 13 F# 21 C# C 3:1 F 1 G# 2 C 3 A 5 Gb 8 D 13 Bb G 5:1 B 1 C 2 E 3 Eb 5 Bb 8 F# E 8:1 Eb 1 E 2 Bb 3 G 5 D C 13:1 G 1 Bb 2 D 3 B Ab 21:1 C# 1 D 2 F# F 34:1 F 1 F# C# 55:1 A This is by no means the end of the relationship that the Fibonacci numbers have with the Circle of Tones. The same is true for Difference tones. 54 . where two pitches/numbers subtract and create a third tone from that. within the overtone series. This simply means that two pitches come together and between them they add up and create a third tone from that union. Next will be presented what are called Summation tones.

A summation tone is created when we add any of the overtone numbers together. the previous two tones produce a third tone. The first example. which forms the grand triad. the proceeding triplets are those same 55 . After G E C. An example would be G3 (three cycles per second) and E5 (5 cps) add together to produce the C8. and so the overtones’ frequencies speed up it seems. and the summation tones are those on the right. in the shape of C2+G3 producing the E5: C1 C2 G3 E5 C8 A 13 F 21 Db 34 By 55 F#89 D 144 B 233 G 377 C 987 + + + + + + C2 G3 E5 C8 A 13 F 21 = G3 = E5 = C8 = A 13 (nearly A) = F 21 (nearly F) = Db 34 = A 55 = F# 89 = D 144 = Bb 233 = Eb 610 = Ab 1597 + Db 34 + A 55 + F# 89 + D 144 + G 377 B 987 + Bb 233 = G 377 + Eb 610 = B 987 + Ab 1597 = E 2584 E 2584 = C 4181 C 4181 = A 6765 Eb 610 + Ab 1597 + E 2584 + This way of combining the overtone series and the Fibonacci numbers leads straight to the triangles of frequencies and keys evident within the mirror side of a mode box. Then. just like the Fibonacci number series.Summation Tones and the Fibonacci numbers It is found that when the summation of any two pitches is taken into account the overtones produced always equated closely to the triangles of frequencies that were found to exist flowing through a mode box. The Fibonacci number series is what is produced in all three columns. C1 and C2 produce G3.

Summation tones lead to the same Circle of Tones/Star of David like structure. then we can say that the triangles are swapping from one circle of tones/star of David to the other. which belongs to one star of David gives way to F# D Bb. Bb 224 Here are the harmonics summed together: C 128 and D 144 come together and create Db 272 D 144 and E 160 come together and create Eb 304 E 160 and F# 176 come together and create F 336 F# 176 and Ab 208 create G 384 Ab 208 and Bb 224 create A 432 Bb 224 and C 256 create B 480 One Circle of Tones has created the other. Ab E C. D 144. G 192. before commencing the whole journey again. This then gives way to G Eb B. that go on to define two Circles of Tones. and finally this yields to the last triangle. B 240. Simply by summing up adjacent notes of one circle of tones the opposite circle of tones will be created. C 256 Db 136. A 216. Ab 208 . F# 176. If we call the circle of tones a star of David. A F Db. F 168. Here are one set frequencies relating to the overtone grid of the Lambdoma.triangles that have been found on the mirror side of the Major scale. E 160. according to the pitch that would appear on any specific ratio: C 128. C D E F# Ab Bb (one circle of tones) creates Db Eb F G A B (the other circle of tones). There is also an in-and-out of the mirror flow occurring here. which re-establishes the first star of David. each of which is two triangles combined. which belongs to the other star of David. Eb 152. 56 .

where the major/minor positions are able to swap-over and receive their opposite tonal quality. for example. The keys used. to remain F# in the mirror. In the key of E major the F# position is certainly Dorian. leaving only E major as some uninvolved aspect of the C Ab E triangle of keys. Dorian mirrors to Dorian. which implies that for F# at the 4. It happens to carry the modal mirror relationship of 2/2. Mirroring a major scale in effect produces another major scale (albeit commencing from its 3rd modal position) . 57 . are C major and Ab major.5 of the C major Mode box. Finding the F# connection would help to complete the investigation.5 tri-tone position. The answer is glaringly obvious when we remember that we are dealing with a series of triangles of keys that are interrelated through mirroring. Ion E Dor F# Phr G# Lyd A Mix B Aeo C# Loc D# = Modal positions E = E major It will be seen that the E major aspect of the triangle can be seen to join up with C and Ab through the 4. we have witnessed a Mode Box made up of seven major key tonalities either side of the mirror. Is this F# a 2/2 from another major key. It is actually the most important of all positions.Chapter six The Invisible aspect of the Triangle of Keys We have seen that for every Major type scale there is a symmetrical partner that is a Minor type scale: Lydian (major) mirrors to Locrian (minor) Ionian (major) mirrors to Phrygian (minor) Mixolydian (major) mirrors to Aeolian (minor) Dorian mirrors to Dorian – the odd one out! The Dorian is not really the odd one out here. it too must be connected to the Dorian position. for example? After all.

The Dorian is the point of access to the other side because it is the only dual modal partnership in a mode box that carries the same number either side. the number 9 is perfectly symmetrical. therefore it must be an F# Dorian on the other side too. This would also make it logical that on one side the E major scale is ascending through the tri-tone area. establishing itself as an axis/access point.5s are related to the 9. The Dorian Mode seems to possess a special place amongst the Positions. and it comes to rest on the Dorian within a mode box: 1 2 3 4 5 6 7 8 9 C D E F G A B C D The number 9 seems to be a catalyst to its perfect symmetry.5/tri-tone positions either side of the mirror. with the E major scale dissecting both at the 4. and the two 4.Here is line one of the C major Mode Box. with the E major scale dissecting at the tritone position either side of the mirror: F# Dorian E D# C# B A G# F# mirror axis C Db Eb F C Phrygian (Ab major) G Ab Bb C E major D E F F# G A B C E D# C major C# B A G# F# (Dorian) E (major) What we have here is the usual C major scale. and its mirror. 2/2. Therefore at F#/F# the relationship has to be Dorian/Dorian. and on the other side it is descending through the tri-tone area. The Dorian is perfectly symmetrical. 58 . Include to this this fact:.

Yet this individuality unites with its opposite partner through a hidden tri- 59 . because in reality. which again adds up to 9. 3/6 4/5 1/8 number partnerships. The 4. Yet.5. for example.25.5 adds up to 9 if the digits are simply added together.5 would produce 2. in fact. E (Ion) D# (Loc) C# (Aeo) B (Mix) A (Lyd) G# (Phr) F# (Dor) G Ab Bb E Ionian (Major) C Ionian C Db Eb F C Phrygian (Ab major) C D E F F# (Dor) G A B C E (Ion) D# (Loc) C# (Aeo) B (Mix) A (Lyd) G# (Phr) Here is the F# Dorian mode mirrored in order to show this more clearly: Dor Phr Lyd Mix Aeo Loc Ion Dor/Dor Phr Lyd Mix Aeo Loc Ion Dor F# G# A B C# D# E F# G# A B C# D# E F# Establishing this link at F# with the Dorian mode will explain the link with the number 9 at the tri-tone position. a break from perfect symmetry. or even a cosmic joke. the E from the right hand side scale mirrors the G# from the left hand side scale.5. At arriving at this point we have treated the mirror as though it held an individual life of its own. If the axis is placed horizontally at the F# positions. although both sides of the apparent asymmetry will always add up to a 9 (the 2/7. and this will equal the usual Ionian/Phrygian mirror pair as seen through the mode box of C major. The mean number between each of the number pairs is always 4. The 4. Then the D# from the right hand side (Locrian) will mirror to the A on the left hand side (Lydian) etc.By studying the two E major scales in red it will be seen that their opposite partners still adhere to the correct dual modal partnerships. if both sides of the duality are focused on.5 aspect is like a halving of the 9. This is due to the 4. this asymmetry is perhaps nature’s smokescreen. for example). there is never. And halving the 4. It seems 9 cannot be broken into another number without some form of asymmetry ensuing.

Together this equals – C E Ab. until it eventually arrives at a 2/2. And when these two triangles of frequencies are plotted onto a circle. The F# will be at the 4. 6/5 etc). At least in terms of the nature of number and frequency cycles. 60 .tone position.5 partners of each other. Every example given in this book always lead to this same result. finds unity. once more unbalanced in terms of numerical modal partnership (1/3.5 of the C major scale.5 of the E major scale and the D will be at the 4. It would seem that these are the hidden symmetrical flows that unite two sides of a system into one whole. and carries on in this vein continually. Light/Dark. one inevitably stumbles upon a star of David symbol. All these keys are 4. And having gone through this perfectly symmetrical ride through the tri-tone. with F# Bb D flowing through the centres. it appears on the opposite side. The Bb will be at the 4. 7/4. clockwise and anti-clockwise. swapping over once more in an infinite dance between expansion/contraction.5 of the Ab major scale. Here the churning of clockwise and anti-clockwise cycling superimposed over each step of the Major scale formula takes the Major scale Modes on a `Tonality Journey' through seven other Modes/Major Keys. At the 4. Positive/Negative.5/tritone positions of each major scale will live this invisible aspect of each triangle.

How they are built is self explanatory. flowing through various number grids. which is the note C. F A Db. 1 * 1 = 1. and so on. These triangles of frequency relationships are engrained in fundamental ways . A E F Db. We begin by what can be called number pyramids. A Db. Bb F# D.Chapter Seven Where else? In this chapter there will be shown small examples of how further to achieve the triangle of frequencies. B F G Dqt. The thing to focus on is the totals and the resulting frequency relationships. Multiples pyramid = C. 1 1*1 11 * 11 111 * 111 1111 * 1111 11111 * 11111 111111 * 111111 1111111 * 1111111 11111111 * 11111111 111111111* 111111111 1+1 11 + 11 111 + 111 1111 + 1111 11111 + 11111 111111 + 111111 1111111 + 1111111 11111111 + 11111111 111111111 + 111111111 = 1 = 121 = 12321 = 1234321 = 123454321 = 12345654321 = 1234567654321 = 123456787654321 = 12345678987654321 = = = = = = = = = 2 22 222 2222 22222 222222 2222222 22222222 222222222 =1 =4 =9 =7 =7 =9 =4 =1 =9 =2 =4 =6 =8 =1 =3 =5 =7 =9 Treating each total as a frequency number we have these notes appear. for example. music scales and overtone structures. Then 11*11 = 121 = the frequency for the note B. This assumes the number one as one cycle per second. etc G# C etc 61 . Additions pyramid = C.

but after every three moves there the interval ascends by a quarter tone.The pattern soon settles down and notes. these notes all add up to one of the triangles of frequencies of the mode boxes. grouped in triplets. The following set of numbers equal the note's frequency: 62 . or two star of David like symbols. Db. Any set of numbers will produce both the circle of tones structures. Here is another number pyramid: 4 4*4 44 * 44 444 * 444 4444 * 4444 44444 * 44444 444444 * 444444 4444444 * 4444444 44444444 * 44444444 444444444 * 444444444 = 16 = 1936 = 197136 = 19749136 = 1975269136 = 197530469136 = 19753082469136 = 1975308602469136 = 197530863802469136 =7 =1 =9 =4 =4 =9 =1 =7 =9 4+4 44 + 44 444 + 444 4444 + 4444 44444 + 44444 444444 + 444444 4444444 + 4444444 44444444 + 44444444 444444444 + 444444444 = = = = = = = = = 8 88 888 8888 88888 888888 8888888 88888888 888888888 =8 =7 =6 =5 =4 =3 =2 =1 =9 Multiples of 4 = C. A to Db(C#). B F G A Dqt . E G# C etc These pyramids can be extended further and all four triangles of frequencies will emerge. Bb F F# A D. The additions are moving by the inversion of the minor 6th. After the initial C the multiples are moving by the interval of a minor 6th. Additions of 4 = C. If isolated in threes. are seen to represent the Triangles of frequencies that emerged from the Mode Box. which is the major 3rd . after every three minor 6th movements there is a descent by a quarter tone. These four triangles can be seen as two circle of tones structures. or approximately. F to A. etc Db.

1=C 11 = F# 111 = A 1111 = Db 11111 = F 111111 = A 1111111 = Db 11111111 = E 111111111 = G# 1111111111 = C 11111111111 = E 111111111111 = G# 1111111111111 = C 11111111111111 = E 111111111111111 = G# 1111111111111111 = B 11111111111111111 = Eb 111111111111111111 = G Another example: 43.2 = F 432 = A 4320 = Db 43200 = E 432000 = G# 4320000 = C 43200000 = E etc And another: 100 = G 1000 = B 10000 = Eb 100000 = G 1000000 =B 10000000 = Eb 100000000 = G 1000000000 = Bb 10000000000 = D 100000000000 = F# 63 .

2 2 . 1 2 4 8 7 5 can also be seen as the recurring sequence through binary. or the sequence that emerges when numbers are doubled or halved (and the totals reduced to single digit again) 10/17 = 0. 2 2 2 2 4. 7 7 7 7 7 7 7 5 5 5 5 5 5 5. 8 8 8 8 8 8 8 8 7 7 7 7 7 7 . 4 4 4 8. 7 5. The decimal point follows a 45 degree angle.Within fractions: Related to divisions by the number 7: . 1 1 1 1 1 2 .1 1 1 1 1 1 1 1 1 1 1 1 1 2 . 8 8 7. 4 4 4 4 4 4 4 4 4 8 8 8 8 8 . 5 5 5 5 5 5 1. =C = Eb =G =B = Eb =G =B = Eb =G = Bb =D = F# = Bb Continuing in this fashion will see all four triangles of frequencies emerge.5882352941176470 After the number 9 the sequence flips over and begins outlining the mirror numbers: 58823529 41176470 64 . 2 2 2 2 2 2 2 2 2 2 4 4 4 4 .

like this: 0. for example. The number 9. as always.82352941176470 = Bb 588. And of course these are the mirror numbers as evident within a Vedic Square. in that a 5th will invert to a 4th.882352941176470 = F# 58.5 = G# 65 .Inversions within music follow this rule.70 = A 588235294117647.76470 = A 588235294117.470 = F 58823529411764.1176470 = C# 5882352941.0 = C 5882352941176470.352941176470 = F# 58823. The triangle of frequencies emerge if we continually move the decimal point to the right.5882352941176470 = D 5.6470 = C# 5882352941176. or the 2nd inverts the a 7th.2352941176470 = D 5882.41176470 = Bb 588235294.176470 = F 58823529411.2941176470 = D 5882352. is the sum of each mirror pair.941176470 = F# 58823529.52941176470 = Bb 588235. = E 5882352941176470.

9 9 9 9 9 9 9 9 9. 0 0 0 0 0 0 0 0 0 0 0 0. 1 1 1 1 1 1 1 1 1 1 1 1 1 1. 7 7 7 7 7 7. 6 1 1 1 1 1 1 1 1 1 1 1 1 1 1 6 6 6 6 6 6 6 6 6 6 6 6 6 1 8 8 0 0 0 3 3 3 3 3 3 3 3 3 9 9 9 9 9 9 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 7 7 7 7 7 7 7 7 7 4 4 4 4 4 4 4 4 4 4 9 9 9 9 9 9 9 9 9 9 9 8 8 8 8 8 8 8 8 8 8 8 8 9 9 9 9 9 9 9 9 9 9 9 9 9 4 4 4 4 4 4 4 4 4 4 4 4 4 4 = G# = C = E = G# = B = Eb = G = B = Eb = G = B = D = F# = Bb = D 6. 8 8 8. 8 8 8 8 8 8 8 8. 9 9 9 9. 8 8 8 8 8 8 8. 4 Here is the grid presented in the chapter “Vedic Square” that shows the sequences created by every number base system: 1248751 (2) 3 9 9 9 9 9 (3) 4 7 1 4 7 1 (4) 5 7 8 4 2 1 (5) 6 9 9 9 9 9 (6) 7 4 1 7 4 1 (7) 8 1 8 1 8 1 (8) 9 9 9 9 9 9 (9) 1 1 1 1 1 1 66 . 4 4 4 4 4. 9 9.Phi: 1. 3 3 3 3 3 3 3 3 3 3 3. 8 8 8 8 8 8 8 8 8 8 8 8 8. 3 3 3 3 3 3 3 3 3 3.

and the in/out mirror effect. 67 . with the involvement of the 45 degree angle as well. If experiments are the food of science. These triangles signify balance of a dual process.Having seen just how these triangles emerge through the whole of number. we can see that a method for perhaps creating balance amongst frequency relationships could be applicable. The sequences shown signify how much can come about from just a small seed like arrangement. it should be no surprise that the above list of sequences will also expose them.

The number sequence partners of the Vedic square will be teamed up with the flow of the Fibonacci numbers (FN). the mirror number partner will be placed underneath. 89/55 = 1. Or to put it more simply. this next section will concentrate solely on this phenomena. number sequences and the Swap Whilst practically every example given so far is indicative of information swapping between mirror side and non-mirror side.615. 2/7. Phi is also referred to as the Golden Mean or Golden Ratio.618 As one includes more numbers from the series. 1/8. 3 + 5 = 8 . 5 + 8 = 13 and so on. then it allows us to include the mirror flow partners.617. The Fibonacci numbers are intrinsic to nature in various ways.618… This number is closely approximated within the Fibonacci series. 55/34 = 1. for example: 21/13 = 1. 34/21 = 1. However. 3/6. In doing this it will give the FN flows a clockwise or anti-clockwise characteristic. or cause the spiral effect we see as galaxies. Here are the first few Fibonacci numbers: 1 1 2 3 5 8 13 21 34 55 89 144 The preceding two numbers always become the next new number: 1+1 = 2 1+2 = 3 2 + 3 = 5 . and conifer seeds. in order to highlight how the overall flows are swapping sides of the mirror at a number 144. an infinitely recurring fraction whose first few digits are 1. the FN series will be broken down to single digit. if those single digits are viewed as numbers partners from the Vedic square. When we get to 68 .619 . Nature seems to obey this growth principle and it is also seen that the Fibonacci numbers are closely associated with the PHI ratio. this Phi ratio becomes more consistent. When a single digit value for a FN is ascertained. 4/5. The Fibonacci numbers show up in the arrangement of flower petals or leaves. or nautilus shells. They are a flow of numbers that can represent such things as the breeding habits of rabbits.Chapter eight Fibonacci Numbers.

and so the idea of cycles swapping continually from one side of the mirror to the other.5. the 4th number sequence of the Vedic square. etc.8 8 Here the 16+8= 24 (but broken down to a 6 in the MNS flow). NS = Number Sequence. we cross add the digits and reduce this number down to the number 4. may well 69 . the 16+24 = 40. To say the 4 is clockwise cycling is referring to the number sequence that the number 4 is a root of. the number 13 is represented as a clockwise cycling number 4. There is no real conflict between this 12-number sequence and the 24number sequence. As you can see. The mirror number sequences above still adhere to the FN. and the swap-over is at the twelfth position. whereas I have been speaking of a 12 single digit number sequence along with a mirror 12 digit sequence that swaps over across an axis point. one cycle The NS – 1 1 2 3 5 8 4 3 7 1 8 9 becomes the MNS. There is a relationship here that is consistent with the results from other experiments. Here they are as if they were a FN series: FN 8 8 7(16) 6 (24) 13 (40) 19 32 51 83 134 217 351 568 919 7 6 4 1 5 6 2 8 1 9 1 1 MNS . at the number 144. It is known that the FN produce a repeating 24 single digit number sequence. and MNS = Mirror Number Sequence. the mean number running through the mirror number pairs. This means that a number between 1 + 9 always represents the series. The only difference is that there is some case here to suggest that actually the transmission of these numbers is being performed by symmetrical affinity that one number has with another. FN NS MNS1 1 2 3 5 8 13 21 34 55 89 144 233 377 610 987 1597 2584 4181 6765 10946 1 1 2 3 5 8 4 8 8 7 6 4 1 5 3 6 7 2 1 8 8 1 9 9 8 1 8 1 7 2 6 3 4 5 1 8 5 4 6 3 2 7 etc. with major tonality always mirroring to minor tonality and vice versa. And above we see the number 9 allowing a number flow from this side of the mirror to switch to the other side. 483726159.the number 13 (8+5)) in the series. and the switch is performed at the 4. It’s also been seen how scales have their own clockwise and anti-clockwise flows.

also shows the same result of dual cycles swapping over a mirror point: 1/7 = 142857142857 1 8 4 2 5 7 8 5 1 4 7 2 1 8 4 5 2 7 8 1 5 7 4 2 Here the 142 travels in and out if the mirror point as the sequence unfolds. 857 also cycling in and out of the mirror . “IN” means Indig Number. The mean number between all the number pairs is always 4. with its swap-over axis at the 4. with its mirror partner.5 dominates the inner space between the number pairs. It is also the zero in between the plus/minus indig numbers. for example. Dividing by the number seven. here it is again according to the Indig number system as devised by Buckminster-Fuller. as well as the fact that there is swapping over the two sides of the mirror. or that information from both sides of the mirror acts as one whole. and “MIN” means Mirror Indig Number: IN FN MIN+1 +1 +2 +3 -4 -1 +4 +3 -2 +1 -1 1 1 2 3 5 0 -1 -1 -2 -3 +4 +1 -4 8 13 21 34 55 89 144 233 377 610 987 1597 2584 4181 etc -3 +2 -1 +1 0 +1 +1 +2 +3 -4 -1 +4 -1 -1 -2 -3 +4 +1 -4 Remembering that the Phi ratio is associated with the Fibonacci numbers.lead to the idea that the Fibonacci numbers are the builders of natural structures on two sides of the mirror. 70 . The 4. tied to its partner by the symmetry of the number 9.5. To help show the above swap-over in the Fibonacci numbers clearer still.5/0.

Here is the 3 6 9 sequence, as if it were the beginning of a Fibonacci number sequence. So far the preceding two numbers (3 and 6), have equaled the next number, so this will be extended to show the swapping over effect once more:

FN NS-

3 6 9 15 24 39 63 102 165 267 432 699 1131 1830 2961 4791 3 6 9 6 6 3 9 3 3 6 9 6 6 3 9 3

The overall sequence is – 3 6 9 6 6 3 9 3. When added together this sequence equals 45:

3 + 6 + 9 + 6 + 6 + 3 + 9 + 3 = 45 We will plot the 3 6 9 sequence once more together with each number's mirror partner, which in this case is 6 3 9 . This will highlight yet another swapping over of sequences:

FN NS -

3 3

6 6 3

9 9 9

15 6 3

24 6 3

39 3 6

63 9 9

102 3 6

165 3 6

267 6 3

432 9 9

699 6 etc. 3

MNS - 6

Between the number 24 the 3 6 9 6 sequence begins to appear on the mirror side, whilst the 6 3 9 3 also manifests on its opposite side of the mirror. And so the journey continues infinitely through this Fibonacci type flow. Here we see that the swap-over hasn’t occurred on the number 9. This further strengthens the idea of the swap-over point, at the 4.5. This of course is the mean number between 3 and 6. Remember that these number partners (1/8, 2/7,3/6,4/5) are cycling in opposite directions to each other, clockwise and anti-clockwise. Also that the Phi ratio is still maintained between the Fibonacci-like flow of the 369 sequence ( for example, 267/165 = 1.618618...).

71

Mirror flow of the Fibonacci numbers
Here is another way to mirror the FN series. The very same result as previously ensues, but it may help to visualize it this way, and also put the result within a different light. We can set an axis at the 0 and use the clockwise and anti-clockwise number partners of the Vedic Square to highlight the evolution of the Fibonacci numbers on the mirror side. Mirror point (5) 135 82 62 29 24 14 1 4 6 7 (4) 8 13 21 34 55 89 144

8

8

0 1 1 2 3 5

One would be forgiven in thinking that the mirror side bares no relationship with the Fibonacci numbers on the right. The first two are correct, but the number 7 totally kills off the sequence. Or does it? What should have followed the 8 is the number 16 (8+8=16). Well, 16 breaks down to the number 7 (1+6=7). The next number after the 7, on the mirror side, is a 6. This should have been 16+8=24. Obviously the 6 is the single digit value one obtains when cross adding the 24. It would also work as 7+8 = 15 (1+5=6). The mirror sider is expressing a form of Fibonacci number growth but expressing the result as mirror number value according to the clockwise and anti=clockwise flowing number pairs of the Vedic Square. It’s a different kind of flow, but it does seem to relate consistently. On the other side of the mirror the number 13 partners the number 14. Broken down to single digit this is 4 and 5, which are number sequence partners. This is true for all the symmetrical pairs.

72

Chapter nine

More Number sequence partners found within divisions
There are many constants that actually hide the flow of the number sequence partners belonging to the Vedic Square. Here are some examples: 11/29 = 0.37931034482758620689655172413793 This recurring 28-figure constant is dominated by the number 9. Yet after the first fourteen numbers there is a switch-over across the mirror point, and the fourteen mirror numbers of the original fourteen emerge. Dissecting the equation in the centre where the swap-over occurs, and then placing the next fourteen numbers under the first fourteen, can show this. All vertical number pairs, as always, will be seen to add to 9, and be the correct number pairs from the Vedic Square: 37931034482758 62068965517241

Here we see the 3 from the top sequence partner up with the 6 from the bottom sequence, for example. All the pairs are mirror partners from the Vedic square. And the 4.5 is always the mean number between each vertical number pair. 37931034482758 4.5 -----------------------------------62068965517241 Why such a consistent mirror imprint of the original fourteen numbers is a mystery. But it is a very common theme too. 11/19 = 0.57894736842105263157894736842105 If we take the first three numbers, 578, we will need to find a 421 in order to suspect that this constant too is hiding a structure based on the Vedic Square number sequence flows. There is indeed a 421 in the equation. The pairs as are follows:

73

Again this is because seven divides into thirty five. the 8 and the 1.578947368 421052631 11/38 = 0.78571428571428571428571428571429 Again this is a replication of numbers divisible by 7.28947368421052631578947368421053 Ignore the first number and then the pairs emerge: 894736842 105263157 The number 19 used as a divisor previously is a prime number. Many prime numbers possess these flows.31428571428571428571428571428571 This one too shows the same set of numbers. 4 with 5. 285 714 11/14 = 0. 11/35 = 0. 11/28 = 0. Doubling this 19 doesn’t produce a prime number. Therefore we know that the 285714 is a movement where the 2 and the 7 are partners. after the initial 3. 11/13 = 0. and 6 with 3): 74 . after the initial number 2.846153846153846153846153846153 This one shows the mirror flows in the shape of 846 partnering 153 (8 with 1.39285714285714285714285714285714 After the initial 39 this sequence is based on numbers that are divisible by 7. but it still produces mirror flow number pairs of the Vedic Square. These pair together every third number. and the 5 and the 4.

The two sets will be: 47826086956 52173913043 11/17 = 0. so we look for a 521. 2 with 7. 307 692 11/23 = 0. so the signs are that this constant too contains a mirror number sequence pair.23404255319148936170212765957446 75 .47826086956521739130434782608695 Again the first three numbers are 478. so we look for a 352.42307692307692307692307692307692 After the initial 4 the sequence 230769 is another one hiding a number sequence pair.846 153 11/26 = 0. which sure enough is in the total.32352941176470588235294117647058 Here we have to ignore the first two numbers and then the pairs emerge: 35294117 64705882 11/47 = 0.64705882352941176470588235294117 The first three numbers are 647. which indeed is in the total: 64705882 35294117 11/34 = 0. 3 with 6 and 0 with 9.

It is merely interesting that certain fractions show the swap-over effect that the nine cycles of the Vedic square highlight.37931034482758620689655172413793 37931034482758 62068965517241 This can now be shown as follows: +3 –2 0 +3 +1 0 +3 +4 +4 -1 +2 -2 -4 -1 -3 +2 0 -3 -1 0 -3 -4 -4 +1 -2 +2 +4 +1 Or as a graph: 76 . This is in effect what a Vedic Square is. Of course one can also find the same nine single digit contrary flowing cycles in a 9*9 multiplication table.21153846153846153846153846153846 Ignore the 21 then: 153 846 There is no grand scientific claim to all this.Yet again there are mirror flows evident within this constant: 23404255319148936170212 76595744680851063829787 11/49 = 0. The indig numbers again can be applied to these constants in order to represent them with a clearer picture of the opposing flows prevalent within the number pairs. The first division will be highlighted again in order to show this: 11/29 = 0.22448979591836734693877551020408 Again this will go on to produce number pairs relating to the Vedic square (or indig number system) 224489795918367346938 775510204081632653061 11/52 = 0.

1764705882352941 Yet. as seen.052631578947368421 2/19= .1176470588235294 3/17= .0588235294117647 2/17= .105263157894736842 3/19= . The number 19 also behaves similarly: 1/19= . which adds up to 72: 1/17= .157894736842105263 etc Again this shows one overall cycle of numbers is emerging.One suspects that Prime numbers are playing a significant role in establishing these mirror flows of Vedic Square number pairs Dividing by the prime number 17 also gives a constant. beginning at different points. these constants hide the opposing flows of the Vedic Square mirror cycling number pairs: 05882352 94117647 11764705 88235294 17647058 82352941 These are only the first three examples. This recurring number cycle adds up to 81. 77 .

The fact that the common number line has this inbuilt structure may be an open invitation by nature to ponder its mirror side. as seen in music scales. The line between numerology and natural structure can be mighty fine. This is the process of things flowing in and out of the mirror at the 4. which adds up to 99.052631578 947368421 105263157 894736842 157894736 842105263 The number 23 is another number with a recurring number cycle.0434782608695652173913 2/23= . and a hidden mirror number sequence flow: 1/23= . With the added insight that these numbers also trace the two triangles from the circle of tones. including a pathway to the mirror universe.. as shown in the previous section.for all we know..5 swap-over point. Fibonacci number flows and now divisions. 78 ..0869565217391304347826 3/23= .1304347826086956521739 04347826086 95652173913 08695652173 91304347826 13043478260 86956521739 There are endless other examples of this process but these examples should be enough to show that hidden mirror flows are evident within the division of numbers.. one may conclude that there is more depth to the idea of mirror flows within every day numbers.

What is the next total that breaks down to an 8? 17 = 1+7 = 8 Therefore 10 and 17 are mirror numbers. There must be something that completes cycles. and a cycle consists of a "both sides" journey. In their positions the1/8 are contrary flowing and they will cycle through asymmetry because they are sympathetic toward each other. It all begins with the number 1 having the number 8 as a contrary cycling number partner. The 1 is a +1 flow and the 8 is a -1 flow. But it is only the first way a number can be given a mirror number partner. Just because the 1 is partnered with the 8 does not mean it is unbalanced. After the number 9 the whole square is born again from 10 to 18 in effect: The 9's being like junction points give rise to a double sine wave that can be traced through each set of sequences. What is holding the balance is the 4. according to the indig numbers. 1 What is the next total that breaks down to a 1? 10 = 1+ 0 = 1 The opposite cycling number partner of the 1 is the number 8. it will be shown that this relationship is quite natural in the evolution of ‘both sides’ number flows. and that something is the 9. The case for mirror numbers can be seen as valid when one puts the number pairs together and builds them up progressively. should mirror to the number 14.5 invisible axis running in between. 79 . Hopefully.Chapter ten Both sides number flows – building a mirror universe One will be entitled to wonder why the number 13. say.

The numbers coloured red can be seen as the negative numbers beginning their infinite flow in the opposite direction. And again the four-way mirror relationship is hinted at. They will relate to the positive numbers in the same way as always. and the following one can be called the default one. This table of number pairs can be seen as having a dual flow.0=9 1=8 2=7 3=6 4=5 5=4 6=3 7=2 8=1 9=0 10=17 11=16 12=15 13=14 14=13 15=12 16=11 17=10 The idea of a mirror number table is really quite logical. 80 . clockwise and anticlockwise. one would need to establish a plus/minus relationship. There is the contrary flow this side. as in the indig numbers. For example. and there is the mirror contrary flow on the other side. because these plus/minus pairs are on both sides of the mirror. because it is the steady parallel progress of the mirror number pairs as they weave through the fabric of all number.

if the first number is less than 4. then the mirror number is the next greater number according to the mirror number pairs of the Vedic Square.Please do not attempt to memorize this list! There is an easier way to know any mirror number.5. to infinity 3=6 4=5 5=4 6=3 7=2 8=1 axis 0=9 1=8 2=7 3=6 4=5 5=4 6=3 7=2 8=1 9=0 10=17 11=16 12=15 13=14 14=13 15=12 16=11 17=10 18=9 19=26 20=25 21=24 22=23 23=22 24=21 25=20 26=19 27=18 109=116 110=115 111=114 28=35 29=34 30=33 31=32 32=31 33=30 34=29 35=28 36=27 37=44 38=43 39=42 40=41 41=40 42=39 43=38 44=37 45=36 46=53 47=52 48=51 49=50 50=49 51=48 52=47 53=46 54=45 112=113 113=112 114=111 55=62 56=61 57=60 58=59 59=58 60=57 61=56 62=55 63=54 64=71 65=70 66=69 67=68 68=67 69=66 70=65 71=64 72=63 73=80 74=79 75=78 76=77 77=76 78=75 79=74 80=73 81=72 115=110 116=109 117=108 82 = 89 83 = 88 84 = 87 85 = 86 86 = 85 87 = 84 88 = 83 89 = 82 90 = 81 91 = 98 92 = 97 93 = 96 94 = 95 95 = 94 96 = 93 97 = 92 98 = 91 99 = 90 100 =107 101 =106 102 =105 103 =104 104 =103 105 =102 106 =101 107 =100 108 = 99 etc 81 . The rule is.

The 4.5 reappears in between the 13 (4) and 14 (5). What is established within the first nine numbers is the reoccurring dual number partner flows of the Vedic Square. The 4.5) etc.Here in the numbers one can also see a continual switch over across a mirror point at the “4. The relationship 13/14. 82 . and again in between the 31 and 32 (31.5 re-appears in between 22 and 23 (22.5).5” positions. is swivelled round and becomes 14/13 at this point. It begins in the first strip of numbers in between the 4 and 5.

one for each major scale. What follows is a more concise procedure for understanding the way the mirror relates each triangle with the other three triangles. Each major key can be mirrored three times and will produce one of the triangles. on the mirror side. can be 83 . The (1) and (2) beside each pair of triangles designates which circle of tones they belong to: Major scale C D E F G A B Bb Eb Ab Db F#/Gb Related triangles C E Ab – D F# Bb (1) D F# Bb – E G# C (1) E Ab C – F# Bb D (1) F A Db . This list shows all possible four triangles contained within the mirroring of each major scale and its seven modes.Ab E C (1) Eb G B – F A Db (2) Ab C E – Bb D F# (1) Db F A – Eb G B (2) F# Bb D – Ab C E (1) It must be remembered that a triangle is primarily three major keys.G B Eb (2) G B Eb – A Db F (2) A Db F – B Eb G (2) B Eb G – Db F A (2) Bb D F# . The mode box then shows that. each comprised of its two triangle relationships.Chapter eleven Opposing forces To show how opposing triangles affect each other one would need to draw out all twelve mode boxes. Therefore all these triangle pairs form the two circle of tones structure. These triangles are now found to be each other’s mirror partners if the keys that make up the remaining triangles are symmetrically reflected. chords or notes all threaded together through symmetry. What this means is that two of the triangles forming one circle of tones or star of David like structure. the triangles are the result of interrelated modal positions.

It will become clear that two triangles from each major key are able to swap to the other two unrelated triangles of the other circle of tones structure. This will further underline the in-and-out of the mirror type relationship that seems to exist. The tri-tone relationship exists between Ab and D. E Bb D A A Phrygian Bb C D E F G A B C# D E F# G# A A Ionian C = F# (tri-tone) E=D Ab = Bb 84 . The next key to be symmetrically reflected will be A major (the second aspect of the F A Db/C# triangle). is seen to be in symmetry to the Bb note on the other side of the mirror (F Phrygian scale). the first note . In order to verify this for yourself. C (from F Ionian). as seen in the table above. The F major scale is not associated with these two triangles. This procedure is followed by all the proceeding examples.ascertained by mirroring the keys that contain the other two triangles. Let’s begin by mirroring the key of F major: S T T T S T T T T S T T T S F Gb Ab Bb C Db Eb F G A Bb C D E F F Phrygian F Ionian Here is how the triangles show opposing force with each other (the notes of one triangle are mirrored across the F axis position): C C = Bb E = Gb Ab = D (tri-tone) Ab Gb Here we can see that one triangle equals the other through the mirror.

This has yielded a similar result. which is yet another tri-tone relationship – B to F is a tritone. Also the result for B Major is the same as for F major. these two triangles of frequencies/keys make up a circle of tones: G Ab Bb C D Eb F G A B C D E F# G G Ionian G Phrygian C= D E = Bb (tritone) Ab = F# There is another interesting result here. C#/Db major and its mirror: C# D E F# G# A B C#/Db C=D Eb F Gb Ab Bb C Db C# Phrygian Db Ionian E = Bb (tri-tone) Ab = F# Now for the second triangle associated with F A C#. except that the tri-tone relationship is now between C and F#. B B Phrygian C D E F# G A B C# D# E F# G# A# B B Ionian C = A#(Bb) E = F# Ab(G#) = D (tritone) Again the result is consistent with the opposing triangles. Together. This is therefore another tri-tone relationship – G to C# is a tri-tone. The key of G above produces the same results as the key of C#/Db. 85 . which is G B Eb. Here is the third key from the triangle.

The triangles are mirrors of each other. which then oppose each other through the mirror.Eb Fb Eb Phrygian Gb Ab Bb Cb Db Eb F G A Bb C D Eb Eb Ionian C = Gb (tritone) E=D Ab = Bb Lastly one sees that the result in Eb major is the same as in A major – Eb to A is a tri-tone. it will create triangles. and this is an insight into how vibration can be transformed from one side of the 86 . Let us only mirror C major to show this is the case. as we know that the other five major keys show similar results: C Db Eb F G Ab Bb C D E F G A B C C Ionian C Phrygian F= G A = Eb Db = B As you can see this produces the other two triangles that do not belong within the C major key and its inbuilt circle of tones structure. in symmetry. Therefore: C Bb D B Db Eb = Ab F# E A G F Pick any root note of any major key. One would expect that the triangles of C E Ab and D F# Bb will show a similar opposing force with the triangles just used to expose them. and.

and related to the access point through the Dorian Modes.mirror to the other. The gateway is through the triangles. 87 . Chapters fourteen and fifteen will highlight the Dorian connection even further. at the tri-tone.

The triad of Dm. After the root triads it is customary to continue adding notes to these triads. one begins with D. These chords are usually numbered according to roman numerals. A chord/triad can be built on all seven different notes of the major scale. and this will give the chord the name Dm7 (D minor 7th). and this triad will be root triad of the Phrygian mode. 88 . To the C triad. because it is C major with an added 7th. These triads are also associated with the relative modal position that any of the notes are occupying. CEG. with its major quality implied. and so on. DFA.Chapter twelve Cycling a Chord In this chapter the “in and out of the mirror” effect is shown through the cycling of chords belonging to a major scale. All the seven root triads are worked out this way. the chord built on the second position will be known as the II chord etc. making the spelling 1 3 5 7. adds the F. can also be embellished with another note. This chord is then named C-maj7. The next primary triad will be built from the D note. This triad is a minor triad and is shown as Dm. The easy way to visualize it is that there is a skipping of a note every time a new note is added to a chord. and adds the C. skips the next. This triad is also occupying the Dorian Mode Position. This triad is also occupying the Ionian Mode position. and it will be a 2 4 6. skips the next. The root chords of a scale are reckoned quite simply: 1 C 2 D 3 E 4 F 5 G 6 7 A B 8 C = C Major 135. This is known as building chords in thirds. one can add the note B. D F A. CEG. adds the A. forms the primary triad built on the note C. This is called Extending the chord. So the triad of C is called C major. the C. Next will be the E minor triad on numbers 3 5 7. but written simply as C. Dm being the root triad of D Dorian. In the case of the triad built on D. So the chord built at the first position will be known as the I chord. skips the next note. E G B.

It also flows right to left as indicated by the big black arrow. then from the root 1 again move up a 5th to the note A (D to A is a 5th interval). b7 E 5 G b3 B 1/1 b3 F 5 A b7 C D The mirror chord becomes that of Em7. This simply means that. 89 . The red note E is now the new root. Do this with the other intervals and the reflected chord emerges. The idea is to start at the far right of the listed chords and systematically go about reversing the formula of the minor-7 chord. D down to B. That’s a daisy chain of mirror chords! The flow of chords is always up one tone and of course this will end up as the Circle of Tones type structure . from the root 1 (red D) move up a minor 3rd (b3) to the note F. and from the root 1 again move up a minor 7th (b7) to the note C (D to C is a minor 7th interval). This formula always describes a minor 7th chord. The result is F#m7.I C II Dm III Em IV F V G VI Am VII B-dim I C Knowing this will make the ensuing examples easier to understand. The formula for a minor-7 chord is 1 b3 5 b7. By reflecting those same intervals around that red D we produce the chord of Em7. The red note D on the right is the central point where we start. For example.Dm7 Em7 F#m7 G#m7 A#m7 Cm7. The F# is then made axis point again and the same procedure follows until the Dm7 chord arrives again in order to commence a new cycle. This next list of chords is to be read from right to left: Dm7 Cm7 A#m7 G#m7 F#m7 Em7 Dm7 D F A C Eb G A# C# F G# B D# F# A C# E G B D F A C This is an unbroken chain of mirrored chords where the axis shifts to new roots in a continual cycle. beginning on any root note. the note D to the note F is an interval of a minor third (b3) so we move by this amount in the opposite direction. and we reflect the chord Em7 in the same way we did previously (Em7 is made up of the notes E G B D).

Bb G# F# E D C Dm7 (III)(II) Cm7 (III)(II) A#m7 (III)(II) G#m7 (III)(II) F#m7 (III)(II) Em7 (III)(II) Dm7 D F A C Eb G A# C# F G# B D# F# A C# E G B D F A C The way to read this is – Dm7 is the II and Em7 is the III of the C Major scale. the G#m7 and A#m7 are the II and III chords of F# Major and Cm7 and Dm7 are the II and III chords of Bb Major. that the six chords still relate to the original Triangle of major keys (C E and Ab) that has been discussed. and D F# Bb. Its formula is 1 3 5 b7. Em7 and F#m7 are the II and III chords of D Major. Remember that notes like G# and Ab are the same note in Equal Temperament. Then Em7 is the II and F#m7 is the III of the D Major scale. C E Ab. does this structure apply to any type of chord. With study it can be seen that Dm7 and Em7 are the II and III chords of the C Major scale. 90 . F#m7 and G#m7 are the II and III chords of E Major and A#m7 (Bbm7) and Cm7 are the II and III chords of Ab Major. however. and this is the formula that is continually mirrored. Then F#m7 is the II and G#m7 is the III of the E Major scale and so on (which produces a circle of tones). All this flow is moving firstly from one side of the mirror through to the other side and back again continually. Not only do we have represented here two triangles of keys in the shape of C E Ab. but the two joined together are C D E F# Ab Bb which can be seen as the Circle of Tones. There are also overlaps. this is how the Major Keys and the II and III chords flow: Major Keys . So far we have uncovered the II and III chords of the Triangle of Keys. and will this structure appear in less obvious ways? After all it is quite obvious that the above chords flow upwards one tone at a time and will add up to a Circle of Tones. The C7 chord is mirrored this time.One question is. In the above list of mirrored chords. Again this points to the Circle of Tones type structure. This next chord shows this in and out of the mirror effect more clearly. The above list of mirrored chords shows. in the same way as in the list of mirrored chords above.

and the two chords are swapping sides of the mirror together. The triad of C is chosen and the 1 3 5 formula is continually applied: 91 . for example. the dominant chord. like skimming a C7 pebble into a lake and with each succeeding bounce it really traverses two lakes of tonality. a whole tone step at a time. Dm7b5 D F Ab C7 C E G Bb E7 E G# B Dm7b5 D F Ab C Only in this case this double reflection is happening as we move through the circle of tones structure. C7. This in turn swaps back to a dominant chord on its opposite side of the mirror. D F# A#.C7 A#m7b5 G#7 F#m7b5 E7 Dm7b5 C7 C E G A# C# E G# C D# F# A C E G# B D F Ab C E G Bb Triangle 1 The circle of tones connection is still here yet the chords change between Dominant and minor-7b5. C7 = Dm7b5 and Dm7b5 = E7 when the formulas are mirrored. The dominant 7 chord mirrors to the minor-7b5 and vice versa. This is because of Double Reflection. whilst the m7b5 chord defines the other Triangle. and as you can see by the flows of mirrored chords above. and so on. This last example is the 1 3 5 triad continually mirrored. The Dominant chords define one Triangle. moves across the mirror point to Dm7b5. C E G#. This is a symmetrical ripple. Therefore it is the triangles that are guiding the flow of in and out of the mirror.

This is made up of a major third (C to E) and a minor third (E to G). The circle of tones structure itself will emerge in a variety of ways. The Bb note then becomes the new axis.Fm Ebm Dbm Bm Am Gm = circle of tones This time the circle has defined itself according to major and minor triads.C Bb Ab Gb E D = circle of tones (or two triangles) Minor triads . Begin at C at the far right and plot down the 1 3 5 triad. Fm Mirror side F Ab C C E G Bb Mirror side Bb D Fm F Ab C 92 . These proportions are then mirrored from the C axis. Fm. Remember to follow the arrow and that the red notes are axis points. If we remember that the triad of C is out of the mirror and the triad of Fm is in the mirror we can imagine an overall journey here of triads swapping across the axis/mirror point. The root of that minor triad is then made an axis point and the intervals are mirrored once more. This produces the next triad. The major triad C has become minor. sometimes in a major role and sometimes in a minor role. All in all the groups of major and minor triads that emerge are separated by a tone as they travel in and out of the mirror: Major triads . This time it will be a minor third followed by a major third that is mirrored. which is Bb.C Gm D Am E Bm Gb Dbm Ab Ebm Bb Fm C C E G Bb D Gb A C E G# B D Gb Bb Db E Ab C Eb Gb Bb D F Ab C E G Here you have the circle of tones descending from both the majors and the minors. producing the next triad of the cycle. and the procedure is repeated until the cycle is complete.

B-diminished Here they are as they appear on a music stave: 93 . But here we are concerned with how the seven primary triads relate to each other through the mirror.Chapter thirteen Swings four ways Another phenomena existing because of symmetry also adds further witness that the two sides of the mirror are well structured together. C Major and A minor are two such scales that are said to be relative to each other. The major triad and the relative minor triad swap over across the mirror axis point. The left hand scale has already been seen to be a Phrygian. F major. The root triad will represent the home chord of the Key. Here is a list of the seven primary triads again: I II III IV V VI VII C major. through its 6th position. After the single notes of a scale. and its mirror: 3 C 4 Db 5 Eb 6 F 7 G 1 Ab 2 Bb 3/1 2 D 3 E 4 5 6 A 7 B 1 C C F G This was also the very first major scale mirrored. G major. Here is the major scale again. Music from both of these scales are written in the same key signature. A minor. A major scale is also known to possess a Relative Minor. the next step is usually to create the seven primary triads. D minor. The minor scale. E minor. the Relative Minor is a scale closely associated with the major scale.

Individual notes are numbered normally. Likewise the note G reflects around the C axis and becomes the note F in the mirror (both a perfect 5th away from the axis). This is consistent with the fact that a major scale mirrors to a minor scale. because this minor triad is the relative minor of the Mirror major Key. then the 9th (same as the 2nd) then the 11th (same as the 4th ) etc. it should be quite clear that there is a sequence within the choice of the notes used to make the C major triad. The note E reflects around the C axis and becomes the note Ab in the mirror (both a major 3rd away from the axis). As already explained. making it the relative minor of that scale. and hopefully making more sense. and adds the 7th. as seen in the mirror scales above. the 3rd and the 5th. And this pattern is extended greatly within the construction of chords with more than three notes in them. Therefore. what has happened is that a major triad has mirrored to a minor triad. the root note. miss the next. that of the Ab major we have already seen. The mirror triad of the C major triad would be calculated this way: C E G = C Ab F The note C is the axis. If a non-musician study the C major scale. miss another. The C major triad is composed of the notes CEG. it is that of F Minor. F minor is at the 6th position of the Ab major scale. C major triad for mirror F minor triad. and choose the next. the major triad and the relative minor triad swap over across the mirror axis point. so is the same both sides of the mirror. This C-triad and F minor triad connection is even subtle.Chords are normally numbered according to the Roman numeral system. choose the next. The mirror triads exist and are built by reversing the flow of the intervals that make up each individual triad. This triad is rather well known of course. 94 . The pattern established here is to set one note as root. One simply misses the next note after the 5th. Here is an example of a C major 9th chord CEGBD=13579 So this is the basic way of harmonizing scales.

It is found that the root chord from one side of the mirror reflects to the relative minor chord from the other side of the mirror. Therefore the A note reflects to the Eb note. which is the Relative Minor. it should be obvious that both sides of the mirror would require their own duality. 95 . and vice versa. Alternatively.The 6th position of the C major scale is the position for the A minor triad. And here amongst that disjointedness we find a perfect relationship: Root C major triad Relative Minor A minor Ab major triad F minor Things crossover at specific axis points in order to gain access to the other side. given the fact that the modes move in a reverse flow on the mirror side. The resulting mirror triads of Ab major and F minor. and that is the visible axis that holds the symmetry around itself. And therefore. and the E note mirrors to the Ab note. Earlier in history the major and minor tonalities were associated with feminine and masculine. or A minor triad swaps for Ab major triad. in the mirror key. with the 3rd mode reflecting to the 1st mode on the other side of the mirror. The mirror triad of the A minor triad is calculated: A C E = Eb C Ab We are still in the home key of C Major. And the root chord from the other side of the mirror reflects to the relative minor chord from this side. This is what creates the four-way relationship. function as the root chord (Ab major) and its relative Minor chord (F minor). the C note is still C. This is the triad of Ab major. Here we would see the masculine having its counterpart on the other side of the mirror. relative minor swaps for mirror relative major. and even begin that flow disjointed. That is some coincidence. the 135 of its own key.

Explanation of the Keys In this chapter we will come to see the perfect symmetry held around the Dorian Mode axis.flats 96 . and gives birth to the key signatures. I realize that sounds rather “out there”. but it is justified in terms of what is to follow. It is true that the circle of 5ths.Chapter fourteen Dorian Symmetry. It will be shown how the Dorian mode. the second mode of the major scale. as used in the West. showing how many sharps or flats are in any particular Key Signature. becomes ‘pregnant’ with the sharps and flats. establishes keys whose contents of sharps and flats increase by one at a time. and how it is a secret catalyst to the creation of the major and minor scale system. Below is a circle of 5ths.G D A E F Bb Eb Ab Db Gb . as we generally use it today. Major keys in a circle of 5ths C (b) F G (#) D (##) (bb) Bb (bbb) Eb A (###) (bbbb) Ab Db Gb/F# (bbbbbb/######) E B (####) (bbbbb) (#####) Sharps and Flats 0 C- 1 2 3 4 5 B 6 F# .sharps C . rising to a maximum of six sharps and six flats.

each new major scale in turn has only one note that is different to the proceeding major scale. This shows how C and F# reflect the same mirror note positions. and is actually rather empirical. you will see that in reaching the F#/Gb axis the process happens by contrary motion. Notice something rather uncanny here. Again E/Ab are mirror note partners. Does the D Dorian mode hold any symmetrical secrets of its own? You will see that each new flats and sharp needed to build a new major key are all born in symmetry around the D Dorian axis. The only difference in notes between C major 97 . as we plot the scale of C major and its mirror again: C Db Eb F G Ab Bb C/C D E F G A B C The note pairs around the C axis are the same as the major keys that have identical sharps and flats within their signature. This consistency is rather uncanny. for example. D on one side. We have already seen how the Dorian dissects the 4. if you follow the arrows. and it will be seen that the idea of a “Dorian tonal pregnancy” is not as far fetched as first may seem. And so on through the mirror pairs. at the hidden F# position either side of the mirror.5. one can run the F#/Gb notes along the center in-between the two music staves. and the Ab major key has four flats. More importantly. is in reflection with Bb on the other side.F#/Gb --------------------------------------------------------------------------------- Interestingly. The E major key has four sharps. When building major scales. The D major key has two sharps and the Bb major key has two flats. One would intuit that it is a changing from clockwise to anti-clockwise flow.

the key with no sharps or flats. The F# major scale contains six sharps. and the Gb major scale contains six flats. All twelve major keys have a special link with the D Dorian Mode. as will be seen. and they will be at 180% to C major. The only note that is different to the C major scale's notes is the F# in place of the natural F. As each new key progresses and gains more sharps and flats. This type of symmetry happens nowhere else but within the D Dorian Mode. These two places are known as the poles within music. this distribution is reflected around the Dorian axis point. 98 . it is all the white notes of the piano beginning at D and ending on D an octave up or down from that point. The note D is set as an Axis point and the notes are written as mirror partners around this axis. is the note F#. clockwise and anti-clockwise.and G major. C major is the right hand scale as shown above. The F# and Gb major keys are at full expansion and full contraction in the circle of 5ths. Here is G major: G A B C D E F# G = G Major Think of this major scale as any doh-reh-meh-fah-sol-lah-the-doh sounding scale. It is at the Dorian where the journey begins into more and more subtle structures and inner mirror patterns. in other words. The Dorian Mode takes into account both sides of the Duality and deals with both types of cycles. for example. T S T T T S T D E F G A B C D = D Dorian The intervals that make up this Mode (the Tones and Semi-tones) are then 'mirrored'. The Dorian Mode which belongs to the scale of C Major possess no sharps or flats.

T

S

T

T

T

S

T

T

S

T

T

T

S

T

2-D

E

F

G

A

B

C

D

E

F

G

A

B

C

D -2

The red D is the axis point. See the formula on the right of D reverse itself to the left of D. The same mode emerges either side of the axis point, but the note partners will be different. In effect, this is the second line of the C Major Mode box. Mirror note partners are D/D, E/C, F/B, G/A, A/G, B/F, C/E, which are visible mirror pairs, and D#/Db, Gb/A#, G#/Ab, A#/Gb, C#/Eb, which are the 'in between' mirror note pairs. Some of the in-between note partners are shown in parenthesis next, so you will see how they are in symmetry around the D axis:

center D E F G (Ab) A (A#) B C (Db) D (D#) E

center F (Gb) G (G#) A B C D

Now we focus on each increase of sharp or flat in Key signature that is connected to one of the two poles, F# and Gb. G Major contains one sharp and F Major has one flat: G A B C D E F# G F G A Bb C D E F

The sharp and the flat appear at the F and the B notes respectively. These two notes are mirror partners around the Dorian Mode. You can add the sharp and the flat and see that they mirror perfectly around the D axis point. Here is the D Dorian Mode and its mirror partner again: b* #* D E F G A B C D E F G AB C D

One note is a sharp one side of the mirror and the other note is a flat the other side of the mirror. The Key of D major contains two sharps and the Key of Bb major contains two flats:

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D E F# G A B C# D Bb C D Eb F G A Bb

The sharp and flat notes are F and C, and B and E respectively. We know that F and B are mirror partners; so are C and E. b* # b #* D E F G A B C D E F G AB C D

This is the pattern as we add more sharps and more flats. The altered notes (the flats and sharps) are always mirror partners in the perfectly symmetrical Dorian Mode. The Major scale of A has three sharps and the scale of Eb has three flats. A B C# D E F# G# A Eb F G Ab Bb C D Eb The new altered notes are Ab and G#. Again these are reflected around the axis note D. This is also halfway point, and the very center of the D Dorian Mode, which is like an axis point too. G#/Ab is the same when symmetrically reflected around the D axis. b* # b #* D E F G (Ab) A B C D E F G (G#) A B C D

E Major has four sharps and Ab major has four flats: E F# G# A B C# D# E Ab Bb C Db Eb F G Ab

The new altered notes are Db and D#. This is again the result within the D Dorian mode too where D# mirrors to Db.

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b* # b #* D E F G (Ab) A B C (Db) D (D#) E F G (G#) A B C D

Two more sharps and flats and we will arrive at the poles of F# and Gb. B Major has five sharps and Db major five flats: B C# D# E F# G# A# B Db Eb F Gb Ab Bb C Db

The new altered notes are the Gb and the A#. These two notes are also mirror pairs around the D Dorian Mode.

# b* # b #* b D E F G (Ab) A B C (Db) D (D#) E F G (G#) A B C D

Lastly F# Major has six sharps and Gb Major has six flats: F# G# A# B C# D# E# F# Gb Ab Bb Cb Db Eb F Gb

The new altered notes are E# and Cb. This last result too is similar to that within the D Dorian Mode and its mirror partner. # # b* # b #* b b D E F G (Ab) A B C (Db) D (D#) E F G (G#) A B C D

These are the way the sharps and flats progress. The note C is the beginning of the journey but has no sharps or flats. Every addition of a sharp and a flat within the key signatures, which develop toward the musical poles, is seen to reflect perfectly around the D Dorian mode axis.

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the Major scale of C itself. its mirror. or in a kind of neutral state. this indeed would be the evident structure.To verify the growth of sharps and flats there is then a second witness. together with the amount of sharps and flats required to build the major scale from each root note: 0 C 5 Db 3 1 Eb F 1 G 4 Ab 2 0 Bb C 2 D 4 E 1 F 1 G 3 A 5 B 0 C Gb (6) F# (6) Mirror partners . The center of both scales being F#/Gb means that this is another axis point. because were we to create the next twelve cycles of keys.C/C D/Bb E/Ab F/G A/Eb B/Db. It is interesting that the two poles live at the center of this natural of Major scales. 102 . as seen earlier. This next diagram shows all the above information in a graphical way and may be easier to imagine when it comes to the wonderful symmetry that Nature displays around the Dorian Mode. Look at the C Major scale. and the note pairs either side of the axis. This is the home key which gives rise to the D Dorian Mode. swap over at the poles and then continue infinitely to higher or lower circles of twelve keys? In fact the answer is yes. Was this an accident of Nature? Or is it an intended seed set in symmetry in order for the duality to contain the potential of self unity.

103 . This has grown out of favour nowadays. probably for good reason because it perhaps sounds a little belittling to women. Although I am sure this was not the intended purpose. The major sounding music was quite lively (imagine marching band music). This means that C# is the new sharp required to construct the D major scale. feminine traits. There was a time when major tonality was called masculine and minor tonality was called feminine. in order to construct the Bb Major scale. or C Phrygian (on the left) scales. Whereas the minor sounding music (like Greensleeves) was considered an aspect of sub-consciousness. the hidden depths of the sea. And this must also have been a reason why the major key always had a relative minor key. The number 2 that joins them up signifies the amounts of flats or sharps within their respective key signatures. and considered dispersive. The reason for placing this sexual identity on tonality was because of the music produced. and it is born in symmetry as the Eb note points itself toward the left.The Dorian Distribution of Sharps and Flats An example is the C# note pointing rightwards with its arrow to the D note. The major scales are reckoned vertically at these points and the notes colored blue are not usually within the C major (on the right).

Here is a circular diagram showing this symmetrical picture. In the D Dorian (not the key of D but the key of C in its second modal position) is the story of how the sharps and flats are born and distributed amongst the two poles (of six flats and six sharps) at opposite ends.If C were in the masculine role and D the feminine. The distribution within the symmetrical Mode of D Dorian is musical expansion and contraction reaching to the two poles. and it is done within the Home key of 'home' Keys. The story being told when the key of C is mirrored is that of symmetrically linked major scale Key signatures either side of its axis point. The thing about the key of C too is that it displays 'home' keys. It may help to imagine this as a circular mode box: 104 . it would also explain why D is the note 'pregnant' with the six sharps and six flats. the roots of all twelve major scales. C Major. This creation is a working system that complies with the law of symmetry. and in doing so the journey creates naturally occurring Keys around a circle of 5ths.

And here is the same diagram having been warped slightly. Many thanks to Dale Pond for this very good idea: 105 .

The player can simply slide his finger up and down the string and will always produce a note. Start off with a low tone and then. This slicing up technique is what is meant by a scale’s formula. or lower and lower. Each step is given a letter between A and G. There is a numbering system too that is used to describe each step of the overall formula. each contributing to one overall flavor that contributes to the overall sound of the scale. Some scales take a trained ear in order to distinguish them apart but other scales are easily recognized by the masses. Imagine a bow striking a low note on a violin. and the note is heard rising higher and higher in pitch (until it sounds like a cat squeal!). that is. as if it somehow contained the power to make this happen? The answer lies within the sometimes over-feared field of music theory and is based on the scale’s make-up. There are no gaps between pitches within natural sound. and produces such powerful emotions as to make an audience weep unashamedly. and highlights the fact that Nature’s Sound is a continuous tone that is there to be sliced up to our liking. instead of sliding with the finger. Then the player moves the first finger of his left hand down the violin string. Continuous tone rising and falling Above is continuous pitch traveling higher and higher. 106 . the sound is sliced up into a scale. So what gives a scale this quality. its formula. which is the trait of the minor scale. leave definite gap between each step that is played. One can usually tell the difference between a bright sounding scale and a dark sounding scale. For every scale there is a blending of colours. Some scales sound very “country” and with a happy “major” sounding feel whilst other scales sound mysterious and mellow. Below. or a person alone in their room reflect and relive memories that the music is stirring within. This is true for bicycle pump playing as well. This is the “colouring” aspect of tonality.Chapter fifteen Shades of Dark and Light Every scale is different. These steps then are like musical slices of the continuous tone. In the western culture the major scale and the relative minor scale are heard within almost all the music we listen to. where each shade of colour held within the scale induces an appropriate response within the listener.

Each step is based on a leap upwards or downwards in pitch by a certain ratio. Here are the different shades relative to the Modes of any major scale. There is a system within the major scale known as the modes. Slicing the continuous tone creates steps and in turn steps create formulas. which is regarded as the brightest mode of the Major 107 . Almost everyone can hum the doh reh meh fah sol lah teh doh scale.C D E F G A B C The note is struck between the gaps in the line. but also give rise to different effects on the listener. that is. at a pleasing ratio (mostly) between the beginning note and this new slice. beginning with the brightest sounding: Lydian Ionian Mixolydian Dorian Aeolian Phrygian Locrian brightest axis darkest It should be no surprise that the perfectly symmetrical mode. the Dorian. Further to this the modes are known by their light or dark qualities. collections of steps. In this experiment we will start with what is regarded as the darkest mode of a Major scale. contains the axis point between light and dark tonality. and therefore the scale’s place on the musical light/dark spectrum. Each of these seven steps that exist within this scale is predetermined and not accidental. It is the formula that reigns within the building of scales and not necessarily the actual pitches of the notes themselves. When this is understood one can imagine how many different sounding scales there are. The formula is the provider of colour. This mode actually mirrors to the Lydian mode. Musical scales are not made up of exactly the same arrangements of steps and so not only sound different to each other. The brightness and darkness of a scale depend on the arrangement of these steps. the Locrian.

When the above list is represented on the music stave. T. The first line’s information can be interpreted as – T. The Lydian mode is the brightest because of the formula it is built on. I do realize all this may sound rather confusing for non-musicians. and study will be required in order to understand why these particular formulas mean what they do. This is because the Major scale contains what is called a Perfect 4th. So if some are rather unsure as to the use of these flats and sharps. What makes the Modes darker in quality within this major scale is the addition of flatted notes (shown as a “b” sign). The scale above it. the Lydian has its raised 4th and is the brightest because every scale within the structure of the seven modes is darker in quality than the Lydian mode. which is one semi-tone lower than a sharp 4th. for that is how the shades of colours can be seen to be flowing through the circle of modes. and the Dorian contains two etc. To establish such a table one must use the same root note for every one of the seven formulas. S. The last Mode in the diagram below contains a b2 b3 4 b5 b6 b7 within its formula and one can see why it is the darkest Mode. T . The Mixolydian contains one flat. and it is that extra raising of one semitone that has made the Lydian Mode even brighter than the Major scale (you will see this in the next diagram where the “#” shows expansion/light. remember that we are dealing with the circle of 5ths. S. and is placed in the gaps in between the numbers. To really explain this one would again need to go back to music basics. You can see this shift from light to dark if we show the formulas required to make up each mode. 108 . and the “b” shows contraction/dark). There is what musicians call a sharp 4th within its make-up so it is even brighter than the Major scale (Ionian Mode) itself. the note C as the root of all seven modes: 1 1 1 1 1 2 2 2 3 #4 3 3 4 4 4 4 4 5 5 5 5 6 6 7 7 8 (C Lydian mode formula) 8 (C Ionian mode formula) Axis Brightest This next list uses 6 b7 8 (C Mixolydian) 6 b7 8 (C Dorian) 2 b3 2 b3 5 b6 b7 8 (C Aeolian) 5 b6 b7 8 (C Phrygian) Darkest 1 b2 b3 1 b2 b3 4 b5 b6 b7 8 (C Locrian) The Ionian mode is actually the very root of the parent major scale. T.scale. T. as shown shortly. it should become clearer as to why these formulas are used.

Therefore it resides within a major scale that contains these five flats as part of its Key signature. and the shades of light and dark that it creates are a natural progression. C Phrygian. which is the brightest. because the Locrian mode is always the seventh mode. the Locrian. C Lydian etc): 109 . with the Dorian mode position being its central axis point. contains five flats. C Dorian. The bottom mode in the above diagram. Here is the Db major scale. if C were root note of all the modes above. Knowing how many flats or sharps each major scale contains within its key will help to establish the right understanding as to how musical light and dark is distributed. started from the Lydian mode. as the major scales evolve. Therefore. We know that Db major is that major scale. these C based scales in the above list are getting darker and darker sounding.which contains twelve major scale key signatures. then each mode would reside within a different major scale. The C Locrian will be the seventh mode of that major scale. Here is another way of seeing the above information. All the modes are generated from the C root position (C Ionian. Basically . with its modal positions written above the notes: Ion Db Dor Eb Phr F Lyd Gb Mix Ab Aeo Bb Loc C Ion Db = Db Major Therefore the previous list based on modal colour is still related to the circle of 5ths.

this is a mode box arranged in the right sequence of light and dark. If you have made it this far into the book you should probably know how to mirror scales by now. at the 4. Also you will find that the above Modes.It is no surprise now that the Dorian Mode is the Constant (symmetrically reflects as Dorian both sides of the mirror) as this is where light and dark meet. a cycle of light to dark and dark to light complete. This next diagram takes the C major modes through a circle of 5ths beginning with the brightest mode. that is.5 positions. and so on. as shown in the mode box. This C Phrygian Mode brings us back to the very first step of the mirror process. 110 . F Lydian. perhaps only spiraling faster and faster and slower and slower. the C Phrygian within the Ab Major scale. and in effect. The Dorian can gain access to the mirror side. The tri-tone position demands it and it demands it at the dissection of 9 into two equal halves either side of the mirror. through the cycle of 5ths. and it will be directly over the F# point within the C Dorian Mode. which is the mirror scale of C Major. It affirms the Dorian as having an axis quality of its own as seen previously. through its perfect symmetry. These shades are then mirrored. all built on the root note C. If we put these Major scales in sequence starting from the note C we have this list of scales: C Db Eb F G Ab Bb And these are the notes required to build the C Phrygian mode. belong to the following Major scales: Db Ab Eb Bb F C G This means that the first mode of C Locrian resides within the Db Major scale.

in the form of six flats.5 are literally partners in the tonal fountain. then the C Ionian being the next brightest. The next line has only four flats. This then correlates to an opposite journey on the mirror side. This B to F is the visible tri-tone of the C major scale. from expansion to contraction. and swap-over axis. with F Lydian (4) being the brightest sounding scale. There is no faltering. as in BuckminsterFuller's indig number (where -4. Swapping from major type to minor type. we see a point where maximum contraction becomes maximum expansion. then it should be quite clear that there is a Dorian aspect to the 4. A D A E# Bb E B F# Cb A B E F B C F G The right hand side of this mode box shows the progressive shades of colour. at F Locrian (7). and the swapping over of qualities is performed. if the cycle is repeated. as seen in the chapter “the invisible aspect of the triangle of keys””. from tonal light to tonal dark. and the line after that has two flats. As it has been shown that the 4. The journey continues with two sharps. but actually a well laid out structure. This diagram says a lot more than at first seems to be the case. as in full contraction 111 . or creation of gibberish on the mirror side. which is where light and dark meet. balances out and switches over the contraction for expansion. four sharps and six sharps. At this point. until the Dorian. all the way down to the B Locrian (7).5 is also the swap-over axis. The thing to look for here is that the top left scale starts with maximum contraction. for example. Here we have tonality distributing expansion and contraction as the circle of 5ths evolves. showing how the Dorian is perfect point of symmetry.Mode Box in shades of light to dark through cycle of 5ths 7 LOC F 3 PHR C 6 AEO G 2 DOR D 5 MIX 1 ION 4 LYD 7 LOC A E B F Gb Db A E B F# C# Gb Ab Eb Bb F C# G# D# Ab Bb F C Cb G D Db Ab Eb B F# C# G# Db Eb Bb F C G D# A# Eb F G C D G A D E A E B F C G D A B F C G D A E B C G D A E B F C D A E B F C G D E B F C G D A E F LYD 4 C ION 1 G MIX 5 D DOR 2 A AEO 6 E PHR 3 B LOC 7 F LYD 4 G . Positive to negative. between B and F. The Dorian and the 4. switches to +4. where light and dark have their axis. which is the darkest sounding scale.5.

where it is seen how maximum expansion immediately becomes maximum contraction at the swap-over point. Here it is shown in music and number fashion. as nature would inevitably leave its imprint on such structures. Here is a simple chart showing the evolution of light/dark within the above left hand side of the mode box in true shades: bbbbbb bbbb bb DORIAN ## #### ###### bbbbbb bbbb bb DORIAN ## #### ###### This compares to the way the light/dark quality of the indig numbers expand and contract across the 4. the brightest mode. and can witness the whole of duality. and the 4. They exist at the 7th and 4th position. The Dorian/4. clockwise to anti-clockwise. mirrors to F Locrian. 4 F Lydian/Locrian 7 7 B Locrian/Lydian 4 112 . shown in the “Vedic square” chapter. Could this map. or the 4th and 7th position of their respective major scales. be of any use to anyone other than a musician? It just so happens that F Lydian . It is perfectly symmetrical at this point. showing the symmetry of expansion and contraction.becoming full expansion).5 axis point.5 is where nature has a unity. The light/dark relationship between the two F's is echoed in a similar light/dark relationship through the two B's. the darkest. also a 7/4.5 is in effect the zero point. between both sides of the mirror.

B Locrian One journeys in through the F and comes out through the B. we can see how it is possible musically. Gb = F# Ab = G# Bb = A# Cb = B Db = C# Eb = D# F = E# In one manifestation the scale is full expansion.dark F Locrian . C to F# is one tri-tone. The F and B are visible in that they are two notes that belong to C Major and are a tri-tone apart (F . These two scales are modes and therefore they belong to a parent major scale. Notice that F Locrian and B Lydian are in effect the same scale.G -A .B C# D# E# F# G# A# light F B G A B C D E F . and F to B is the other.F Lydian dark C D E F G A B . Both B/F and F/B are the visible tri-tone positions of the C Major scale and its mirror. The scale that these two modes belong to is F# or Gb Major.F Gb Ab Bb Cb Db Eb light B Lydian . and in the other manifestation it is full contraction. The F# is not visible in the C major scale. nor the mirror of the C major scale. When thinking of a pole shift. the two poles. 113 . This is what ties in the visible tri-tone aspect with the invisible.B = three tones).

the darkest. S T T T S T Ion. So the brightest sounding mirrors to the darkest. S C Db T Eb T F S Gb T Ab T Bb T C The flows meet in the middle. And in the middle waiting to start the next formula is the Aeolian mode. T 1 114 . Aeo 3 Phr. and it is paired with the next less brightest mode. there is a hidden structure behind the distribution of these shades of tonal colors.Shades from the Center Again. If we continue our experiment using the Phrygian mode as our new starting point we will see that it is the next darkest mode after the Locrian that emerges. which is the correct shade that develops next. Observe this diagram: Darkest mode Phr. and it is emerging from the center of each formula. Commencing the next scale from the central semi-tone in the formula above would create the Phrygian mode (S T T T + S T T). Reversing the flow of the formula gives us the Lydian mode (TTTSTTS). Here is a Lydian scale starting on the note C T C D T E T F# S G T A T B S C This is the brightest mode of the major scale family. Now if we use this formula in reverse. S T T S T T T Lyd 4 Brightest mode The formula from left to right is that of the Locrian Mode (STTSTTT). 7 Loc. the result is the C Locrian mode.

The Phrygian mode is one shade lighter than the Locrian mode. As you can see the two respective modes flow left to right and right to left. Therefore this is simply the Ionian/Phrygian relationship we have uncovered before. and the Ionian mode is one shade darker than the Lydian mode. the next mode is waiting in the center in order to evolve the next pair of shades between light and dark tonality. creating the respective shade. S T T T S T T creates the Phrygian mode. The Aeolian will mirror to the Mixolydian mode. Let’s continue in this vein with the other modal partners. like Ionian/Phrygian. The above information is related to the Mode Boxes in a subtle way. and if we make this Aeolian point (built using TSTT+STT) the new starting point of the next scale we get even brighter on one side whilst getting darker on the other. Dor 6 Aeo T S T T S T T Mix 5 As well as the dual looking formula. the Modal structure of the Major scale is seen as evolving in sequential shades of brightness or darkness from a central point within each formula. and T T S T T T S creates the Ionian mode. or right to left. The formulas meet in the middle. The modal partners are consistent with those found in the C Major Mode Box. which can be read either left to right. which creates shades of tonal colour. and if anything we are seeing how the inner qualities given to the different shades of the Modes springs from a 115 . Dorian/Dorian etc. Dorian is the next starting point in the dual journeys: 2 Dor T S T Mix T T S T Dor 2 5 Mix T T S Ion T T S T Aeo 6 1 Ion T T S Lyd T T T S Phr 3 4 Lyd T T T Loc S T T S Loc 7 So.

This interplay between the invisible axis and visible axis. It’s as if the journey is about to commence again through the mirror at this point. The way in which these relationships flow is not necessarily confined to musical scales. This center.5 position. will be seen in the chapter “In and Out of the Mirror”. The last example in the above list throws up a rather interesting oddity. is in effect a Tonal Fountain. One must surely ask in what other fields of study viewing information as swapping over from mirror/nonmanifest to non-mirror/manifest may be of benefit. 4. The Locrian Mode on the mirror side of the C Major Mode Box is that of F Locrian which resides within the Key of F#/Gb Major. 116 . with the Locrian mode waiting in the middle to start the process all over again.hidden axis at the central tri-tone position. It is the place where things are made manifest on the opposite side of the mirror. swapped over at the tri-tone position. The Locrian mode is mentioned twice.

the two triangles of frequencies. which is held together by the function of the Circle of Tones structure. the non-musician may like to bear in mind that they merely need to be satisfied that the 45-degree angle of these music scale boxes show the flow of this circle of tones structure. from the other side of the mirror. It isn’t only the 45-degree angle that carries this structure. the axis point at Gb still maintains 117 . There have been other musical examples that have shown this process. The other two Mode Boxes The whole mode box of C Major can be transposed using the other keys that made up one Triangle (C Ab E). and then next it is emitting from the in-between axis. The same two triangles are flowing at this angle within the left hand side of the Ab Major Mode Box.Chapter sixteen In and Out of the Mirror If the non-musician can at least understand the principle behind this next series of diagrams. In the C major mode box. even though other notes are being used. the axis pitch that held the two triangles around it was the note Bb. Therefore any musical relationships established in the C major mode box will remain true for the other two Mode boxes. the uninvolved axis. or rather. yet the arrangement of them and the axis pitch have changed. and then transfers itself to the 45-degree angle. for example). There is a continual swapping between what I have termed the invisible axis to the visible axis. To help weed through the jungle of music theory. You will see all the modal relationships that occurred in C major’s mode box remain intact in the next two mode boxes. they will get an insight into how one may view musical information as existing firstly on one side of the mirror and then on the other side. Cyclic events discussed so far always have this structure flowing through them. Plus we are also able to observe how the triangles of keys continue their flow at the 45-degree angles. and there are of course also numerical ways of seeing this information (as seen in the flow of the Fibonacci numbers. One moment the information is part of the visible scale or sequence. in a continual sequence. Even though there has been a change. It in fact occurs vertically along the scale box. that is. the formulas that build the modes being exactly the same.

Bb D F# . The axis appears at the Locrian mode position. have now reached the 45-degree angle and will swap over to the other side of the mirror. This circle of tones structure is alive at the 45degree angle. This was actually the flow of notes along the vertical line in the C major mode box. but all the formulas and relationships are exactly the same as the C Major mode box. and the implication is that the 45-degree angle has become the swap-over point. There is a swap between expansion and contraction. Mode Box Two .Ab Major PHR DOR ION LOC AEO MIX LYD Ab Bbb Cb Db Eb Fb Gb Ab Bb C Bb C C D Db Eb F G Ab E F G A B Bb C Db Eb F G F Ab ION DOR PHR LYD MIX AEO LOC Db Eb G Ab Bb C Db Eb F F G G Ab Bb C Ab Bb C Db Db Eb Db Ebb Fb Gb Abb Bbb Cb Db Eb Eb F G F G A Gb Ab Bb Cb Db Eb F A B Bb C D Eb F G G Ab Bb C Ab Bb C Db Eb F F G C# D E F# G Ab Bb C Db Eb This looks rather complicated but it is the same type of information as in the first mode box.two triangles of keys either side of it. the last relationship shown as F# in the above mode box. one would see the Gb and F# continually change the contraction/expansion aspect. The central axis position between the two triangles is always made up of the enharmonic pitch held at the Lydian position on the mirror side (Gb in this case is an enharmonic of F#). If one drew out a 32 by 32 mode box. The only difference is that other notes are being used. The triangles that appeared vertically along the C major mode box. the Gb sitting there in the center of the two triangles above. Remember that the flow of these triangles is cyclic. The circle of tones is now grouped up as – Ab C E – Gb .with the Gb acting as an axis between them.. musically speaking. 118 . as the journey through the triangle of keys continues.

The invisible tri-tone in the scale above would be between the root note. at the 4. or three things in one. When understood. The Lydian is known as the brightest mode of the major scale. So here we also have a combination of Light and Dark. The E Major Mode box is the third such mode box that exists in an unbroken thread within the C E Ab triangle of keys. as always. This handing over from visible to invisible will be witnessed again when the mode box for the scale of E is drawn. Ab. in a continual swapping-over effect. The distance between these two notes. This unbroken thread could also be viewed as a kind of seed. You will see this occurring within all Major scales when mirrored. This process shown to be evident within natural cyclic phenomena is too re-occurring for it to be an accident of Nature. is that of a tri-tone (Db – Eb – F – G. There have been many examples of this in the book. We have plotted two of the mode boxes that relate to one triangle of Keys.This 4-Lydian/7-Locrian relationship occupies the interval that has been shown to being the visible tri-tone within a major scale. which occurs at a special point within the cycles. always at the 4/7 positions: Visible tri-tone Ab Bb C Db (D) Eb F G Ab Invisible tri-tone It is at the visible tri-tone position of a scale that the invisible tri-tone meets. wherein a hidden symmetrical link with the tri-tone axis positions is seen to swap from contraction to expansion. and the note D (in between the Db and Eb. This is now the visible tri-tone of the Ab major scale. The invisible hands over to the visible.5 position). In the above major scale it is between the notes Db and G. 119 . Earlier this was established as the notes F and B. is three whole tones). whilst the Locrian is known as the darkest mode. one will find this overall set of relationships quite uncanny.

and the D. The middle axis at the 45-degree angle has shifted again.BOX THREE E MAJOR PHR DOR ION LOC AEO MIX LYD E F G A B C D E F# G# A B C# D# E B C# D# E C# D# E F# ION DOR PHR LYD MIX AEO LOC F# G# A B C# D# E F# G# A G# A# B# C# D# E# Fx G# A A Bb C D Eb F B C# D E F# G G A A B B B F# G# C# D# E F# G# A B C# C# D# E F# G# A F# G# A B C# D# E# F# G# A# B C# D# E D# E# Fx Gx A# B# Cx D# E F# G# A B C# D# Here the same circle of tones exists at the 45-degree angle. albeit mostly as enharmonic equivalent notes. As mentioned. and the B# is the enharmonic of C. More uncanny is the fact that the Cx key (C double sharp) is really a gateway to another circle of 5ths. More examples should make this quite clear. but is disguised as seven modes. Ab/G#. The Cx is really a D note (the x means double sharp). It does this for as long as vibration and number can be counted and plotted. F#. that is. This will be shown in the next chapter. Here is the scale of E major with the visible and invisible tritone relationships: Visible tri-tone E F# G# A (Bb) B C# D# E Invisible tri-tone 120 . each belonging to different major scales. infinitely. using three major third moves that defines one triangular relationship. This time it is D. E. It should be noted that the same circle of tones is also occurring vertically in all three mode boxes. the note D. which was the invisible tri-tone note of the previous scale. becomes the visible note that is axis to the two triangles. So here we still have the E. The vertical flips to the 45-degree angle after every cycle of seven modes. Bb/A# triangles.

back again and so forth. and A# Phrygian. Helter skelter mode boxes C Major C E G# Bb D F# C A#/C C C C C C Ab C E Gb/F# Bb D F#/Ab Ab Ab Ab Ab Ab Major Ab Ab E G# B# D E Major E E E E E E D/E A# F# This arrangement between the triangles occurs in two ways within a Mode Box. The three roots are of course the C Ab E triangle. then across the 45-degree angle. To be ongoing this procedure would require a traveling from one side of the mirror to the other. D and Bb. which itself is one of the two triangles that make up the circle of tones. Two of the Phrygian modes are enharmonic of each other. with the Bb Phrygian acting as axis point to other triangle. And. We know that these triangles of keys that keep emerging are connected to clockwise and anti-clockwise cycles. as mentioned.The invisible tri-tone notes of all three modes boxes have been F#. They represent a system where a major/clockwise cycle is always mirrored to the opposite minor/anti-clockwise cycles. And it may be that this is what the zigzagging motions of these 121 . F# Phrygian. becomes E Phrygian and G# Phrygian. these enharmonic equivalent pitches are necessary for the transference from visible axis to invisible axis. In other words the first triangle starts as C Phrygian. Across the 45-degree angle of the left hand side of the whole C Major Mode Box emerges the same notes as above and they will be seen to occupy the same type of modal quality/position throughout the other two mode boxes. for example. In effect they are a series of Ionian/Phrygian relationships traveling along the diagonal of the mode box. so the 45-degree angle is describing a set of seven Phrygian Modes. A# and Bb. Below is a visual of the three mode boxes and their 45-degree angle activity. then D Phrygian. This modal relationship covers both triangles.

Lastly we repeat this procedure with the E Major mode box. then the second line as a 2/2. The Ionian modes appeared on these notes: E C G# As you can see this equates to an Augmented Triangle of Keys. It could be seen as three generations of matter. and the main reason for focusing on the results. but each generation swapping from one side of the mirror to the other. We move down the C Major mode box and find the Ionian on the mirror side (left hand side of mode box). In fact both possible circles of tones are involved. and may explain the natural double reflection principles between the relationships. Let's start with the Ionian mode. Imagine the first line as a 1/3. No surprise there really. This is also the first clue that the augmented triangles flow from one side of the mirror to the other. Here is the full list: 122 . We then move to the Ab Major mode box and find the Ionian residing on the mirror side there too. one 45-degree angle becoming the swap-over point into the other 45-degree angle. and it falls on the note C. It is at the note E. according to their frequencies. To ascertain the other triangular modal relationships we follow a similar procedure to the first example by focusing on which notes within the three mode boxes each particular mode is found. Yet if we follow this procedure with all the Modes we will see how this triangle remains constant and how it combines with the other triangle found on the right hand side of the mode boxes to form the Circle of Tones. The same numerical relationships are also involved. This would cover all three mirrors. just like in the mode boxes. Further evidence of this two-way mirror relationship that continually swaps over can be seen musically in this next experiment.three mode boxes laid out next to each other are showing. where the three mode boxes that comprised one triangle of keys relationship will be looked at more closely.

form a Circle of Tones – Db Eb F G A B.Modes occurring on the mirror side of the three mode boxes Ionian (on the notes) E C Dorian Phrygian D C G# non-mirror side C D E Ab(G#) E Bb C F# G# Bb F# G# E Mode's Major keys -(F#) (D) (A#) Lydian Mixolydian Aeolian Locrian B A G F G F Eb C# (C) (G#) (E) F G A B Db Eb F G A B C# D#(Eb) Eb B Db A Take the Phrygian line as another example. at the 4. Both sets have appeared on either side of the mirror. The Dorian is a special position. and it was shown how. which is why F# equals F# on the other side of the mirror. when put in sequence. This is the other possible circle of tones (which is also the other two possible triangles of keys). which shows that it has direct access to the other side. for example. for example. On the non-mirror side they appear at the notes E C and G#. from the Lydian mode onwards the notes.5 position in the center of the Major scale. By doing this the other circle of tones emerges. In the diagram above. Here we find that the Phrygian modes appear on the mirror side of the three mode boxes at the notes C G# and E. by virtue of its perfectly symmetrical quality. and so on. 123 . and the G Lydian mode resides within D major. The red notes in brackets above are the Major scales that house the particular modes creating this circle of six Lydian keys. All except the Dorian. The B Lydian resides as a mode within F# Major. there is an invisible “Dorian” quality. The other lines are also replicating.

124 . in reverse or some inversion of them which is still the formula for an Augmented chord. The triangle of notes. Each note is separated by a minor 6th interval (the inversion of a Major 3rd). which eventually defines each series of notes as an Augmented type Chord/Triangle. chords and Keys are always defined by the intervals 1 3 #5 .What is quickly apparent here is the Triangle of Keys relationship existing between all the modes. Each set of modes is one of the four triangles that make up the circle of tones.

which is the invisible tri-tone interval from C.DOR E . The Bb resides at the F Lydian (which comes from C major).AEO A .LOC We can see that the note C is in symmetrical reflection to a series of notes throughout the mode box. What is interesting here is that the Bb and A# are positions occurring within the Gb and F# major keys. or F Lyd/Loc – B Loc/Lyd.LOC G .MIX A .LYD G . Here is a list of these relationships: C = C in C Phr/Ion C = E in D Dor/Dor C = G# in E Ion/Phr C = Bb in F Loc/Lyd C = D in G Aeo/Mix C = F# in A Mix/Aeo C = A# in B Lyd/Loc One can see that every enharmonic pair (the Bb and A# in the above example) actually relates to what can be called the visible tri-tone interval.ION F . and how axis points interact within the whole picture. Here is a stripped down version of the mode box of C major: Mirror point C .PHR F .LYD C E G# Bb D F# C D E F G A A# B C C C C C C C C C .ION D .AEO B . and F Locrian (which 125 . F to B in this case.MIX B .Swapping the invisible tritone for the visible tritone The next set of diagrams further highlights the visible and invisible axis relationships that exist through the symmetrical reflections of a plain C major scale and its modal structure. In analyzing these relationships one gains an insight into the cyclic events that occur either side of the mirror.PHR D .DOR E .

The Cb(B) position on the mirror side Is occurring at the F Lyd/Loc position. there too in symmetrical reflection to it would be a circle of tones. flowing as two triangles of Major thirds either side of a central position. F Lydian . and the B Lydian (which is F# major). Here is the scale of C once more to show the two Tri-tone points: Invisible Tri-tone axis C D E F (F#/Gb) G A B C Visible Tri-tone 1. The A# resides at the B Locrian (which is C Major). This is one tri-tone axis (the Cb/B is at the tri-tone position in either F scale both 126 . B Locrian – C major B Lydian – F# major In the mode box diagram above it is seen that on one side of the mirror is the root note along the 45-degree angle. In fact every note on the left hand side creates triangles along the 45-degree angles. and in reflection is another B on the non-mirror side. Bb acts as centre to C E G# one side and D F# A# on the other. If one were to focus on the note B occurring along the 45-degree angle on the right hand side of the mode box.Gb Major 2. Db F A Cb(B) Eb G B B B B B B B B Along this particular 45-degree angle we see clearer evidence of the two tri-tone axis points playing the visible/invisible role.C Major F Locrian . In reflection to the root is the Circle of Tones. that is. the note C.comes from Gb major).

Sharps and flats have swapped. tonally speaking. What we see is the information around the root position axis being replicated at the tri-tone axis. including a Cb and E#. where C and Bb are mirror partners. made up of two triangles separated by the major 3rd interval. Lydian for Locrian. and Locrian for Lydian. if one look at the original Mode box for C major. that the brightest Mode (the Lydian) swaps for the darkest mode (the Locrian). musically. The B/B also occurs at the bottom.sides of the mirror). It was already seen how this tri-tone is a hidden Dorian aspect too. they will notice that at the B Locrian/Lydian position the notes C and A# are mirror partners. The next diagrams again shows how every note of C Major along its 45-degree angle creates a Circle of Tones on the mirror side. which signifies a swap from light to dark. For example. Each unit is replicated twelve times and is representative of all twelve Major and Minor keys that evolves through the circle of 5ths. F A C# Eb G G G G G 127 . C = A# in B Loc/Lyd C = Bb in F Lyd/Loc This means that a Mode Box is a complete unit unto itself displaying all twelve notes of the chromatic scale. It is also a four-way swapping. In fact if one count notes like Db and C# as two separate notes there are displayed in the Mode Box in all twenty different notes. and it is this ability to have direct access to the other side of the mirror that allows the Dorian to swap the full Light/Expansion for the full Dark/Contraction. at the Loc/Lyd position. This is also true for the F Lydian/Locrian position in the same mode box. This means.

128 . The Eb is probably a central axis here for the second augmented triangle that would go on to produce the other possible triangle. A to C# left to right and A to F right to left. due to the replication of information at the visible and invisible tri-tone positions. and this will define the most perfectly symmetrical point between the two triangles: C E G# A Bb D F# A# If the axis point around the triangles were to be the note A then the other notes would be seen to mirror comfortably around this axis point. where the swapping between contraction and expansion would occur. If this experiment is carried out on the other two Mode Boxes the three axis points will be A C# F. Then the Eb and D# would be the enharmonic pair involved. F A C# is one triangle of keys. In fact those notes appear at the Aeolian modal position on the mirror side (along the 45-degree angle).Following each notes individual 45-degree angle exposes how triangles are always formed on the mirror side at the corresponding 45-degree angle. The Major 3rd intervals will meet in the center of the Mode Box at the 45-degree angle. which belongs to the second circle of tones. If the flow were uninterrupted by the mirror point we would see the notes G B D# go on to produce the second triangle of keys. Here is the key of A Major mirrored in order to highlight this: A Bb C D E F G A B C# D E F# G# A A Ionian A Phrygian It is in this key/axis point that the note C equals F#. If you observe the Major scale above again you will see that these Augmented triangles or triad relationships naturally occur by moving the first Major 3rd interval away from the root axis.

the symmetry around C is the same as the symmetry around the F#/Gb poles. for example. To show how the Lydian/Locrian play each other’s roles. In C Major the Lydian mode is generated from the note F whilst the Locrian is generated from the note B. is exactly the same as around the note B. The notes of the Circle of Tones are in symmetry around the note F.5 position. 129 . whilst the invisible tri-tone axis is at the 4. Likewise. here are other examples. What this means here is that the symmetry around the note F. and it will require some study to fully understand how this occurs.F A C# This is further evidence of relationships existing in and out of the mirror. but the logic is there. And in a sense it will mean that both F or B can be either Lydian or Locrian in role. the Lydian being the brightest Mode of a Major scale whilst the Locrian is the darkest sounding. There is a swap-over point between the two sides of the mirror that is rather subtle. The Lydian/Locrian position is really a partnership of perfect light/dark. These two notes perform an interesting function within the above Circle of Tones. The Swap-over point It has been seen that the Lydian/Locrian positions are the visible tri-tone. If we take a closer look at the two Circles of Tones we will find another intriguing result: F C D E F# G# A# The notes F Lydian and B Locrian display symmetrical characteristics that other note pairs/modal partnerships do not display. One of the reasons for this is their Tri-tone interval relationship. turning both halves of the mirror into one whole unit. The tri-tone position is a place of replication. at the point where the note F would normally be (even though it is not used within the scale).

C

D

E
min 2nd min 3rd

F
min 2nd

F#
min 3rd

G#

A#

4th

4th

The note B also proves to be an axis point when it swaps itself over with the note F that should be lying between E and F#. All the notes around B show perfect symmetry with one another:

C

D

E 5th Maj 6th Maj 7th

B
5th

F# Maj 6th Maj 7th

G#

A#

The intervals reflected are the inversions of the original intervals (although one will need to start at the bottom to tie together the min 2nd and maj 7th, and then work upwards for the rest). This experiment can be carried out on the other Circle of Tones. F#/Gb Db Eb F G A B

This will produce the same set of intervals a sin the first example. The note C can be used between F and G instead. The C takes the place of the axis F#/Gb, its Tri-tone partners, and it will then be seen that the notes either side of C are in symmetrical reflection, a sin the previous examples:

Db

Eb

F 5
th

C
5
th

G Maj 6th Maj 7th

A

B

Maj 6th Maj 7th

130

It is the tri-tone that really brings this ability to swap-over about. Any musical information established at one root, can be replicated a tri-tone interval away. These next two charts will show that the information at the note C is being replicated at the note Gb, which is a tri-tone interval away from the note C. This first chart is showing the major and minor triads as they mirror around the C axis.

Chords and Mirror chords for the key of C Major

C

Db

Eb

F

G

Ab

Bb

C

D

E

F

G

A

B

C
C Ionian

C Phrygian

NonMirror C Cm Db Dbm D Dm

Mirror Fm F Em E Ebm Eb

NonMirror Eb Ebm E Em F Fm

Mirror Dm D Dbm Db Cm C

NonMirror Gb Gbm G Gm Ab Abm

Mirror Bm B Bbm Bb Am A

NonMirror A Am Bb Bbm B Bm

Mirror G#m G# Gm G F#m F#

One example within this chart is the chord C, which is comprised of the notes C E G. These reflect to the notes C Ab F, which form the triad of F minor.

131

Chords and Mirror chords for the key of Gb Major

Gb NonMirror Gb Gbm G Gm Ab Abm

G Mirror Bm B Bbm Bb Am A

A

B

Db NonMirror

D

E

Gb

Ab

Bb

Cb

Db

Eb

F

Gb Mirror Dm D Dbm Db Cm C

Mirror Abm Ab Gm G Gbm Gb

NonMirror C Cm Db Dbm D Dm

Mirror Fm F Em E Ebm Eb

NonMirror Eb Ebm E Em F Fm

A Am Bb Bbm B Bm

The C major grid begins at the opposite end of the Gb major grid, yet all the relationships are the same (F minor equals C, for example). A similar chart may be drawn for F#, and it will give similar results. In fact , here is the D major grid to show that the relationships between chords and mirror chords will be different to the above two grids.

Chords and Mirror chords for the key of D Major D

D D Phrygian

Eb

F

G

A

Bb

C

E

F#

G

A

B

C#

D D Ionian

NonMirror D Dm Eb Ebm E Em

Mirror Gm G F#m F# Fm F

NonMirror F Fm F# F#m G Gm

Mirror Em E Ebm Eb Dm D

NonMirror G# G#m A Am Bb Bbm

Mirror C#m C# Cm C Bm B

NonMirror B Bm C Cm C# C#m

Mirror Bbm Bb Am A Abm Ab

132

Here we see the roles of Lyd/Loc swap-over. It does this. One can become the other. At the note F on that side is the Locrian Mode position.C major Be aware of the arrangement on the mirror side of the C Major Mode box. Whereas in the above grid. Lyd C D E F (F#/Gb) Loc G A B C . just like poles can switch form positive to negative. Yet it is also partnered with the B Locrian on the same side. They contain within them both the visible and invisible tri-tone relationships – F and B Lyd/Loc coming from C and F#/Gb. And it is 133 . and this Gb becomes the axis that supports the two triangles of keys around it. From here. by the F note “slipping” into the invisible axis at Gb. the mirror side is entered. and the swap-over to the mirror side occurs. and it belongs to the Gb major scale. It is only at the tri-tone intervals where information replicates. The note F on the right hand side is on the Lydian mode position. and can take on its qualities in terms of reflection. Fragment of C Major Mode box: Lyd/ Loc C D E F (Gb) Loc/ Lyd G A B C Loc/ Lyd F Cb = B Lyd/ Loc Gb Ab Bb Cb Db Eb F = (Gb major) The F Loc is from the Gb major scale. the chord C equals the chord of A minor. We will now see how the swap-over to the mirror side is achieved because of this inherent symmetrical ability for the Lydian/Locrian to replicate each other’s information around their axis positions. the chord C equalled the chord of F minor. as shown above. and access to Gb from one side of the mirror to the other accomplished. as shown above. This is the F Locrian mode.In both the C and Gb grids.

as it is the other pole within the major scale system Lyd/ Loc C D E F (F#) G A Loc/ Lyd B C Lyd/ Loc B C# D# Loc/ Lyd E# (F) F# G# A# B 134 . Fragment of Ab Major mode box: Lyd/ Loc Ab Bb C Db (D) Eb F Loc/ Lyd G Ab Loc/ Lyd C# D E F# Lyd/ Loc G A B C# Again the Db Lyd/Loc enters the mirror side by the invisible tri-tone route of D. This whole scenario is then repeated in the Ab major mode box. it is just a question of spotting that certain positions take on each other's qualities and so are able to swap these qualities to the mirror side. and will do this because of the slight difference between itself and the note B. For our purposes. and the Lydian/Locrian along those scales. The note F# is also involved. through the tri-tone gateways.accomplished by the visible F Lyd/Loc entering the invisible tri-tone area at F#/Gb. This access to the mirror side isn’t only between the C and Gb. and re-establishing itself at the F Loc/Lyd on the mirror side. the poles) on the right hand side. Deeper than this is the fact that Cb will really be taking the whole process through a tonal spiral.

Yet. surely it would be worthwhile giving that kind of experiment the go ahead! Whatever the scientific implications. with the added insights regarding the Fibonacci numbers. if one has a definite experiment they wish to conduct. one can seriously begin to entertain the idea that there is a system in place where there are swap-over points between the visible and invisible phenomena in the universe. After all. 135 . However unlikely that may seem. one cannot dismiss the fact that the circle of tones is playing a vital cyclic role in connecting both sides of the mirror. The mirror side is the F# major scale. as well as many other number based examples. beginning from the B Lydian position at the seventh line of the mode box.Here the F Lyd/Loc of the right hand side enters the mirror side by the invisible tritone route of F#. there is at least some justification for experimenting along those lines. The fact that musical data is seen to appear in and out of the mirror at certain strategic points is obviously what one would consider a musical exercise. in order to research whether one can make an object disappear this side and reappear on the other side. and the Phi ratio.

We then take the chord C through the key of E Major which is the key that houses G# Phrygian above: 136 . Firstly we will mirror the C triad through the key of C Major and its mirror scale: C Phr Db Eb * F G * Ab ** Bb C D * E F * G A B C Ion The chord C equals Fm (F Ab C). falling on a chromatic note not part of either scale. This has already been seen to be the case in the chapter “swings four ways” Now we mirror the chord C through the key of Ab Major. Think of it as an equal distance either side of the mirror point. The E note on the right hand side does not appear within the scale as such. The first example starts with the root triad of C Major. in between the B and C# (as the asterisks show). which is comprised of the notes C E G.Chapter seventeen Chords through the Triangle In these examples triads will be symmetrically reflected through the Keys that comprise each individual triangle. Likewise. but is in between the Eb and F. D Bb F#. it mirrors to the C note on the left hand side. This will further highlight the transference of information from one side of the mirror to the other. the major scale that houses C Phrygian above: G# Phr * A * B (C) * C# D# E F# G#/Ab * * Bb C Db Eb F (E) * G Ab Ion Here the chord C equals Am. with which it shares a mirror link – C Ab E. and it will be cycled through the triangles of keys.

the other triangle that makes up the Circle of Tones being D F# Bb. Through F# major the chord C equals Fm establishing a tri-tone link with C Major (C/F# are a tri-tone interval apart). Interestingly. This result is similar to that when the chord C is mirrored through the key of G#/Ab Major. The keys of F# and Bb Major also yield similar replication of the first triangle’s results.* E Phr F G (G#) * A B C (C#) ** D * F# (G) * G# A B (C) E C# D# E Ion The chord C equals C#m (made up of the notes E C# and G#). establishing a tri-tone link with E Major. And on the mirror side the C# and G# are not notes contained within the E Phrygian mode. Triangle’s Keys Chord C equals - C/F# Fm Ab/D Am E/Bb C#m 137 . So again we see the same result displayed in two keys that are a tri-tone apart. We start by mirroring D Major and trace the C triad over it and the mirror triad through the mirror scale: * D Eb Phr F G * A * Bb C D * * * E F# G A B C# D Ion The chord C equals Am. D and Ab are a Tri-Tone apart. The above triangular relationship consisting of the keys C E and G#/Ab is only one of the possible triangles here. By mirroring the chord C through the Keys of the other Triangle an interesting result emerges. and through Bb Major the chord C equals C#m. Again the G and C notes are in between the pitches that make up E major. but in between the C/D and the G/A.

one of the triangles. Let’s now turn our attention to the second triad of the Major scale. F A and C# are also another triangle of the other possible Circle of Tones. as they too are root chords of one of the triangles. Triangle of Keys Ab triad mirrors to in Ab/D C#m in E/Bb Fm in C/F# Am in E/Bb E triad = Am in C/F# C#m in Ab/D Fm The root triads belonging to this triangle all mirror to the same three minor chords in different orders. Notice also the tritone relationship each Key pair shares.Notice how the minor chords are three relative minors to the above major scales of C Ab and E. we will take the seven possible primary triads through each of the triangle of keys. and mirror it in a similar fashion through the two triangles of keys. and E (E G# B). D minor. The major/relative minors are C/Am. This experiment will be to show how the two individual circle of tones run into each other and swap-over across the mirror. We can also try this experiment on the triads of Ab ( the notes for this triad are Ab C Eb). So: Triangles chord C = chord Ab = chord E = C/F# Fm Am C#m Ab/D Am C#m Fm E/Bb (both triangles of one circle of tones) C#m Fm Am one triangle of other circle of tones At this stage. We must also bear in mind that one triangle from one circle of tones combines with the other two triangles from the other possible circle of tones. We also know that if we put the three root chords through the second possible triangle of that particular circle of tones the three minor chords will still emerge as Fm Am and C#m. The chord C then becomes Fm Am and C#m through both triangles. Ab/Fm and E/C#m. C E G# and D Bb F#: 138 .

that of B diminished. This is a very subtle clue that another swap-over of some kind has occurred. E minor. Cm Em and G#m (this reverts to a C E G# major triad when the A-minor triad is mirrored through the circle of tones). but the chords are major instead of minor (because a major triad always mirrors to a minor triad). We find that from the triads F. to the note C#. F A C#. from E to F so the flow of one circle of tones is broken. Eb G B = second possible circle of tones Let’s proceed by applying this process to the third triad of the Major scale. so again the swap-over has occurred. that the same mirror triads emerge.C/F# Dm triad = Eb Ab/D G E/Bb B As you can see we have discovered the missing triangle. This has re-established the link with a Triangle from the first circle of tones again. through the triangles of C E Ab(G#) and D F# Bb: C/F# Em = C# Ab /D F E/Bb A Here we have returned to the first triangle from the other possible circle of tones. the result is G dim. because again there is only a semi-tone between the B and C notes of the major scale here. Now for the fourth triad: C/F# F triad = Cm Ab /D Em E/Bb G#m This is the first time the resulting triangle has not ventured into the other possible circle of tones. As it is. The circle of tones. Its next destination note is F#. the Major scale employs a semi-tone movement at this point. after B. has its next destination. Together with the F A and C# these two triangles make up the other circle of tones. Eb G B. Here the second circle of tones that had occurred through the F G and A. 139 . When we put the seventh triad of the major scale through the triangles. Eb dim and B dim. does not possess a perfect 4th in the shape of F. G and Am.

All movements of a tone COT 1 F# G# A# C major . The circle of tones flowing through the notes C D E is in visible relationship with this major scale.COT 1 C D E F COT 2 G A B C COT 1 Gap Gap The first circle of tones will move to F#. When that particular circle of tones dives out of sight at the note F. which is a tri- 140 .C B Db D Eb E F G A B C Db(C#) D etc COT 2 All movements of a tone Imagine that there is an invisible in-between journey in the flows above. which is the ‘visible’ tri-tone relationship within a major scale. The above can also be seen to be occurring on the 4/7 relationship of the F Lydian/B Locrian. it flows through the F# major key instead. Here is another view of how the circle of tones movements flow and swap-over at the semi-tone points of the major scale. and the second circle of tones will move to C#. The cycle eventually becomes that of a movement of three places within one circle of tones followed by a movement of four places within the other.

disappeared from C Major. The circle of tones has switched at the F#. F A C#. The actual F A C# went onto the note F#. At this point there was a swap into the second circle of tones. Whilst this was happening to one circle of tones flow. because the F# is a hidden Dorian modal position. and became visible again at the next semi-tone area. which had been flowing through the mirror of C major until that point. but the switch over at the tritone was access point to this side. between B and C. until the triads reached the F note of the scale. the other circle of tones made its appearance in C major. 141 . Hence the notes F# G# A# are the next moves of its journey. from the triads built on the root notes of F G A and B. Again a hidden Dorian aspect has caused this to happen. This is one of its functions with the invisible tri-tone relationship. It will reappear when the next semi-tone movement of the major scale happens. what has been seen is that the triads of C major opened up one consistent triangle of chords. between the B and C (it's other function with the visible tri-tone relationship). To recap all this. The interaction between these two circle of tones structures is by flowing in and out of each other's mirror side. The second circle of tones was flowing on the other side of the mirror. due to the disturbance of the semi-tone movement of the Major scale formula.tone away from C major.

DOR = DORIAN 3. AEO = AEOLIAN 7. MIX = MIXOLYDIAN 6. ION = IONIAN MODE 2.Chapter eighteen Triangles in and out The Mode Box of C major is shown once more. including the names of the Modes that occupy each individual position. LOC = LOCRIAN 3 Phr 4 Lyd Db 3 5 Mix Eb 4 Lyd F 3 6 Aeo F 5 Mix G 4 Lyd A 3 7 Loc G 6 Aeo A 5 Mix B 4 Lyd Cb 3 1 Ion Ab 7 Loc B 6 Aeo C# 5 Mix Db 4 Lyd Eb 3 Phr 2 Dor Bb 1 Ion C 7 Loc D# 6 Aeo Eb 5 Mix F 4 Lyd G 3 Phr 3/1 Phr/Ion 2 Dor D 3 Phr E 4 Lyd F 5 Mix G 6 Aeo A 7 Loc B 1 Ion C 3 Phr E 4 Lyd F 5 Mix G 6 Aeo A 7 Loc B 1 Ion C 2 Dor D 4 Lyd F 5 Mix G 6 Aeo A 7 Loc B 1 Ion C 2 Dor D 3 Phr E 5 Mix G 6 Aeo A 7 Loc B 1 Ion C 2 Dor D 3 Phr E 4 Lyd F 6 Aeo A 7 Loc B 1 Ion C 2 Dor D 3 Phr E 4 Lyd F 5 Mix G 7 Loc B 1 Ion C 2 Dor D 3 Phr E 4 Lyd F 5 Mix G 6 Aeo A 1 Ion C 2 Dor D 3 Phr E 4 Lyd F 5 Mix G 6 Aeo A 7 Loc B C 2 Dor D 1 Ion E 7 Loc F 6 Aeo G 5 Mix A 4 Lyd B C 2/2 Dor/Dr Phr E 2 Dor F# 1 Ion Gb 7 Loc A 6 Aeo B 5 Mix C# D 1/3 Ion/Phr Phr G# 2 Dor Ab 1 Ion Bb 7 Loc C# 6 Aeo D# E 7/4 Loc/Lyd Phr Bb 2 Dor C 1 Ion D 7 Loc E# F 6/5 Aeo/Mix Phr D 2 Dor E 1 Ion F# G 5/6 Mix/Aeo F# 2 Dor G# A 4/7 Lyd/Loc A# B 142 . 1. PHR = PHRYGIAN 4. LYD = LYDIAN 5.

and it is worth focusing on some of the results. Everything is systematic and symmetrical . As mentioned they also flow at a 45-degree angle across the mirror side of the mode box. Here are the Phrygian Modes found on the left hand side (mirror side) of the whole Mode box. The next table shows the Modes as they occur throughout the left hand side of the Mode box along the 45-degree angles. 6 6 6 6 6 6 6 F A C# Eb G B D# Loc. But in the mirror environment they also imply tonal expansion and contraction. C Phr. and also swapping over across a mirror point. the Ion\Phr relationship is maintained throughout. G# Phr is found within E Ionian (third line down). Also exposed are the same two Triangle of Keys when the major scale modes were mirrored. 3 C 3 E 3 G# 3 Bb 3 D 3 F# 3 A# Lyd. and it should be easy to see them: Ion. as always.By studying the names of the modes above each note you will see how the original dual modal relationships are kept intact throughout this Mode Box. all representations of the triangle of keys that find their home on the mirror side of a mode box. 2 2 2 2 2 2 2 Bb D F# Ab C E G# Phr. 1 1 1 1 1 1 1 Ab C E Gb Bb D F# Dor. Bb Phr is found on the F Locrian line etc. E G# Bb D F# A# Triangle of Keys (the first triangle found from the mirroring of C Major) Triangle of Keys The result here is similar to the Circle of Tones structure. E Phr is found on the Dorian mode line (second line down in the mode box). Bear in mind that notes such as Bb/A# are the same note in equal temperament. For example. 143 . 4 Db 4 F 4 A 4 Cb(B) 4 Eb 4 G 4 B Mix. Follow the individual numbers across this angle. 7 7 7 7 7 7 7 G B D# F A C# E#(F) These notes are. Every time Ionian is represented on one side of the mode box there is a Phrygian mode in symmetrical reflection to it (a 3/1 or a 1/3 relationship). 5 Eb 5 G 5 B 5 Db 5 F 5 A 5 C# Aeo. For example.

can this be an initial basis for experimentation using resonators or even lasers? If one treats the mode box as a whole unit of information. As you have seen this is also a characteristic shared within numbers. 2 to 7. looking rather like a tonal double helix: i) 2 2 Ab C E 1 * F# 2 ii) Bb D F# G# iii) C E Ab A# iv) D F# Bb iv) D F# Bb C v) E Ab C v) E Ab C D vi) F# Bb D E i) Ab C E * ii) 2 2 Bb D F# iii) C E Ab vi) F# Bb D This same experiment can also be shown on the remaining modes. as they signify balance and unity of the dual cyclic flows in frequency (and number). then by presenting a real structure made up of the same frequencies. therefore at the F note position of the Major scale (the perfect 4th) the directional flow changes to meet that of the other COT (as seen in the previous chapter “Chords through the Triangle). The Triangle of Keys always swap over either side of the mirror point and weave themselves back to the beginning. would in effect create the flow of the twin triangle 144 . Within each list there are two triangles of keys rotating around a central axis point. including the Fibonacci numbers. due to the fact that the COT contains a #4. a Circle of Tones. Each strip is a left hand side of a Mode Box relating to one of the mirror Major keys. the central notes are F# Ab Bb C D E. Each triangle of notes/keys flips either side of the axis in and out of the mirror commences. made up of symmetrically related partnerships. the semitone movement within the major scale flips the two COT flows over. the question is can these structures be useful? Have they been tested? And .The above example throws up an interesting result because at the Lydian mode point there is a change from one Circle of Tones (COT) to the other. In all. In other words. Again.

This means that one of the experiments would be looking for a way to get information to appear on the mirror side. This can come to mean many things. such as teleportation. including the fact that it will not produce the desired effect. 145 .structure. Even so. some of the things it can come to mean. makes it intriguing approach in my mind.

146 . I was rather surprised by the result. does lead one to wonder if the brain or mind itself has a relationship with this kind of result. rather than two disjointed sides. called “The art of mixing” It is a guide to sound engineers who produce music for us to listen to. Whether that link be purely physical. exposing the mirror side and realizing that the system becomes one Whole. and this overall Whole system that is exposed through mirroring? Is there a unity aspect to mind or consciousness? The next picture is taken from a book by David Gibson. By uniting natural cycles. This picture below is a sound engineer's guide to the various parts of the body that respond to specific frequency ranges. and even consciousness itself.Chapter nineteen A link between a triangle of frequencies and the body's response It had already occurred to me that there may be a link between the information in these mirrored grids and the human body. What is the relationship between the firing of neurons at specific frequencies. or even spiritual in nature is besides the point here.

40Hz = Eb 800 Hz = G 1000 Hz = B 5000 Hz = Eb 10000 Hz = Eb Therefore. and hopefully experiments performed. At least there is data available that can perhaps be a reasonable choice to make when one is deliberating a possible experiment. the G Eb B. and it does relate to one of the triangles of this circle of tones. there is an aspect of the human response toward certain frequencies. There are ideas presented throughout this book on how to set up various experiments. the G Eb B triangle. Volume two delves much deeper into presenting a case for consciousness. Are there any other areas of the physical body that also translate to these triangles? In order to answer this there would need to be a lot of thinking. namely. The human body seems to be built with the triangle of frequencies in mind. Obviously some of the pitches involved are slightly sharp or slightly flat. but they do fall within this G E Bb range. 147 .The numbers given here relate directly to one of the triangle of Keys. built from the idea of this recurring mirror structure made up of its triangles of frequencies. use of imagination..

Again there are nine four-digit numbers with this potential. 2 4 6 8 1 3 5 7 9. 148 . the middle 0 being the axis. regardless of the amount of digits there are always nine such sets of numbers with such axis points. in order to expose the second number sequence of the Vedic Square. with a 01 either side of this axis. with a 1 either side. What will be consistently seen when these mirror numbers are added together from their respective groups is the second number sequence of the Vedic Square.Visible and invisible axis points within numbers The following number sets present one idea on how to set up clusters of frequencies that may provide insights into the make up of the body and mind. A number like 101 has its axis point visible. as will be seen. and this time the number 1 merging from both sides to its centre. here are the three digit numbers with the visible axis. in between the 00. Note also that with each set of nine the totals increase by a value of 1010. Firstly. A number like 1001 has its axis invisible. with the number 1 either side of it. The totals in red are further broken down to single digit. Then will come 111 with the axis again being visible at the central number 1. In fact. with this potential. There are nine three-digit numbers.

Visible axis 101 111 121 131 141 151 161 171 181 191 1460 2 202 212 222 232 242 252 262 272 282 292 2470 4 303 313 323 333 343 353 363 373 383 393 3480 6 404 414 424 434 444 454 464 474 484 494 4490 8 505 515 525 535 545 555 565 575 585 595 5500 1 606 616 626 636 646 656 666 676 686 696 6510 3 707 717 727 737 747 757 767 777 787 797 7520 5 808 818 828 838 848 858 868 878 888 898 8530 7 909 919 929 939 949 959 969 979 989 999 9540 9 Invisible axis 1001 1111 1221 1331 1441 1551 1661 1771 1881 1991 14960 2 2002 2112 2222 2332 2442 2552 2662 2772 2882 2992 24970 4 3003 3113 3223 3333 3443 3553 3663 3773 3883 3993 34980 6 4004 4114 4224 4334 4444 4554 4664 4774 4884 4994 44990 8 5005 5115 5225 5335 5445 5555 5665 5775 5885 5995 55000 1 6006 6116 6226 6336 6446 6556 6666 6776 6886 6996 65010 3 7007 8008 9009 149 .

Visible axis 10001 11111 12221 13331 14441 15551 16661 17771 18881 19991 149960 2 60006 61116 62226 63336 64446 65556 66666 67776 68886 69996 650010 3 20002 21112 22222 23332 24442 25552 26662 27772 28882 29992 249970 4 30003 31113 32223 33333 34443 35553 36663 37773 38883 39993 349980 6 40004 41114 42224 43334 44444 45554 46664 47774 48884 49994 449990 8 80008 81118 82228 83338 84448 85558 86668 87778 88888 89998 850030 7 50005 51115 52225 53335 54445 55555 56665 57775 58885 59995 550000 1 70007 71117 72227 73337 74447 75557 76667 77777 78887 79997 750020 5 90009 91119 92229 93339 94449 95559 96669 97779 98889 99999 950040 9 150 . other than the ones listed next. The next examples have the visible axis at the central zero. After numbers that contain four digits there are extra mirror combinations possible. After dealing with the lists that contain similar type patterns to the above the other possibilities will be dealt with.7117 7227 7337 7447 7557 7667 7777 7887 7997 75020 5 8118 8228 8338 8448 8558 8668 8778 8888 8998 85030 7 9119 9229 9339 9449 9559 9669 9779 9889 9999 95040 9 Here the totals increase by a value of 10010.

and other lists are possible. The last example is only one of the possibilities within the set of six numbers evolving from either a visible or invisible axis. The next number in this particular list would be 102201 and so on. Here is a list covering these numbers: 101101 102201 103301 104401 105501 106601 107701 108801 109901 1049510 2 151 . One can see from these few examples that the pattern is set.These next sets have the axis in between the central zeros: Invisible axis 100001 111111 122221 133331 144441 155551 166661 177771 188881 199991 1499960 2 200002 211112 222222 233332 244442 255552 266662 277772 288882 299992 2499970 4 300003 311113 322223 333333 344443 355553 366663 377773 388883 399993 3499980 6 400004 411114 422224 433334 444444 455554 466664 477774 488884 499994 4499990 8 500005 511115 522225 533335 544445 555555 566665 577775 588885 599995 5500000 1 ` 600006 611116 622226 633336 644446 655556 666666 677776 688886 699996 6500010 3 700007 711117 722227 733337 744447 755557 766667 777777 788887 799997 7500020 5 800008 811118 822228 833338 844448 855558 866668 877778 888888 899998 8500030 7 900009 911119 922229 933339 944449 955559 966669 977779 988889 999999 9500040 9 The last two examples produce individual totals increasing by a value of 100010 and 1000010 respectively. The second number sequence of the Vedic square will repeatedly appear. The number 101101 is also a mirror number.

We begin with the first mirror number total 1460. Because these numbers are related in some respects to the visible/invisible aspects of the mode box. We leave the mirror number lists at this point to concentrate on any possible musical applications for such numbers. it is worth viewing these numbers as cycles-per-second and listing the vibrations that would emerge. Doubling or halving a number produces octaves so it would be possible to play this scale all within one octave. 1460 cps = F# 2470 cps = Eb 3480 cps = A 4490 cps = C# 5500 cps = F 6510 cps = G# 7520 cps = A# 8530 cps = C 9540 cps = D F# G# A A# C C# D Eb F One can see the tri-tone relationship here between F# and C The overall scale also has a very Phrygian type sound about it. One could view it as F Phrygian with the A and D as added notes. and then move on to the next total 2470 etc. 110011 – this will produce the same number sequence. and to the number sequence of the Vedic Square. Notes can also be shown as belonging to each individual list: 101 = G-qt 151 = D-qt 111 = A 161 = Eb-qt 121 = B-qt 171 = E-qt 131 = C 181 = F-qt 141 = C# 191 = F#-qt 152 . Knowing that from now on the same number sequence of the Vedic Square will emerge we can leave this particular list and move on to a different mirror number combination. and to Buckminster-Fuller’s indig number system.The number 2 is still the single digit number that this sequence breaks down to.

To get the image of this simply replace the above hexagram with the appropriate notes. yet remember that the notes are all a quarter tone flat. discovered in the Mode Box – G B Eb. as not all the notes of any mode box would be strictly a quarter tone). The next cluster consisting of B notes are all tuned to 1001. Here are the four prevalent relationships: 153 . and so on. namely F A C#? It will be found within the numbers 707 7007 70007 700007 7000007 700007 70007 7007 707. So where is this other triangle. which will be tuned to the new frequencies. Observe that we have uncovered one of the Augmented triangles of keys. The hexagonal cluster resonators are placed at 45% angles from their respective partners. It would be a question of tuning a mode box down by this interval (not to mention the myriads of other tunings. Therefore we can join this particular cluster resonator with the other triangle that goes on to make the Circle of Tones.This hexagonal cluster resonator consists of the frequencies for the numbers 101 1001 10001 100001 1000001 100001 10001 1001 101: G B Eb G B G B G Eb B G B G Eb B G B Eb G G B G B Eb Eb Eb G G G B G Eb B G G B G Eb B B G Eb B The cluster consisting of three G notes are all tuned to 101 cycles per second.

154 . C E G# and D F# Bb.G B Eb C E G# D F# Bb F A C# The other two possible triangles that go on to make the other circle of tones structure. showing how the triangular frequencies shift through every point of the scale. The format would be designed to be looped continuously. will be found within the numbers 131 1331 13331 133331 1333331 etc for C E G#. Together these axis points form yet another circle of tones. following in/out of mirror movements. G# C E F# Bb D F# Bb D F# G# C E G# C E G# Bb D F# Bb D F# Bb C E G# C E G# C D F# D Bb F# Bb D E G# C E The notes in red are the axis points that exist between the triangles of frequencies. It must be held in mind some of the notes are close approximations. The size of this ‘machine’ would depend on the individual resonators that are packed to form each hexagram cluster. and 181 1881 18881 188881 etc for D F# Bb. Here is a rough sketch of hexagonal resonator formations that are the triangular frequencies of the circle of tones.

10001. 100001 etc numbers. One can experiment with relative sizes of the resonators until something that has the potential of being built emerges. as this produces octaves. To be noted about these hexagonal structures is that all the notes in reality fall within the quarter tone region. 1616. 103424. Each resonator will be a different size. 1001. as it is the only structure that signifies unity of the mirror sides. 25856. 3232. After the proportions are set.The above diagram bares a close resemblance to the ‘in and out of the mirror’ triangles we saw in chapter 18. In the present form the largest resonator would be vibrating at 131 cps (for the C). These visible axis and invisible axis number lists have exposed once again the Circle of tones. one over the other. until they are on a nano scale. these resonators can be stacked up . 6464. One cannot call this structure a phenomena of no importance. Possible machine constructions using the triangle of frequencies Nano scale resonators. These cycles exposing the Circle of Tones are based on number sequences that are intrinsic to all of Number itself. There was correlation in the Fibonacci number flows and every single experiment carried out so far. 808. 51712. according to the next possible set of numbers that will emerge: 101 = G#/A 202 = G#/A 404 =G#A also. the proportions of which will adhere to the circle of tones flow within these particular numbers. Double up the 101. 206848 A typical nano scale resonating structure would look a little like this 155 . 12928. The smallest resonator would be resonating at 1888881 cps (for the D). This may be a hybrid Nano-resonator! Here perhaps one needs to use the doubling and halving rule in music.

therefore the biggest resonator is the one that is required to be the right nano scale size Is a resonator built to the frequency of 206848 cps small enough to be considered nano scale? If the 206848 resonator is the largest of the cluster. 10001. The octaves of the 101 frequency will be obtained as many times as is necessary in order to make each resonator of nano scale proportion. 160016. 156 . The number 10001 is the next to be doubled until the same octave range is found. 80008. which will be doubled until it reaches the same octave range. 320032. 2002. The number 320032 is the closest frequency and will therefore become the next largest nano resonator. All the resonators will need to be nano scale at the beginning of the stack. 1001. then the next number needed to fit into the same octave range is the 1001. 512512. 640064. 20002. 4004. 128128. 8008. 64064. The 256256 frequency is the closest. 256256.These differently proportioned resonators will adhere to the hexagonal resonator numbers. and will therefore become the second largest resonator. 32032. 16016. 40004.

two resonators tuned to F# bolted to the ceiling holding up the pyramid of resonators Nano sized resonators FLOOR 157 .

5 is tri-tone position 4) 4.5 is a Dorian position. Dorian is a 2/2 position mirror pair. or a set of symmetrical like numbers.5 1) 4. in terms of mirror number pairs 8) 4.5 swaps sharps for flats in circle of 5th 2) 4. that would be first on the list when thinking in terms of swapping something from one side of the mirror to the other.5 is swap-over point of indig numbers and Vedic square/9*9 maths table sequences 9) number pyramid examples show 4. And that it exists is a simple matter of logic and reason. because such things as Mode Boxes work as a whole unit. How do we know that in order to teleport an object the mirror information as set out in this book may not be relevant? Regardless of future idea for experimentation.5 dominates the number line. Equations that have proved to contain mirror flows would also be high on the list. 4. To physically gain entrance through this access point may not be as easy as verifying that it exists on paper. and so verify the mirror side as an essential aspect.5 7) 4. Most humans with an imagination can start thinking on setting up experiments that may prove to be a way to penetrate through these access points.5 to be symmetry point amongst single digit totals. And to aid in the experiment it will be the frequencies of the Dorian mode. the conclusion is rather simple actually. And the all important 45-degree angle must also be seen as the carrier of this access point. 5) Dorian is seen as center of the light/dark tonality distribution in circle of 5ths 6) subsequent circles of 5ths are linked by the tri-tone/4. represented as frequencies.Chapter twenty Working Conclusion After so many experiments regarding cycles and tonality.5 swaps minor for major in mode box 3) 4. it is enough to be aware that this mirroring phenomena does carry a justified result . 158 . It is the Dorian mode axis that is responsible for the access points to the other side of the mirror.

Here we will see how positive and negative always swap-over around the 4. 11) 4. as does 4. Here is pyramid number 1's additions: 2 4 6 8 1 3 5 7 = +2 = +4 = -3 = -1 = +1 = +3 = -4 = -2 9 axis 9 acts as a zero. Here's is pyramid number 1's multiplication totals as single digit: 1 4 9 7 (4. the single digit totals of one pyramid the numbers will be shown as indig numbers.10) dual flows of Fibonacci sequences shows 4.5 and 9 axis symmetry: (4.5.5 in a different manner.5 being a swap-over point.5) 7 9 4 1 9 This next magic square is also an example of 4. The multiplications show the symmetry around the 4.5 is linked to the 45 degree angle As an example of 4.5 axis) 159 .5.5 as swap over point.

Another witness to the C/F# axis is the colour spectrum: 160 .

Under investigation will be the idea of balance.5 axis within a mode box (shown in chapter one). and one can log the effects the sound chamber has on any object.5 was also shown to equate as a zero point. or a Lambdoma grid or a Fibonacci grid.5 is somehow relative to reality. Their relative interactions can be investigated by placing objects whose frequency is already ascertained.5 switches over the positive and negative aspects of cycles. With both sides of these grids now evident. as well as the symmetrically placed mirror numbers around both the 9 and 4. wires. always set up to mimic the arrangement in a Mode Box. This may lead to an alternative way of setting up various experiments. The fact that 4. The question is whether perfect symmetry rules asymmetry. which is seen in a Mode Box.We are used to hearing that it is symmetry breaking that leads to manifest structures. coils. One may use lasers. And also bearing in mind that this 4. as a way to investigate the exploitation of the in and out of the mirror phenomena that occurs. For example. can also be experimented with.5 axis points. all these experiments will take on a new type of investigative quality. one may set up sound chambers that contain resonators set to specific frequencies. then such a system maintained by an axis such as 4. This type of experiment is by no means limited to only the use of resonators. In other words. as maintained around the 4. If the answer is the former. the universe functions through asymmetry. 161 .

because it is the neutral point decides what goes where and how much of it is expressed. And. Desire does not allow that which is manifest to remain in the rest position (although it originates from there). all these apparent dualities exist at some point as merged/united/married. meaning. because the results unearthed in this book correspond perfectly with such a system. and all is wavelength. The most potent place is where these two contrary spinning forces unite. due to the contrary fashion of spin. Also. from this idea of a Siamese twin. there is either a third force possible. there was an old Egyptian belief based on all of us possessing a Siamese twin on the other side. in that we can build things that are focused on this dual process and so utilize it. once commenced. or a neutralizing force that allows the mind to access other dimensions. There is potential in mimicking these natural flows. positive to negative. If the 'desire' is for a strong manifestation. there need not be only a focus on traveling this side. but a traveling based on in-and-out of the mirror. That is what gives one the focus of the twin cycles and their relationship one with the other. this side of mirror and then 162 . The truth about these things are held in a simple seed. So. plotting one coordinate will give a mirror cycle coordinate. And what can be built through this can become the extremely complicated formulas we have developed. then the oscillations are vigorous and wide. we could access our Siamese counter-part by establishing the axis where information is switched over to the mirror side. The picture will not complete without the mirror side and its structural components being observed. In terms of space travel. Focusing only on the one side of the mirror isn't exposing the full unit and how it expresses itself. then all evolves out of primary contrary cycling relationships. We can love passionately or mildly. There are specific points either side of the mirror that a thing can be seen to swap to. then oscillation will be mild and narrow. Because all is number. This is shown through musical cycles. If the desire is for a weak manifestation. each type of clockwise and anti-clockwise cycle can be traced and seen to be consistent with each other. Uncannily.The starting point for a universe is surely that of perfect symmetry. This and the fact that the Egyptians revered the Dorian mode scale ratios is even more uncanny. and through the basic number cycles that exist. Therefore. but will continually make the manifestation switch from clockwise to anti-clockwise.

as Amit Goswami. And. has predicted. Mind can be at either side of the mirror. or where the hologram has its central source. Perhaps not a scientific meaning.5. mirror positive to the negative on this side. one is also tempted to predict that the 4. where the ego is unseated and the whole masculine/feminine aspect are united. that sits at this gateway. the universe is a hologram in nature. where mirror cycling pairs manifest. the universe is a sea of consciousness. at the "invisible" axis. and the 4.5 moment. Putting these things together. 163 . This is also the meaning assigned to a symbol called the Merkaba. and mirror negative to the positive on this side. who believed that mind had a marriage point.5 performs this duty. but nevertheless it has been equated with contrary cycles of light in unity. This is what is generally meant by swapping of qualities across the mirror point. at its 4.5 access/axis point to the other side. This is done at the neutral.5 is the tonal fountain point itself. and it is the 4. Entanglement is another phenomena that may be related to this swap over effect at the 4. And as Carl Hogan has also predicted. It isn't quite enough to ask where along a wavelength is this switching over to the mirror performed.other side etc. once it is aware of where to swap sides. This is really a four-way relationship. the symbol of the seat of consciousness itself. This way of thinking inevitably conjures up the work and thinking of Carl Jung. One has to imagine that there are two mirror wavelengths that are contrary to each other.

neither positive nor negative. and the Locrian contains the full quota of flats. One can justifiably argue that the result may look like a star of David but is merely two triangles of frequencies. There is much consistency about this system.5 a swapping from full positive to full negative. a sequential journey from light to dark. The Lydian contains the full quota of sharps of the key system.5 of the scales. 164 . which I will attempt to convey in a logical manner as we go on. It embraces the ways of clockwise and anti-clockwise cycles. a certain experiment led to the conclusion that a simple set of cycles . There is also a moment where nature sets herself aside from those oscillations brought about by activities between the positive and the negative aspects. as in electric charge. We can call that place rest. as well as tonal shades. This is in keeping with the musical examples too. it then shows that it ties in with another consistent unifying structure. were capable of offering an insight into the duality of forces themselves. where within the C major mode box the modes at the tri-tone (Lydian and Locrian) are also a representation of full sharps and full flats. The tri-tone sits at the 4. between two sides of the mirror.Merkaba – Is there a case? Within a few months of giving the mirroring of formula idea some thought now and again. as it appears throughout the other experiments. even if that period of rest were an infinitesimal moment when compared to that thing's active interest in the universe. The structure resembles the symbol known as a star of David. When the Indig numbers pertaining to Buckminster-Fuller are compared to the number sequences of the Vedic square. It is this axis that creates an in and out of the mirror system within the keys. within musical keys. Or simply the unity of that duality. All in all it is evidence of whole unit function. and point of perfect symmetry. When the whole unit is exposed. The tri-tone is also a hidden Dorian relationship. and does not affect the actual results exposed. Please remember that this is now conjecture. The plus-4 instantly switches to minus-4. and amongst other things it obviously looks like a star of David. as in the major scale's seven cycles and mirrored seven cycles. Yet there are reasons for calling the result a star of David . one sees at the 4. the great expansion and contraction principles that govern the motions of a wave. or simply both in full potential.

The mirror sides became united. are seen to express themselves in many ways within nature. it was associated with unity and light. Frequencies too are an intrinsic part. It is this that makes the association of this symbol together with the results of mirroring formulas not seem arbitrary. and it is related in a subtle way to the patterns and growth principles we see in nature. but are saved for volume two. such as musical scales and fundamental number sequences also unified and provided a similar result. which in turn was equated with spirit. The Fibonacci numbers.On further pondering. as expressed through two sets of triangles of frequencies. with only this symbol emerging and uniting the contrary flow of cycles. I originally discovered the Merkaba symbol in the work of Carl Jung. The symbol itself has been equated with the unity of the contrary fields of light. Some of these examples are not included in this volume. that was in essence a star of David. the same symbol would emerge. as shown by the results in this book. The reason one can tie the results in with this symbol are several. The star of David is also a 3D representation of a Merkaba symbol. The Merkaba has also been associated as the symbol for consciousness in unity. Other results showed that there were two of these symbols that related to each other. 165 . behaving behaving the same way as seen in the mode box. for example. Having seen this consistency. Natural cycles are what produce this one consistent mirror structure. When the Fibonacci numbers are represented as a sequence of frequencies. It seemed to be used as a symbol for consciousness. and this could be clearly seen in the music scale examples. the symbol can also be equated with what is known as a Merkaba. Made up of contrary rotating tetrahedra. And that is where it seems to appear. The dimensional aspects are taken into account. the connection became intriguing to me. There is no more apt place for this symbol to appear than a duality of contrary cycles in unity. These triangles also swapped information across to the other side of the mirror. one either side of the mirror. Having then discovered that clockwise and anti-clockwise cycles. many more examples began to emerge.

If one merely said that a Merkaba is the unity of consciousness. And so on it goes. and the grids being based on natural cyclic phenomena. All these things now place this symbol into a scientific arena. Why. and it can be falsified. running through these grids (uniting both sides of the mirror) also induce consciousness to react in a similar way. one could easily say ”well prove it then”. because if one is dealing with the unity of consciousness. Our bodies have organs that are sensitive to and resonate most strongly to given frequencies. enduce balance and unity? Our DNA vibrates. 166 . and can be assigned specific frequencies. tests on the data can reveal if consciousness reacts to the frequencies involved. The theory can easily be verified or falsified. So the claim is that by mimicking the lay out of certain grids. who are we to say that we are aloof from this? This is our system. Now at least if someone wants proof. because of this possible connection to the star of David/Merkaba symbol. When we decide on the general experience we wish in our present manifestation. but the beginning of another matter. bringing together two sides of the mirror. Will what looks like a star of David/Merkaba. the data is presented in order to experiment with such a prediction.There is now definite data available and it can be tested to see if it does relate to consciousness. we emerge into the duality according to our sign and progress according to the number pairs. infinity. This is not the end of the matter. These frequencies equate to one of the triangles of notes. There is now a way to predict an experiment's outcome. If nature has such a constant system. just as it is written in the number cycles. We are susceptible to certain characteristics. there is a means to prove it. Eventually we are ready for a life that will bring together many other lifetimes to completion. They are our portal to manifestation.

Lyd/Loc etc modal pairs. they create the mood. interfacing with the Ionian. Dor/Dor/ Phr/Ion. but it links in through the Phrygian mode being in the center. Each mode does individually cycle.Flower of Life One can take each cycle of the major scale (one of the modes) and show it this way: This shape is known as the Seed of Life. from country pub floral dancing light activity to dark shred metal. beyond emotional pull. and will display a tonal colour when brought into a composition. and it is a derivative of the Flower of Life. It will look no different to the above. 167 . These Modes conjure emotions. and creating the Ion/Phr. For humans it delivers on many levels. then rotating counter-clockwise. There is also a mirror circle of modes. That the Mode Box should contain a flow that comes to resemble a Merkaba. Music is also related to the transcendental. then the above diagram only goes to add to this notion.

The flower of life is also equated with the Egg of Life: The shape of the Egg of Life is said to be the shape of a multi-cellular embryo in its first hours of creation A basic one dimensional depiction of the “Tube Torus shape is formed by ratcheting the Seed of Life and duplicating the lines in its design. Some say the Tube Torus contains a code of vortex energy that describes light and language in a unique way. 168 . the Tube Torus is considered a basic structure in the study of Vortex forms. In Physics. perhaps as something of an Akashic Record Taken from a wikipedia explanation of the flower of life.

Taken as is. because of the fact that each pair of interlocking triangles happened once across a Mode box of the Major scale.This tube torus is in many ways closer to the result of the twin Merkaba symbol behind many processes. 2) D F# Bb. when showing frequencies like this: 1 12 123 1234 12345 123456 1234567 12345678 123456789 1234567891 12345678912 123456789123 1234567891234 12345678912345 123456789123456 1234567891234567 12345678912345678 123456789123456789 1234567891234567891 12345678912345678912 123456789123456789123 1234567891234567891234 12345678912345678912345 =C =G =B = Eb =G =B =D = F# = Bb =D = F# = Bb =D =F =A = Db =F =A = Db =F =A =C =E 123456789123456789123456 = Ab Here one sees that the evolution of the triplets are 1) G B Eb. 3) F A Db. as well as 2 and 4. And more importantly. 4) C E Ab. A diagram shown in part one was broken up into two Merkaba symbols as such. Numbers 1 and 3 constitute one of the interlocking triangle symbols. it also shows how the triangles are moving in and out of the 169 . then these four triangles of frequencies can be made to resemble a tube torus. However.

The Merkaba is seen as a dual spinning force of light. as if all the mirror pairs evolve from and back toward its perfect point of unity. All these have long been associated with masculine and feminine. It may be too unscientific in some ways to associate these forces with sexuality. are signifying. Once the connection between the mirror structure that looks like a Merkaba and the idea of a Merkaba within ancient writings.mirror. we see that there is little difference between the “story” both methods tell of. And in that light they are seen to evolve from and back to a marriage point within natural cycles. What exactly would these dual spinning forces of light be? Are they simply the positive and negative forces? Are they dispersive and attractive? We know that light has a clockwise and anti-clockwise nature. and the conscious and sub-conscious aspects within a human will unite once more. The chapter on opposing forces showed this. of the masculine and feminine forces in unity. with one triangle on one side of the mirror yielding to another triangle on the other side at the time. and focusing on the position aspect around an axis. They can not only talk about it. The view here is that a time will come when the ego is unseated. There are a few reasons why this should be considered. The major and minor connection. All in all Balance is what these triangles of keys. the clockwise and anti-clockwise connection. It is a story where the masculine will unite with the feminine. expansion and contraction connections. but it is also quite plain that sexuality does play a role within nature. that look like a Merkaba symbol. This is the marriage that spiritual people can talk about. A non dual symbol is quite an uncanny one to unearth using simple number and music cycles. We also see that these dual flows have their mirror motions traced and kept in perfect symmetry by a symbol that does look just like a Merkaba. Carl Jung helped make this view palatable for the western world. the positive and negative. It is not too unreasonable to include the duality of masculine and feminine into these mix. but they can choose to see the very same “story” being told within nature's cyclic forms. 170 . and here we see the symmetry that such a role possesses.

causes the object to be transferred to the mirror side. is to analyse the effect it would have on consciousness. inwardly within the human form. The Mode Box. The reason for thinking this is the fact that the whole box is needed in order to see the mirror structure of the triangles emerge. G Eb B.5. 171 . We have also seen that every other base system possible boils down to only nine separate sequences. The Dorian mode and the 4. This is because each of the notes comprising a circle of tones are 4. nature employs cycles. sequences which can bee thought of as seeds. Such is the nature of the 4. and the nine number sequences of the Vedic Square. or Fibonacci mode box is the sound chamber. Blending all six tonal combinations together and placing an object in the chamber that is oscillating these frequencies. This would be a sci-fi experiment that can be performed in reality. This compactness can give rise to infinite variety. Theses seeds then allow bigger systems to grow out from them. and are also Dorian mode partners of each other (this will become quite apparent in the following chapters) . through summation tones. for example. Because the circle of tones structures swap-over through either side of the mirror a machine can be built that brings together the right frequencies in order to cause. Some of the reasons for wishing to create a kind of living Mode box. the opposite circle of tones structure to emerge.5 intervals of each other (the tri-tone interval). Conjecture: In order for the most possible information to emerge with the least effort. and further inwardly to the point of unity within the human form. With the information shown in this book one may wish to get a little “sci-fi” and imagine the creation of a teleportation machine. so to speak.In chapter eleven the various frequency responses of individual areas of the body were shown.5 would naturally be access points to the other side. It is reasonable to suggest that this relationship is like an interface between what happens outwardly within nature. access way to the Spirit form perhaps. These frequencies were seen to be one of the triangles of the circle of tones.

and almost obvious. The result is very simple in the end. hidden under a pile of leaves. waiting to be discovered and used.The Mode box does not need to be created in the audible range. because I argue that those results are readily available. where a Merkaba could be activated. A few scientists I have come across recently have generally dismissed this result that leads to the recognition of the Merkaba vehicle. Their logic is simple "what objective definition of the Merkaba exists?". star of David symbol. A theory of Merkaba can be put forward based on the application of symmetrically reflecting natural formulas. It is like the spaceship we are hoping to build. apparently. But there is the prize of viewing this same contrary spinning field of light structure that is the Merkaba . Yet mind cannot conjure up a reality that cannot be verified in some mathematical sense. One can experiment with octaves and also temperament. The dual triangle structure. This. formulas that we know exist within nature. The defining qualities of a Merkaba is what is known as the unification of the contrary spinning fields of light. in terms of the results exposed through mirroring cyclic formulas. And it is maintained that only one result emerges throughout the many different approaches and natural cycles used. based on natural cycles including light. This is where I have to differ in opinion. is a means to travel between the dimensions. We know 172 .dual tetrahedron. It is only when a whole unit is represented that one can take in the overall picture and seek to analyze the results. It is no mean feat to actually find two corresponding contrary field of light symbols that look exactly like each other. The problem that certain scientists have had for now is that one cannot bring about any objective results in order to confirm this "belief". It is like a discarded vehicle. They then assume it is mystical mambo jumbo and forget to even peruse the results that inspired me to approach them in the first place. Perhaps the myths from the past. and one being objective in result and the other being a statement made by so called mystics when talking of the inter-dimensional vehicle. given by many mystics in the past. was done purely from mind power. Nature doesn't act by disobeying its own rules. that is. is the so called non-objective description of it.

and on and on toward the x-ray waves and gamma ray waves. We know of the wave structure of matter. The relationships found with music cycles adhere to the behavior of light waves. Mode box one will have the sound form the speaker that is emitting the F#/Gb frequency. Could this Siamese twin have a DNA double helix that is left handed and anti-clockwise in makeup? If the results of mirroring natural cycles show a unification of clockwise/anticlockwise mirror pairs. Double helix of DNA. which have as many resonators as one mode box. We know that. and in marrying the two sides of the mirror at the 4. which are in front of the speakers. that is. they both combine to create summation waves and divide to create difference waves. in front of which is a set of resonators. What is established within one octave will be true for the proceeding octaves. The same is true for simple numbers. A few octaves higher is the infra red light domain. What would emerge if DNA were merged. we know that Fibonacci numbers somehow express these lines of forces. We know that the Phi ratio and Fibonacci numbers appear in nature. Near the ceiling of the chamber is three sets of speakers. The thought that occurs is linked to the Egyptians believing they had a Siamese twin on the other side.that forces exist in ratio to each other. one clockwise and the other anti-clockwise? Another Experiment: A volunteer walks into a sound proofed room. right handed clockwise structure. and through the wires is a high frequency tri-tone interval pitch relative toe ahcvo9 f the three mode boxes . By the 40th octave the light spectrum has reached the colour range. in the form of the spiral of galaxies. then it may stand to reason that the mirror side is the function of this so called Siamese twin entity. within themselves. Light waves obey the same principles inherent within sound waves. Through the speaker is a set of wires which connects to all the resonators. The use of the octave is the common sense behind this relationship. if this spiral is related to gravity. There is a chair in the center of the room.5 is to bring about a merging of the two entities. there is contrary spin. Mode box two will have the sound of the tri-tone interval D 173 .

the volunteer can proceed to conduct various other experiments. and they have been logged without mention of anything spiritual. Black holes are meeting points of these two universes. Yet the possibility of a connection to this Merkaba has had to be discussed. It has taken many years of thought to finally realize that my own journey was to come to the conclusion that all along I had been in the process of unearthing an interface that has the potential for dimension travel. The results in this book are in accord with counter-spinning phenomena. and explained that it was purely a new musical adventure. and I was going to provide an 174 . that is. That is because. normally termed paranormal. This would embrace the many studies in consciousness conducted at Princeton. as the wavelength decreases and frequency increases. The volunteer reflects on the fact that each mode box consists of a twin triangle structure. After a period of meditation. and that information is exchanged at these places between them. which extends by association through the light spectrum. He will imagine this symbol and he will focus on stillness and meditate. for example. Throughout this book we have seen how this is possible by using simple number and music systems including the nature of sound itself. as the duality of forces becoming unified. Symmetry: Some of the more wacky claims associated with the mirror process is that universes come in twins. The third mode box will receive the sound Bb (relative to the E major mode box). This Merkaba has been associated with consciousness.(relative to the Ab major mode box). I would have laughed at such a conclusion seventeen years ago. I would have strongly disagreed with it some fourteen years ago. there is a mirror universe to our own. firstly. it is a wise thing to do to present the results as is.

Twelve years ago I would have been slightly more open to the idea of an interface. One is not creating a new frame of mind. on the Internet. I am now convinced that there does exist a matrix of frequencies and patterns that will elevate the mind to a form of non-dual existence. One is awakening the married mind. It is not a new thing. to conscious awareness and control of its desire and wishes. but still needed some convincing. 175 .alternative musical structure for musicians to improvise with. And through our own sharing of information. In fact the final pieces of the puzzle for me started coming into place after meeting a few like minded individuals some seven years ago.

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