Professional Documents
Culture Documents
This is a very interesting extract about the Harmonic series from the now out of print book
Return to khöömii main page
Part One
When considered as a series of fundamental and overtones, each of which has a strictly defined
frequency, the harmonic series is an arithmetic series. The archetypal arithmetic series is the series of
whole numbers, 1, 2, 3, 4, 5, and so on. Such a series is formed by the endlessly repeated addition of
number one to itself. However, no instrumental or vocal fundamental tone actually produces a
complete and endless series of harmonics, and the overtones it produces do not all vibrate with the
same intensity.
The harmonic series is thus an archetypal model. It is either the process according to which the
cosmogenic energy of Sound operates as it radiates or emanates from a creative spiritual source and
descends step-by-step into progressively denser fields of objective and material existence, or it is an
ideal concept abstracted from the experience of hearing some overtones when a variety of
fundamental tones are sounded out by setting material instruments (including the human vocal organs)
in motion.
In this sense the harmonic series is a myth — the myth of number translated into musical terms. It
is based on the association of two factors: an arithmetic progression of whole numbers and a
geometric progression which at first apparently takes the form of a series of octave intervals (see
figure 1). The octave is a musical interpretation of the ratio two to one (2: 1); two notes are in octave
relationship when the frequency of the higher is twice that of the lower). (Hereafter, octave refers to
the interval, octave-sound to an overtone. ) A series of octave-sounds follows a geometric
progression and the frequencies of the sounds can be expressed exponentially: 2, 22, 23, 24, 25, and so
on (or 2, 4, 8, 16, 32, and so on).
The harmonic series considered as a series of intervals is like a ladder whose rungs occur at
always diminishing distances from one another. If you place the ladder against a blank wall and mark
on the wall the places at which the rungs touch the wall, you will have one series of marks if the
ladder is placed with the smaller distances between the rungs toward the top of the wall, and another
series if the ladder is reversed.
This relationship can be demonstrated audibly using a monochord, the didactic instrument of
Pythagoras's teachings. If one plucks successively the entire string of the monochord, then one half of
Part Two
The Seven Levels of Being and the Symbolism of Number
According to the great religions of the last five millennia, and to most of the metaphysical systems
dealing with the origin of the universe (or more generally with the origin of being), all there is began
in unity. The religious mind usually personalizes the concept of unity as God. Metaphysicians speak
of "the One." Sankaracharya, founder of India's Advaita (or non dual) system of metaphysics, speaks
of "the One without a second." The great (and actually insoluble) problem of metaphysics and
religious cosmogonies is how to explain or interpret the passage from unity to duality, and from
duality to the quasi-infinite multiplicity of entities active in the universe. Religions speak of God's
desire to create, of the primordial Eros that moves the One to produce out of its unity a second,
perhaps a mirror, image. Hindu metaphysics interprets such a process of doublement or replication as
the great illusion, the essential Maya, root of all existence. The harmonic series of fundamental and
overtones provides a very significant and experienceable realization of the relation between pure unity
(the One) and duality (the second) by referring to the unique and mysterious character of the octave in
music.
The remarkable fact is that two sounds an octave apart are given the same name, even though one
of their frequencies is twice that of the other. They have for our ears an identical nature. They are the
same note, even though they are obviously not the same sound. Are we conditioned by our culture to
feel that two sounds at an octave interval are the same note, or is the feeling of their identity innate —
that is, rooted in an intuitive grasp of the nature of a metaphysical-spiritual process, which is none
other than the basic process of cosmic existence and the primary manifestation of what we call life?
Although the harmonic series of fundamental and overtones is an arithmetic series, and the
archetype of all such series is the series of whole numbers created by the endless addition of number
one to itself, the term addition may be misleading. Philosophically the series refers to the
self-reproduction, self-multiplication, or self-replication of the One. All numbers are born out of
number one. The birth process begins with the characteristic act of self-duplication. Duality emerges
The second octave begins with number two. If we think of the harmonic series as a descending current
Part Three
THE THIRD OCTAVE
The third octave of the harmonic series contains four diminishing intervals. Each of the two intervals
of the second octave are now divided into two smaller ones. The fifth is divided into two thirds, major
and minor, the fourth into two intervals which one might call ultraminor third and large second, or
whole tone.
In a descending harmonic series the third octave may be called the realm of archetypes. It is the
realm where the basic forms, the models for a quasi-infinite variety of physical embodiments, are
visualized by the creative imagination. It refers to the four great purposes of the life will: the will to be
a particular entity, to maintain its form, to expand it, and to reproduce it. In the evolution of human
consciousness it represents the level at which the processes of mind (interval of fifth) and those of the
feeling nature (interval of fourth) are given a personal form.
The seventh harmonic occurs in the third octave, and number seven is especially important in
occult philosophy, astrology, and geometry. But the seven cosmic forces or "rays" esoteric
philosophies mention should not be associated with any one overtone. They refer to seven aspects of
the original unitary power of the One. In music they are represented by the seven Fundamentals (in
some cases five) which, in their togetherness, constitute the foundation of most musical cultures.
Chapter 8 discusses these Fundamentals and their role in the formation of scales.
In the harmonic series, number seven represents the archetypal source or the symbol of life
processes involving an irrational or transcendent factor. This factor becomes more insistent in the
succeeding octaves of the harmonic series, manifesting as number fifteen, thirty-one, sixty-three, and
The fourth octave extends from the eighth to the sixteenth harmonics. Eight is a solar number. In
Hindu mythology the sun, Surya, travels in a chariot drawn by eight white horses. Number eleven also
has a solar character as it measures the sunspot cycle which, according to esoteric tradition, is the
heartbeat rhythm of the solar energy that circulates through the solar system; astrophysicists call this
energy the solar wind. In Gnostic symbolism, eight thrice repeated (888) is the number of Christ who,
according to the scientist, philosopher and seer, Rudolf Steiner, was a solar archangel who gave of his
spiritual substance to our planet. The fourth octave, then, is the realm in which descending spiritual
forces and ascending biological forces are brought together to accomplish their essential work.
The eleventh overtone of the ascending harmonic series starting with C is approximately an F
sharp (see figure 1). In Western tonality the interval C to F sharp is the tritone (it contains three whole
tones).
In the European Middle Ages it was called the devil in music, being considered highly dissonant.
In Franz Liszt's Sonata after a Lecture of Dante (1839) it is sounded repeatedly in its descending
aspect which, in the descending harmonic series, should rather be noted C to G flat. The interval
presumably symbolized in the composer's mind the descent into hell. Since Liszt's time the interval
has been used often because of the dramatic feeling it conveys.
The last overtone of the fourth octave is harmonic fifteen; the fifteenth tarot card represents the
devil, but this is what occultists call a blind, a symbol hiding a secret. Satan is an anagram for Sanat
Kumara, who in the esoteric philosophy of India is the promethean being who gave mankind the fire
of self-conscious and independent, individual selfhood. This gift (number fifteen) leads in the
ascending harmonic series to the realm of the fifth octave.
THE FIFTH, SIXTH, AND SEVENTH OCTAVES
Number five (and the five-pointed star) is the hieratic symbol of individualized man. The fifth octave
starts with number sixteen, which is two raised to the fourth power (24 or 2 X 2 X 2 X 2). From the
point of view of the descent of spirit-radiated energy into material conditions, this level marks the full
incorporation of the mother force, number two. It is the level of existence in physical bodies, spirit
involved in material organization. From the point of view of the ascending evolution of the resonance
of matter — that is, of the capacity to act in response to the impact of the image-making faculty and
the will — the fifth octave marks the first stage of the process of individualization. It is the stage at
which culture wholes are formed; their mental-emotional fields provide collective models as
foundations upon which temples for the celebration of the individualized power and consciousness of
man can rise.
What then happens to the individual? And what is the quality of his or her individual acts? The
questions are symbolically asked by number fifteen. The transition between fifteen and sixteen has
conditioned the answer, which leads either to the divine mother (the eternal feminine that draws one
on to one's individual stature) or to the dark mother (who binds one to the realm of passion and the
sins of pride and ambition).
In the first instance the spiritually individualized person reaches the level of the sixth octave,
The relationship between the series of seven octaves and twelve fifths is analogous to the relationship
of nature to mind. There is a similar traditional relationship between agriculture (man's intimate
participation in the seasonal activity of nature) and industry (the use of machines and of processes
coming under the general heading of fire).( See Rudhyar, We Can Begin Again — Together
(Garberville, Ca.: Seed Center, 1974). ) Natural intonation in music refers to the intervals of the
harmonic series and its seven octaves of vibrations. Tones produced by the voice and man-made
musical instruments "naturally" contain harmonics. (Gongs, bells, and machines, for example, make
nonharmonic sounds, but these require fire to melt and shape their metals.)
A series of perfect fifths is also a series of natural intervals (the harmonic ratio 3:2), but except for
the initial ones, the tones of the series produce overtones, which do not reinforce one another; they do
not refer to whole numbers (see figure 3).
The series of seven octaves is both arithmetic and geometric. Its overall structure is geometric, for
it is a sequence of equal intervals, but all its terms are parts of a more inclusive arithmetic series
whose prototype is the series of whole numbers. Series of equal fifths, fourths, thirds, and so on, are
only geometric; each of them therefore represents the development of only one aspect of nature that
is, of the cosmos as a whole. If the fifth equates with mind, then mind is only one aspect of nature.
But it is the first and most basic function of the COSMOS.
When the series of twelve fifths is reduced to the span of an octave, a chromatic scale is produced.
The piano keyboard, with its white and black keys, is a chromatic scale in its most fixed and tempered
form. The pianist cannot deviate from it. He or she can, however, blend (or allow to interpenetrate)
the resonances of the metal strings struck by felt-covered hammers attached to the keys, producing
complex, nonharmonic tones some of which may resemble gong tones.
The great gongs of Buddhist countries are vibrant symbols of the root of cosmic existence which
Buddhism calls the Buddha mind. The typical Buddhist monument (stupa), is shaped like a bell, a
resonator ready to vibrate as a channel for the descent of spiritual power incarnated out of supreme
compassion for all living beings. The great bells of Christian cathedrals which called the people to
prayer — to communion with divine love — were also manifestations of this root reality of mind
pervaded with love.
The beautiful Baha'i temple near Chicago is shaped like a huge, nine-sided bell calling the faithful
to the birth of a new age. It is to be an age of power, whose generally misunderstood astrological
symbol, Aquarius, symbolizes the descent of a cosmic power released by the mind — if this mind is
attuned to the Buddha mind and Christ love. The number of this coming age is nine. Number nine is
the second power of three. It is the second term in a geometric series of whole numbers based not on
duplication, but on triplication, thus 1, 3, 9, 27, 81, 243, and so forth — a series of intervals of
twelfths (C1, G2 , D3 , A4, and so forth). (This can be called the avataric series, symbolically the direct
series of manifestations of the One (see the footnote on page 67). )
The interval C to G reduced to the octave is the fifth; the interval C to D is the whole tone. The
following chapter discusses how they formed the foundation of the Pythagorean scale and what the
sevennote (diatonic) scale means philosophically and cosmogonically.
Return to khöömii main page