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lA JO~LA. CfiLirUhi~iA
UNIVERSITY OF CALIFORNIA

San Diego

The Thirteenth Sound of Julian Carrillo

Translation and Study

A thesis submitted in partial satisfaction of the

requirements for the degree

Master of Arts

in Music

by

P~tricia Ann Smith

Comrni t tee in charge:

Professor John Silber, Chairman
Professor Wilbur Ogdon
Professor Thomas Nee

1972
 TABLE OF CONTENTS

Page

PREFACE iv

ACKNOWLEDGEMENTS X

ABSTRACT .. .. ... .. .... . . ... .. . xi

Translation of Sonido 13: Fundamento Cient[fico

e Hist6rico, "The Thirteenth Sound: Scientific

and Historical Basis," by Julian Carrillo . 1

Commentary by Translator 92

References 95

Works by the same author 96

Bibliography 98

Appendix I 100

Transcription from numerical to standard notation

of Julian Carrillo's Tepepan in quarter-tones for

mixed chorus accompanied by harp tuned to 16th-tones.

Appendix II

Recorded reproduction of the _ gamuts of Carrillo's

fifteen metamorphosing pianos: whole tones and

l/3rds - 16th-tones, with explanation of the character-

istics of each and two illustrative pieces.

' iii
 PREFACE

.B en Johnston, in "How to Cook an Albatross, .. l

called music a tardy art. "In our laziness," he said, "when

we changed over to the twelve-tone system, we just took the

pitches of the previous music as though we were moving into

a furnished apartment and had no time to even take the

pictures off the wall. What excuse?"

Most of today's microtonal composers continue using

adaptations of existing notation and theory to express

microintervals. Wischnegradsky, Haba, and Penderecki, for

example, use altered accidentals (such as ~ bn #f ) and

symbols like check-marks and brackets. Stanley Lunetta and

John Mizelle have tried indicating quarter-tones with half-

filled note heads. These, unfortunately, give the appear-

ance of note value rather than pitch, and interpreters find

the altered accidentals confusing in their similarity to

traditional symbols. A standardized microtonal notation is

a crying need for more extensive interchange and performance.

Few composers have worked out a total conception

including the establishment of a theory pertinent to their

microtonal composition with an applicable notation, scales,

and instrumentation. The California composer, Harry Partch,

1
Source, Issue No. 7 (1970), p. 65.

iv
whose system is explained in his Genesis of a Music, 1

and the Mexican Julian Carrillo, are notable examples of

those who have achieved this goal. Partch employed forty-

three unequal tones in just temperament while Carrillo

found it practical to use equal temperament with an octave

of ninety-six tones. Partch has written theater works in

which the instruments of his own design and fabrication are

part of the stage design. His notation is expressed in

ratios of the just system.

Carrillo, in searching for a practical method of

expressing his microtonal discoveries found traditional

theory and notation woefully inexact and inadequate.

He found it necessary to revise and reconstruct the theory

of music acoustics to find a suitable method of notation

and designed appropriate instruments. He constantly

experimented with composition in microtones and has left a

collection which includes works for orchestra, chamber

groups, solo instruments, and chorus.

2
The Thirteenth Sound was chosen by the present

writer as the definitive theoretical work of Carrillo

dealing with his discoveries, in perspective with other

breakthroughs in the history of musical sound and .presenting

his total conception of microtonal composition; new and

1 (Madison: University of Wisconsin Press, 1949).

2 Julian Carrillo, Sonido 13 (Thirteenth Sound)

(Mexico , D. F . : 1 9 4 8 ) .

v
infinite scales and chords; new and simplified notation,

and new instruments.

The individual aspects of his music are treated in

greater detail in others of his published works. Included

in the references of this thesis are published theoretical

writings, listed in both English and the original Spanish.

Explanations and references by the translator will

be distinguishable from footnotes of the author by the

letter "C" for Commentary preceding the superscript number.

Carrillo sometimes resorted to reiteration to

strengthen his argument. Where the repetitio~ adds no

information I have taken the liberty of making minor

deletions to further Anglo-Saxon directness. For the same

reason I have dropped occasional Latin flourishes. For

example: following the explanation of the difference

between scales as taught in physics classes and in music

theory (p. 12),he continued, ". . and oh, punishable

unconsciousness, that so-called chromatic scale which has

no relation to music is the same one which is taught to the

wretched students in the conservatories!" Since he had

already made the statement concerning the scales (pp. 9, 10)

and was to make the same observation again on page 19, to

avoid yet another repetition and hyperbole as well, the

entire phrase was stricken.

The author waged a somewhat parochial polemic

regarding peer reactions to his work. He expressed pique

vi
toward some of his fellow countrymen 1 and vehe me ntly

con demned the " p il ferin g" o f his theories by unqualified

2
write rs. This sub j e ct i v e ma t er ial in a theoretical wor ,

although at first disconc e rt i n g to t h i s writer , seemed upon

reflection to give an insight into t he i ndomitable and

forthright spirit of this musical revolut ion ary , as well as

to show the relentless opposition he fac e d fro m c ertain

fellow Mexicans.

Julian Carrillo died at the age of nin ety -on e , i n

1965, dynamic still with many plans and dr e ams, h a rd at

work at his desk on the revision of an earlie ~ o pe r a tic

work, Matilde.

Although he was born in the humble surroundin gs of

a remote Indian mountain village, he achieved e arl y r e co gni -

tion in both Mexico and Europe as violinist, conduc t or, and

composer. In 1911, he was elected President of the Int er -

national Congress of Music in Rome, a body comp rising many

of the world's outstanding musicians. He serve d as

Director of the National Conservatory of Music in Me x ico,

and as Director of the Mexican National Symphony Orches tr a .

After the discovery of the new sounds develope d into an ever-

expanding concept, he devoted .his creative efforts to t he

promulgation of his revolution through his writings, compo-

sitions, lectures and concert tours until the e nd of h is

1
Thirteenth Sound, PP. 31-33.
2
Ibid., p. 38

vii
life.

The crusade is carried on by his daughter, Dolores

1
Carrillo Flores, a concert pianist and lecturer who was

able to aid him as soloist and instructor on his many con-

cert and lecture tours in the United States, South America,

Europe, and Mexico.

The President of the Mexican Republic, Dr. Luis

Echeverria, has recently proposed establishing a school of

experimental music in the Carrillo family home, using the .

instruments which are housed there (the fifteen transposing

pianos and various stringed and brass instruments), and

encouraging performance and composition.

Ivan Wischnegradsky summed up the impact of this

man's .work on the history of ultrachromaticism in a letter 2

following Carrillo's death on September 9, 1965.

. To characterize more fully what Julian Carrillo

did, it is necessary to add that he was, in the chrono-
logical order of events the first ultrachromatic
musician in the modern sense of the term (leaving aside
the research of the XVIth and XVIIth Centuries, which
preceded the adoption of equal temperament). The first
research efforts of Carrillo date, in fact, from the
epoch preceding the First World War. There have been,
it is true, other precursors as well: Malherbe in
France, Lourie in Russia, Busoni, Stein, Mager,
Moellendorf in Germany, Ives in America and others.

1
nolores Carrillo Flores is at present the Mexican
Cultural Attachee in New York City. One of the sons of
Carrillo, Antonio, has been twice Ambassador to Washington
and also Minister of the Exterior, a post equivalent to the
U.S. Secretary of State. Another son, Nabor, was president
of the Atomic Energy Commission for all Latin America and
rector of the University of Mexico.
2 Published in Nouvelles du Mexique, 1965, Editions
C.M.M., Paris, France. (Letter to Jean Etienne Marie).
viii
But none of them can be compared with Carrillo. They
concerned themselves with the total problem of
ultrachromaticism only sporadically, writing one or
several experimental compositions. Or they were only
theorists of inventors, interested more in the idea
of quarter-tones than in the music. It was not until
after the First World War that ultrachromatic com-
posers appeared with the idea of linking invention
with composition to produce a new sound medium. It
is in that category of composers that Alois Haba
belongs as I do myself. Such a composer was Julian
Carrillo. But he was the first to blaze the trail
and as is only right he should be considered the t~ue
precursor of all of us.

Ivan Wischnegradsky
Paris, Novenilier 10, 1965

ix
 ACKNOWLEDGMENTS

I would like to express deep appreciation to

those who have assisted me in the various areas
of my study:

To Miss Dolores Carrillo to whom I referred

constantly on questions of interpretation and
· editing. When I was a house guest in the
Carrillo home in Mexico City she put at my
disposition the large reference library and the
instruments of Julian Carrillo. She enriched
my visit with discussions and explanations of
many .aspects of the Thirteenth Sound as well as
with personal memories of her father.

To quarter-tone guitarist, Pablo Torres, who had

been a disciple of Carrillo in Mexico City, and
is now residing and teaching classical guitar in
Tijuana, B.C.

To Dr. John Chalmers of the Department of Genetics

at UC Berkeley, who gave me insight into compara-
tive microtonal systems, and my Argentine-born
husband, Harry Lee Smith, who has assisted me with
the mathematical processes as well as in the review
of my translation.

To Dr. John Silber, Dr. Wilbur Ogdon, and Professor

Thomas Nee for their guidance and encouragement
as my advisors.

X
 ABSTRACT OF THE THESIS

The Thirteenth Sound of Julian Carrillo

Translation and Study

by

Patricia Ann Smith

Master of Arts in Music

University of California, San Diego, 1972

Professor John Silber, Chairman

The Twentieth Century has seen a constant search

for fresh musical expression. With the flurry of popularity

of microtonalism in the 1920's, Julian Carrillo's music was

much in vogue in the United States. Later, when serialism

and electronics took over the avant garde mainstream,

microtonalists were left in isolated eddies, and Carrillo,

among those of importance on the American continent, was

left the most isolated of all.

Possibly because little of his prolific writi~g has

been translated, he has received relatively short mention

xi
by compilers of microtonal systems like Barbour and Mande l-

baum. Consequently, this translation, chosen as the most

comprehensive outline of Carrillo's total theory--including

his new notation, new scales and chords, and new instruments

--may be helpful in making the information concerning him

more accessible.

In addition to the translation of The Thirteenth

Sound, which was published in 1948, there is a translator's

commentary giving explanations and references; a listing

of other theoretical works by Carrillo; a transcription

made by the writer of a choral work taken from Carrillo's

numerical notation in quarter-tones into modified tradi-

tional notation; and a tape recording of the gamuts of the

fifteen transposing pianos in octave divisions from whole

tones, thirds of tones, quarters, fifths, through sixteenths

of tones. The tape concludes with two short illustrative

piano pieces in microtones.

Carrillo is one of the very few to unify a total

concept of music to encompass theory, notation, scales and

special instruments. Carrillo's method, moreover, is not

limited to the production of microtones but may be used in

traditional music as well. He deserves consideration in the

roster of important contributors to musical advance.

xii
 JULIAN CARRILLO

THE THIRTEENTH SOUND

Scientific and Historical Basis

Mexico 1948

l
 2

INDEX

Page

ORIENTATION . . . . .. .. . . . . . . . . . . . 5

The Revolution of the Thirteenth Sound

Explained by a Simile . . . . . . . . . . 5

OPINIONS OF PHYSICISTS AND MATHEMATICIANS . 8

INTRODUCTION 10

Physics 10

Mathematics 10

Pedagogy . . . . . . 10

Musicians . ........... 11

Resume 11

ANTECEDENTS OF THE CLASSICAL MUSIC SYSTEM . 13

How the Idea of a Musically Tempered

System was Born 14

The Abandonment of Physically

Pure Interv~ls . . . . . .. . ...
: 15

THE REVOLUTION OF THE THIRTEENTH SOUND

AND THE NATURAL SCALES . . . . • . 21

TIMBRE . . . . . . .. . . . . 26

Counterpoint 27

Musical Revolution of the Thirteenth Sound 27

GENESIS OF MUSICAL SOUND 30

Historical Credits . .. . . . 32

Mathematical Basis of Musical Sounds 39

Natural Intervals Called Harmonics 43

 3

THE PRACTICAL SIDE 52

Elimination of Names for Sounds 53

Absolute Pitches 55

Mathematical Ratios 60

PHYSICAL DIVISIONS OF STRINGS AND COLUMNS . 65

Acoustical Corrections 65

Flats and Sharps 77

Nodes 78

Natural Sounds in Practice 80

Consonance and Dissonance 80

Law of Relative Consonance and Dissonance 81

Natural Scales 82

Natural Chords 82

RESUME 86

Acoustical Corrections 86

Scientific Basis 89

Historical Transcendence 90

Musical Transcendence • . 91
 4

DEDICATION

To the venerable New York University, in

whose physics laboratories on the 16th of
December, 1947, my experiment of the
"node" was proven, affirming my disbelief
since the year 1923, that the second har-
monic of the harmonic series was produced
by double the number of vibrations of the
first as the whole world believed for
twenty-six centuries.

The eminent Dr. S. L. Lutz, Chairman of

the Department of Physics of the above-
mentioned University, officially gave out
the following statement: "Summarizing the
conclusions of this experiment, errors of
as much as five cycles were detected be-
tween separate tones an octave apart."

I am honored to dedicate this book to the

worthy University in whose halls my find-
ings were confirmed.
 .ORIENTATION cl

Revolutionary Musical Ideology

Since in pragmatic music we work with intervallic

relations, it is obvious that between notes there is

necessarily a gap.

Theory of the Thirteenth Sound

The hope of filling these spaces with infinite

sonorities was the consuming motivation of my 1895 exper-

iment and has continued to inspire me to fill gaps between

sounds. This is the esthetic ideal of the Thirteenth Sound.

The Revolution of the Thirteenth Sound

Explained by a Simile

The theory of ~he Thirteenth Sound in music is

equivalent to the system of fractions in mathematics.

Musical Essay, the

Thirteenth Sound, 1924

Amplification of the theory. The theory of the

Thirteenth Sound in rhythm, timbre, and sound.

Musical Essay, the

Thirteenth Sound, 1925

Multiple problems. With the theory of the Thirteenth

5
Sound many problems have arisen : in acoustics , rh thm, a

psychological problems . In applying it to rhythm, mar 1-

ous metrical and dynamic combinations have appeared which

affect poetry and the dance. Its application promises an

enormous effect on timbre due to the series of new instru-

ments which can eventually erase the discrepancies bet een

this system and the traditional to combin e large groups--

symphony orchestras and military bands--into an homoqeneous

whole.

New timbres. The orchestra of the future will

effect a dismemberment of timbres such that qaps which

presently exist between different group s of instruments

will be e1iminated.c 2

From the Thirteenth Sound, 1924

In 1895, the revolution of the Thirteenth Sound

extracted from the myst.ery of sound vibrations unsusp e ct ed

elements of beauty by dividing tones into 16ths, interval s

eight times smaller than semitones. Now, after half a

century of experimentation we have arrived at the possibil-

ity of using 128ths of a tone, intervals 64 times smaller

than sernitones, the erstwhile smallest unit in music. This

represents, in the field of sound, a phenomenon similar to

the effect of atomic force in its sensational effe ct in the

world.

Thus, the revolution of the Thirteenth Sound has

the right to a place among the formidable conquests of

 7

forces extracted from nearly invisible elements and, in

this case, of an incredibly infinitesimal size: among the

scientists of North America, conquerors of the atom; with

Pasteur, who liberated us from our virulent enemies, the

microbes; with the eminent Hanneman with his marvelous

curative system based on infinitely small substances--

homeopathy.

The Cycle is Closed

With the revolution of the Thirteenth Sound, the

conquest of musical sounds is achieved in much the same

way as the discovery of the poles opened new vistas on

possible territorial findings.

 OPINIONS OF PHYSICISTS AND MATHEMATICIANS

Professor Felipe Sierra, Director of the National

Preparatory School of the City of Mexico, and Professor of

acoustics, says:

Mexico, D.F., on the 13 June, 1932

Professor Julian Carrillo

Author of the Theory of the Thirteenth Sound

Worthy friend:

Having given the same interest and atten-

tion to your studies now as I did when you first
acquainted me with them nine years ago, I feel
able to appreciate the success of your deep study
which presents a doctrine which must merit the
attention of all those who desire an enrichment
of musical possibilities.

If my humble opinion is of value to you,

I most sincerely offer my wish that you achieve
all the goals which your tireless, efficient
and judicious efforts merit.

Yours very truly,

Professor Felipe Sierra

8
 Professor Francisco ·Cardenas Moreno, Professor of

physics and mathematics in the university schools of Mexico,

says:

Coyoacan, Quinta Maria de los Angeles

June 18, 1932

Professor Julian Carrillo

Mexico, D.F.

Esteemed and worthy friend:

The day on which I had the pleasure of read-

ing your unusual and interesting work concerning the
famous and controversial Thirteenth Sound, I
expressed to you my extraordinary surprise and
attraction toward your theory, to the extent that I
would have wished to have prolonged indefinitely my
study of your pleasing, novel and well documented
work, compiled with such judgment and wisdom.

Truth is light, and as soon as you established

your theory its simplicity, ease and logical conse-
quences enlightened the many who read it, with the
millions of scales made possible by it which have
widened the field of investigation in acoustics and
music. The aridity of old theory and notation dis-
appear, as well as the difficulty of comprehension
in theory and representational graphing to make place
for modern acoustic and music supplied by the cutting
clarity of the Thirteenth Sound.

I hope that you will soon be able to implant

your transcendental system into current musical use.
As concerns acoustics, my pupils and I have accepted
its reforms and are working according to the pamphlet
you gave us, introducing and supporting the deduc-
tions of the Thirteenth Sound.

Please accept my congratulations and those

of your country which is proud of a son who has con-
tributed ~o much to the scientific advancement in
the field of acoustics and music.

May God give us the immense satisfaction of

contributing our aid to this tremendous change!

With sincere affection from your friend,

F. Cardenas Moreno
9
 INTRODUCTION

To understand thoroughly the problems expressed in

this work, one must consider certain aspects of physics,

mathematics, and other sciences in their relationship to

music in 1895, the year of my experiment, which isolated

16ths of tone, the basis of the musical revolution of the

Thirteenth Sound.

Physics

Physicists were speculating with mathematical

abstractions based on non-musical systems produced by

fallible physical experiments which in more than twenty

centuries had not been crystalized into practicality.

Mathematics

Mathematicians, in turn, were content with their

tempered scale which I consider mathematically clever, but

disastrous in relation to physics.

In the matter of vibrations, temperament of physical

intervals is unnatural and produces impurities.

Pedagogy

In universities and conservatories, scales based on

physics are taught which agree in no way with musical

10
 11

reality.

Musicians

Musicians unthinkingly utilized a mathematical

scale which was not in accordance with physics as taught 1n

classes in acoustics and, in fact, was not congruent with

what was taught and practiced by musicians themselves.

Resume

Musicians, preaching a theory which disagreed with

the system in practice; physicists, teaching artificial

scales which have never existed in music; mathematicians,

without realizing that sounds are a phenomenon of physics

and not a mathematical abstraction; and routine pedagogues,

without troubling to analyze their teachings to know

whether or not they were reflecting musical reality .... Can

one conceive of a greater disaster among physicists,

mathematicians, pedagogues, and musicians?

So it was in 1895, and such is the situation today

(1948) with all those related to the teaching of music.

In the face of this disaster--this anarchy of physics,

mathematics, and pedagogy in their relations to music--one

asks whether the Revolution of the Thirteenth Sound was

timely. Was it not urgent to remedy this chaotic situation

which was prevalent in the Western world? One understands

now why the Musical Revolution of the Thirteenth Sound was

accorded such acclaim by the best minds of Europe, America,

 12

Asia, and Oceania, and one understands also why it has

been attacked by those who lack the culture necessary to

understand it, or those who are sunk in the morass of

routine.

To understand the problems of the Thirteenth Sound

there is need for an open mind, familiar with the develop-

ment within the sciences and arts in the Twentieth Century,

as well as compre h e nsion of the roots of our culture.

Mexico 1948

Julian Carrillo
 ANTECEDENTS OF THE CLASSICAL ~1USIC SYSTEM

The present day musical system which is tempered

and has twelve tones, came from a mathematical calculation

which was formulated by Ramos de Pareja in the sixteenth

century, based on the twelfth root of 2, which divided the

so-called octave into twelve musically equal intervals.

Ramos de Pareja could not foresee that with this procedure

a grave conflict was produced between physically pure

intervals and those which he tempered. The procedure for

tempering natural intervals has always seemed to me a marvel

of mathematical calculation, but I believe it to be, never-

theless, a crass distortion of physics.

The author of the tempered musical system in use,

which had as its base the adulteration of all the natural

intervals, did not consider that nature does not permit the

modification of her natural scale. Consequently, tempering

altered all of them and thus produced a distorted musical

system; all the intervals are marred by beats, and that

music is what we have been practicing since the eighteenth

century.

In 1722, Bach, the marvelous musician, committed the

unfortunate error of putting into practice the musical

theory of the mathematicians, a theory which produced impure

music; impurities so obvious that its true name, basing

13
 14

itself on physics should be the impure musical system based

on equal intervals, presuming that the temperament really

did divide the musical interval called an octave into

twelve musically equidistant but physically impure parts,

an interval which, according to classical acoustic theory,

is produced by doubling or halving the vibrations of any

sound.

How the Idea of a Musically Tempered

System was Born

The tempered system developed out of the impossible

position in which the physicists found themselves when they

attempted to join together twelve ascending intervals based

on a multiple o£ vibrations of the so-called octave; for

they realized that arriving at the twelfth 3/2 they

exceeded the multiple of the base, and to avoid this they

resorted to a process _which, though practical, was com-

pletely outside physical laws. They subtracted from each

3/2 interval the twelfth part of the remainder of the octave

and thus managed to contain within the doubling of vibra-

tions twelve equal intervals of 1/12. But all of them

remained physically impure and distorted.

The fifth of physics is 1.5, and the tempered fifth

is 1.498450.
 15

· The Abandonment of Physically

·Pure Int·e rvals

With the implantation in music of this musical scale

all pure intervals were incomprehensibly discarded. Despite

the fact that this discrepancy occurred more than two cen-

turies ago, physicists in the universities and musicians in

the conservatories of the whole Western world continue teach-

ing the theory of physically pure intervals, without realiz.ing

that such intervals have been non-existent in music for 223

years, since the temperament put into practice by Bach in

1722 put an end to the purity of all of them.

With this unawareness all universities and conserv-

atories in acoustic classes teach scales and intervals that

not only do not exist but have never existed in music.

The musical scale that is taught in acoustics is

this: from C to D (9/8), from D toE (10/9), from E to F

(16/15), from F to G (9/8), from G to A (10/9), from A to B

(9/8), and from B to C (16/15).

In some universities another scale is taught by

physicists as well as the previous one: the chromatic.

This introduces a curious novelty: five tones more are

added to the chromatic scale of musicians, which causes an

irreconcilable conflict. There is no way for the two scales

to coincide since one has five tones more than the other.

How could the physicists ignore the fact that the

scale they call chromatic has not one semitone, whereas the
 16

chromatic scale of the musicians is made up only of semi-

c3
tones.

Here is the chromatic scale taught ln physics:

c c# Db D n# Eb E F p#
256 266.6 276.5 288 300 307.7 320 341.3 355.5
Gb G G# A A# Bb B c
368.6 384 400 406.6 444.4 460.8 480 512

No further word is needed to give a realization of

the chaos which exists at the very base of musical art, the

intervals upon which the edifice of sound rest.

In summary, this is the general state of classical

musical systems looked at from the point of view of the

physicist, the mathematician, and the musician; there is

considerable theorizing on scales which are not used, and on

~he other hand, for those in practice there is no theory.

What can we call this? Anarchy? Irresponsibility?

Who knows! But the fact is that we urgently need an

answer to this question: should such a state of affairs

persist once the absurdity of the musical situation has been

proven? Should the authorities in education in all countries

be held civilly and morally responsible for this anarchy

which nobody sets about remedying? Should not Mexico be held

responsible for failing to implant in its conservatories and

universities the fruits of its own findings, correcting

universal errors? Should not the students be held respon-

sible if they accept the teaching of these irrelevancies as

infallible truths?
 17

As a conclusi ve demonstration that he seal s of

the physicists are chimerical, the following obs r ations

will be sufficient. In ord er to play the scal e 9/8 , 10/ ,

16/15, 9/8, 10/9, 9/8, 16/15 with its two relative minors

(the melodic and harmonic), using the twelve steps of the

musicians' chromatic scale, pianos or organs with fifty-

three keys would be needed: twelve for the major scale

9/8, 10/9, 16/15, 9/8, 10/9, 9/8, 16/15 on each degree;

twelve for the melodic minor; twelve for the harmonic minor;

and seventeen for the chromatic scale of the physicists;

and in order to play the chromatic scale one could use only

the first notes of each key--and as for the chromatic scale

of the physicists--seventeen keyboards would be needed, one

for each degree of that scale of seventeen steps. Flutes,

oboes, clarinets, and so forth, would need to increas e their

keys in the proportion of almost 5,000 per cent. These

instruments generally have seventeen keys, and their increase

should be in direct proportion to the increase in the key-

board: from 1 to 48--that is multiplying 17 by 48, result-

ing in 816 keys--on each of these instruments.

Had musicians and physicists ever thought about such

a problem? Surely not.

It is curious to note the disagreement among authors

of these so-called natural scales. Is it not clear that for

the scales formulated by the physicists to be positively

natural they should be produced without human intervention?

 18

1
Nevertheless such is not the case.

It is no less curious that in these so-called

natural scales there are differences even among the physi-

cists themselves.

I shall compare the so-called natural scale of

Pythagoras v1ith that of modern physics, which is presented

without embarrassment as a "natural" scale also.

Pythagoras: C D E F G A B c
256 288 324 341.34 384 432 486 512

Modern: c D E F G A B c
256 288 320 341.21 384 426.51 480 512

The differences are noticeable without difficulty.

In the third degree of the aforementioned scales, Pythagoras

indicates 324 vibrations and the modern scale 320; in the

~ixth Pythagoras marks 432, the modern 426$5 and in the

seventh Pythagoras indicates 486 and his successors 480.

Once we have shown the differences between the

gamuts of various mathematicians referring to the same

scale, we will pose a conjecture in history: Were there

once upon a time instruments which produced the intervals

of physics, those of Pythagoras as well as his successors?

Have we the right to consider non-existent those scales

whose demonstration has been impossible for centuries?

What historian claims that in some corner of the world there

1
soon you can hear an instrument devised by me, which
will use scales made from natural intervals with chords pro-
duced by nature since the existence of the world, which we
have never been able to hear.
 19

have existed instruments capable of producing the Pythagor-

ean scale? Who has ever spoken of instruments to reproduce

· ?c 4 No one. we 11 , th en: 1'f J.·n

th e sea 1 e o f mo d ern p h ys1cs.

no part of the globe can be found a single instrument to show

the physical existence of these so-called natural scales,

nor a musician capable of singing them, have we not the

right to consider them simply as mathematical speculations?

There is, rather, a formidable testimony opposing their

existence. Rameau has written, " No one has ever heard the·

difference between the major tone 9/8 and the minor 10/9."

And it is exactly on the major and minor tones that the

major diatonic scale of the physicists is based!

The activity of Rameau, as important in the theo-

retical as in the acoustical side of music, can be compared

with that of Bach on the side of musical practice, and in

view of his statement, I feel confirmed in my assumption

that the physical scales which have been referred to for

centuries have never been a musical reality.

Is there any doubt that twenty-six centuries were

not enough for physicists and musicians of great culture to

show the existence of these scales? Does there remain any

doubt that musicians in those twenty-six centuries did not

succeed in realizing that their musical theory, based on

physicists' claims, did not agree with musical reality?

On the other hand, historical truth obliges me to

point out that in the revolution of the Thirteenth Sound not

 20

even two years passed before I began to attack the problem,

as soon as I was able to give public demonstrations in

concert of its musical revolutionary postulates, with new

instruments, a new notational system, new sounds, new scales,

new chords, and so forth.

Resume: The so-called natural(?) scales of the

physicists, which for many centuries have been taught in all

universities of the Western world, are non-existent, since

they neither have now, nor ever have had any instrument tq

demonstrate their existence, nor has there ever been a

musician capable of singing them.

 THE REVOLUTION OF THE THIRTEENTH SOUND

AND THE NATURAL SCALES

Let us concede for a moment that if there had

existed in practice the Pythagorean scale and those of the

modern physicists, those scales would not be natural. What

does one understand as natural scales? Should they not be

those produced by nature without human intervention?

In this work we refer extensively to natural scales.

The scale of Pythagoras as well as those of his sue-

cessors are artificial scales although constructed with

natural elements.

I cite again, as an example, the best known of all:

9/8,10/9,16/15,9/8,10/9,9/8,16/15.

I emphatically deny that the scale mentioned above

is a natural one. To show this, it is enough to analyze the

order of the harmonics that form it. Example: the jump

from the second degree 10/9 to 16/15; then the backward leap

to 9/8; then another step backward from 10/9 to 9/8 only to

jump aga1n to 16/15.

To whom could it occur that this is a natural scale?

Natural scales never produce on their own equal or

erratic movements, because their intervals always decrease

.
wh1le .
ascend1ng .
1n the gamut of natura 1 h armon1cs.
. c5

21
 22

Here is an example of a natural scale:

9/8,10/9,11/10,12/11,13/12,14/13,15/l4,16/l5,17/16,18/17,

or in another way, indicating only the numbers of the har-

monics: 9,10,11,12,13,14,15,16,17,18.

This scale is absolutely natural; its intervals

decrease progressively and there are no two equal in size,

in the same way that there are no two persons in the world

just alike, even though there are two billion of us living

in this world. When, before the revolution of the Thir-

teenth Sound, has this fact been mentioned? Never.

It is most curious that in the classroom they speak

continually of musical scales that never existed--but of

those which have existed since the world began, no mention

is made.

In view of this, let me ask: Is it not unfitting

for musical students to learn only scales which have never

existed? Is it not, rather, humiliating that in our centers

of learning no mention is made of scales which have existed

as long as the air has existed, and will cease to be only

when that element, the most indispensable to human life,

disappears from the globe?

In order to point out their differences, let me

compare the scale of Pythagoras with that of modern physics.

Is it necessary to point out that if these two scales

(supposedly natural) are in mutual disagreement, they are

only more so if the tempered scale of mathematics is

 23

compared with them? Following are three supposedly chro-

matic scales: that of Pythagoras, that of modern physics,

and that of the sixteenth century mathematicians.

, Pythagoras Modern Physics Differences

c . . . 256 c . 256
C# . . . 273.375 C# . . . 266.6 C# . . . 6.775
Db . 272 Db . 276.5 Db . 4.5
D . 288 D . 288 D . . . 0
D# . . . 307 D# . 300 D# . . . 7
Eb . . . 304 Eb . 307.7 Eb . . . 3.7
E . . . 324 E . 320 E . 4
F . . . 342 F . 341.3 F . 0.17
F# . . . 364.5 F# . 365.5 F# . . . 1
G . . . 384 G . 384 G . 0
G# . 410.06 G# .. . 400 G# . . .10.06
Ab . ·408 Ab . 409.5 Ab . . . 1.5
A . 432 A . 426.6 A . 5.4
A# . 461.45 A# . 444.4 A# .17.05
Bb . 455.2 Bb . . . 460.8 Bb . . . 5.6
B . . . 486 B . 480 B . 6
c . . . 512 c . .. 512 c . 0

Is not such disorder in a field which should be so

exact a shameful state?

In referring to the so-called chromatic scales of

the physicists, we repeat our question: In what museum,

university, or conservatory can one find an instrument

which can produce or ever has produced the diatonic or

chromatic scales of the physicists? Since there is no such

instrument, we must consequently deduce that these scales

have never been demonstrated. (Persons wishing to know

 24

about errors as great as this in ~us~c writing, the scie n -

tific falsity of its signs, and so forth, will find th e m

6
documented in my book, Pre-Sonido 13.c )

Pythagoras Modern Physics Mathematicians

1) c . . 256 c . . 256 c . . 256

2) C# . . 273.375 C# . . 266.6 C# . . 271.2
3) Db . . 272 Db . . 276.5 Db . . 271.2
4) D . . 288 D . . 288 D . . 287.4
5) D# . . 307 D# . . 300 D# . . 304.4
6) Eb . . 304 Eb . . 307.7 Eb . . 304.4
7) E . . 324 E . . 320 E . . 322.5
8) F . . 341.3 F . . 341.3 F . . 341.7
9) F# . . 364.5 F# . . 365.5 F# . . 362
10) Gb . . 363.2 Gb . . 368.6 Gb . . 362
11) G 384 G 384 G 383.6
12) G# . . 410.06 G# . . 400 G# . . 406.4
13) Ab . . 408 Ab . . 409.5 Ab . . 406.4
14) A 432 A . . 426.6 A . . 430.6
15) A# . . 461.45 A# . . 4 4 4. ~. A# . . 456.1
16) Bb . . 455.2 Bb . . 460.8 Bb . . 456.1
17) B . . 486 B . . 480 B 483.3
c . . 512 c . . 512 c . . 512

With these brief explanations as an introduction

let us look at the situation in which we find ourselves

today.

Physicists have formulated systems of pure fantasy

which have nothing to do with musical art as it is prac-

ticed, nor with natural scales; mathematicians confused

physics with mathematics without thinking that when they

equalized musical intervals they produced beats, made them

muddy and monotonous instead of offering the infinite

 25

variety which natural physically pure intervals offer.

Pedagogues taught and still teach intervals which are not

found in music as we practice it; and musicians played and

still play a system which is unsuitable for orchestra and

band instruments. In addition a musical theory is taught

based on natural intervals for an "anti-physical" tempered

system which lacks suitable notation as well as names which

correctly identify the sounds. In classes, consonant

intervals and chords are spoken of without the realization

that in the tempered musical system all intervals and

chords are dissonant due to the beats caused by temperament.

 TIMBRE

Without absolutely contradicting theories expressed

by eminent authorities relative to the source of timbre ,

and with a desire to cooperate with any new discovery con-

cerning that marvelous phenomenon, I present the hypothesis

that "timbre depends on the form the surrounding atmosphere

takes upon being put in motion."

I shall state my case.

If the theory sustained by most of those experiment-

ing with tinilire were correct, many voices and instrume nts

would lose their identity. Nevertheless, this is not the

case. Upon what, then, does it depend that there are no two

persons with identical voices? How is it that we can dis-

tinguish the timbre of those voices without seeing the

person? Is it not perhaps because the shape of the lips,

the teeth, and of the soft palate make the air reach the

exterior in a different way in different persons?

Here is another example in favor of my hypothesis.

If we take a metal wind instrument (cornet, trumpet,

trombone, and so forth), we fill it with air which is put in

motion by means of breath, and if we stop the mouth of the

bell so that the air in the tube may not reach the exterior,

we see that despite the fact that the air is in motion,

sound is not produced. This demonstrates, I maintain, that

26
 7

the instrument is not the producer of so n , ut is r h r

solely the vehicle or mold by which th e h nom n o n is

produced. I deduce from this that instrume nt s a r me r 1 a

kind of recipient which gives shape to a column of a ir,

which being put in motion, produces a diversity of ti mb r e

a phenomenon similar to that of liquids which take th e sha e

of the receptacle in which they are deposited.

I shall cite a third case. Let us fill our lungs

completely, then immediately close the mouth and nasal

passages. Let us try to produce sounds and we will see that

it is impossible. Does this not demonstrate that as long as

vibrating movements of air do not reach the exterior, sound

is not produced and timbre does not exist?

Instruments are, therefore, only vehicles for the

production of sound--not the producers of sound.

Counterpoint

Counterpoint has been for me a great aid, without

which I would not have been able to attain the thousands and

millions of scales, chords, and melodies which I have dis-

covered. With combinations of counterpoint I reached a

mysterious realm of rhythms never before dreamed of.

Musical Revolution of the Thirteenth Sound

In the year 1895, I succeeded in dividing the classic

whole tone into sixteen equal intervals. With this experi-

ment, the twelve tone to the octave cycle in which music had
 28

been imprisoned for centuries, was broken.

With the rupture of this cycle the number of musical

sounds was immediately enlarged from the traditional twelve

to ninety-six.

These ninety-six equidistant sounds are achieved

mathematically by taking the 96th root of 2.

96
r2
Since 16ths of a tone are extremely small intervals,

all intervals larger than they are physiologically included

as discoveries, since it is clear that a person who can

perceive a minute interval will have no trouble in hearing

one which is larger; consequently, if one perceives the

16th he will also be able to detect 15ths, 14ths, and so

forth.

From an historical point of view this revolution was

born in the instant in which I succeeded in dividing the

whole tone into sixteen equal parts. I gave i t the name of

Thirteenth Sound because thirteen was the ordinal number

which chronologically corresponded to the first new sound to

be discovered after the existing twelve, and which had the

privilege of breaking the classic cycle and paving the way

for the present musical revolution.

This new sound was that which was produced at the

distance of l/16th of a tone above the open tone G, the

fourth string of the violin. (The notes which served me for

the experiment were G and A).

 29

In practice, taking into consideration the needs of

the hearing organ, at first it was necessary, especially

for voices, to try the interval of 1/4 tone before trying

the 16th. From this resulted the unfortunate confusj_on in

which the Thirteenth Sound was understood to be not a

sound but an interval.

I discovered a most extraordinary thing at this

point: that many musicians were unaware of the difference

between a sound and an interval. They did not realize that

a sound is the result of an exact number of vibrations, and

an interval the difference in vibrations between sounds.

The Thirteenth Sound is essentially a sound to

which the number thirteen corresponded chronologically.

This being so, it is easy to understand the revolution I

initiated bears this name after my experiment in 1895.

That Thirteenth Sound is written in my graphic

musical system for 16ths of tone with the number 57, and

its mathematical ratio is: 1.007246.

 GENESIS OF MUSICAL SOUNDS

On many occasions I have explained the genesis

of musical sounds. Nevertheless, I believe it pertinent

to describe it once more at this point. Four thousand,

six hundred years ago the philosopher Lung Ling carried

the study of sound into the field of biology and deduced

that, even as human beings reproduce themselves, sounds

should also produce other sounds. This philosopher

believed that each sound should prod,Jce the interval which

we call the perfect fifth.

Since in those early times there were only five

sounds in music, the equivalent of C, D, F, G, and A, the

philosopher sought to explain the order in which these five

sounds came into being, and he came to the conclusion that

F was the first sound; that this produced its fifth, C, the

second sound; this, in turn, produced the fifth, G. From

this was born its fifth, D, the fourth sound; and following

this, the fifth sound, A, the fifth of D.

Six centuries before Christ, the Greek, Terpander,

obtained the sixth and seventh sounds, "E" and "B," and in

the eleventh century, Rome added in its turn the eighth

sound, "Bb," the sound which became the key to the dis-

covery of the ninth, tenth, eleventh, and twelfth sounds,

the order or appearance of which I will venture to explain

30
 31

with an historical conjecture: Ab, the ninth; Gb, the

tenth; Eb, the eleventh; and Db, the twelfth sound. As I

have already stated, these twelve have been expanded to

ninety-six by my experiment of 1895, for, since I divided a

whole tone into sixteen intervals, and there are six whole

tones in an octave, the resultant octave contains ninety-

tones.

Since it was impossible to notate the sounds devel-

oped by the revolution of the Thirteenth Sound on the graph

in current usage, I invented a numerical musical system of

notation which has as its basis the following general rule:

USE AS MANY NUMBERS IN PROGRESSION AS THERE P..RE DIVISIONS

IN THE SO-CALLED OCTAVE, WHETHER THEY BE EQUIDISTANT

MUSICALLY OR EQUIDISTANT BECAUSE OF THE NUMBER OF VIBRA-

TIONS PRODUCING THEM. Equidistant musically are, for example

the sounds of the chromatic scale, but the number of vibra-

tions between sounds increases as the sounds become higher.

For example:

Vibrations Differences

c .... 256
C# 271.2 15.2
D 287~4 16.2
D# . . . . 304.4 17
E 322.5 18.1
F 341.7 19.2
F# 362 20.3
G . . . . 383.6 21.6
G# . . .. 406.4 22.8
A .... 430.6 24.2
A# 456.1 25.5
B 483.3 27.2
c 512 28.7
 32

Here I present an example of the new notation which

has as its basis the use of as many numbers in progression

as there are equidistant divisions in the so-called octave.

c c# D
0 1 2 3 4 5 6 7 8 9 10 11 12 13" 14 15 16

n#
17 18 19 20 21 22 23 24 25 26 27 28 29 30 31

E F
32 33 34 35 36 37 38 39 40 41 42 43 44 45 46
p# G
47 48 49 50 51 52 53 54 55 56 57 58 59 60 61
G# A
62 63 64 65 66 67 68 69 70 71 72 73 74 75 76
A# B
77 78 79 80 81 82 83 84 85 86 87 88 89 90 91

c
92 93 94 95 96 1
which is 0 or C .

Historical Credits

Now is the time to claim historical rights for the

revolution of the Thirteenth Sound.

From early times there existed, as we have seen,

sounds 1,2,3,4, and 5, but Greece, by the ingenuity of

Terpander, broke this cycle six centuries before Christ

with the conquest of the sixth and seventh sounds, E and B.

To Greece, therefore, belong the historic rights to

sounds 6 and 7.

1 r refer to the notes by name simply to make the

reader aware of their position. My revolution of the Thir-
teenth Sound has suppressed the use of names for notes.
 33

Sixteen centuries later, the effort of Rome produced

the eighth sound, B flat, breaking the cycle of sounds used

until the eleventh century.

As there are those who claim that in Greece quarter-

tones were in use before the time of Christ, I will cite the

testimony of the most respected musician of the Middle Ages,

Guido d'Arezzo.

The renowned musician wrote these words: "There

have never existed more than seven sounds; there are seven

and can be no more than seven."

Could Guido have spoken thus if there had been 1n

existence even the twelve tones of the chromatic scale or as

one would be made to think, the twenty-four notes of the

quart~r-tone scale?

I make this declaration simply to clarify historical

fact, because even if quarter-tones had existed in Greece in

a period before Christ, it in no way endangers the impor-

tance of my experiment, s1nce by it I attained not only

quarter-tones but also 16ths of tone, an interval four times

smaller.

If there is need for another testimony beside that

of Guido, because of the epoch in which it was expressed, to

prove the non-existence of quarter-tones before the time of

Christ I will quote Aristoxenusc 7 who wrote: "There are

those who say we claim to divide whole notes into four

equal parts and sing them; this misconception comes about

 34

through the failure to realize the difference between con-

ception ·of an idea and putting it into practice."

Quite as irresponsible as it is to say that the

Greeks used quarter-tones is what we have been maintaining

for centuries: that we divide the tone into nine parts

(the nine commas)! What musician was capable of so-doing

before the advent of the revolution of the Thirteenth Sound?

None. And yet, there is no theory in the music of Europe

and America which does not uphold this misconception.

For professional integrity, European and American

musicians should paraphrase the words of the well-known

Greek, Aristoxenus: "There are those who say we claim that

we can divide the whole tone into nine equal parts called

commas and sing them; this misconception comes about through

the failure to realize the difference between conception of

an idea and putting it into practice."

Having made this digression I shall continue with

the history of sound.

Rome can be credited, as we have said, with the dis-

covery of the eighth sound, B flat, which opened the way to

chromaticism, and in its natural development produced the

sounds nine, ten, eleven, and twelve.

These twelve sounds were the only ones which

musical art had at its disposal until 1895, the year in

which the Thirteenth Sound emerged, and Mexico took her

position beside Greece and Rome as a conqueror of musical

sound.
 35

When Mexico achieved the 16ths of tone it was

credited with tones 13, 14, 15, 16, 17, and so forth; an

accomplishment which has been amplified to infinity, for

we have now arrived at a condition limited only by the

capacity of the human ear, a marvelous org~n which can be

rapidly trained.

Mexico, in the short time since the revolution of

the Thirteenth Sound began, has experienced up to 128ths

of tone, which means it has achieved the tone -768, and

will continue to advance even further as the ear becomes

educated up to an unpredictable limit.

At the present time (1932) I could show that it is

possible to produce and hear nearly 500,000 sounds in the

so-ca~led octave, or 4,000,000,000 in eight octaves. This

causes a formidable revolution in the physiological theory

of the auditory organ since, if it is true that for every

sound there is a tiny cord in . the harp of the inner ear,

one would need to have in that harp nearly 4,000,000,000

cords. This is the number of sounds that we can hear in

the eight so-called octaves based on the conquest of the

Thirteenth Sound! In traditional music only a total of

ninety-six have been used. This is an astounding number of

sounds when one realizes that eminent modern physiologists

have been able to count no more than 24,000 small cords in

the harp of the inner ear. I dare say that these tiny

cords may be only a part of what is to be found responsible

 36

for permitting us to perceive hundredths, thousandths, and

even millionths of vibrations.

The revolution of the Thirteenth Sound leaves this

problem in the hands of such physiologists who have the good

fortune and ability to analyze its mysteries through scien-

tific investigation.

I do not see how any country can surpass what Mexico

has attained with its revolution of the Thirteenth Sound,

since its conquests include not only the physical divisions

of a vibrating string or surface but also the "tempered"

ones.

When Mexico achieved, in 1895, the recognition of

16ths of tone (an interval that even today eminent people in

the musical world cannot conceive), the revolution of the

Thirteenth Sound must be given credit for physiological con-

quests of all intervals greater than 16ths, such as the

division of the octave in 96 parts (16ths), in 95, 94, 93,

92, and 91 which never produce semitones; in 90 (15ths); in

89, 88, and so forth, excluding only the divisions 12 and 6,

semitones and corresponding whole tones known and used

since 1722.

There are plenty of Mexicans (shamefully only Mexi-

cans) who claim that I should not be credited with intervals

greater than 16ths because I did not proclaim them in time.

This objection seems ingenuous indeed, much as the case of

an aviator who obtained an altitude record and who is

deprived of lower records because he did not proclaim them

 37

at the time.

Let us suppose a fly e r claimed a startling altitt e

record, having ascended to 96,000 meters while the pr vious

record had been 12,000. (12,000 can be compared with the

12 sounds of the classical music system and 96,000 to the

96 sounds made available by my experiment of 1895).

Should not the flyer who had reached 96,000 meters

be credited with 13,000, 14,000, 15,000 meters, and so on

up to 96,000? Obviously he should.

Well, then, since historically it can be shown that

humanity has been progressing from larger inte rvals to

smaller ones, is it not evident that by developing 16th s of

tone I should be credited with all those great er than this,

excepting the whole tone and the semitone?

Returning to the simile, I would say it would be

ridiculously grotesque for the aviator to say: "I reached

a height of 96,000 meters as well as 95,000, 94,000 and

93,000. and so forth." Rather than ridicule, whoever said

such a thing would merit compassion. How pitiful is the

conduct of these poor contemporary devils who lack not only

talent but shame.

Incidents of this nature leave me with the impres-

sion that some Mexicans are extremely negative because one

of their countrymen is the author of this musical revolu-

tion of the Thirteenth Sound; it seems that they would

have preferred it had originated in any other country.

 38

These compatriots of mine merit the stigma of all American

countries because they show themselves to be mental slaves

who hate whoever enjoys spiritual liberty.

When I recognized this negativism so typically

Mexican, brought about by the regrettable inferiority com-

plex which pervades most of America, I had the burning

desire to see the greatest man of this continent emerge in

the modern world. This man would not be a Franklin, a

Bolivar, San Martin or Hidalgo, or Washington. No! Such a ·

man would be one who managed to combat fundamentally the

continental inferiority complex which is so choicely repre-

sented by the insignificant and amoral men mentioned above.

How different is the judgment of these fellow

countrymen regarding my work compared with what is thought

in other countries. One of the most outstanding contem-

porary musicians, Leopold Stokowski, had this to say in the

Academy of Music in Philadelphia, when my Concertina based

on 16ths of tones was played for the first time:

The conquest of the Thirteenth Sound is completely

American. We owe nothing to European musicians since
it was the good fortune of America that the author of
all this is an Indian descended from the aboriginal
possessors of this continent.

This is what an eminent artist from Europe has declared.

Now you will understand why I am surprised that

there are doubting Mexicans just because this revolution is

authored by a Mexican. You understand, too, why it seems

so odd to me that some Mexicans try so hard to find the

 39

or igi n of t his r e volu tion i n some foreign country . I ill

not h es itate to o ppo se s uc h condu c t o n the part of my

comp atriots and will state un eq uivoc ab l y t ha t the revolution

of the Thirteenth Sound brough t the conques t o f musical

sounds to its fullest cycle (wh e ther p ro d uc e d by physically

pure or tempered intervals) in the same wa y that the di s -

covery of the poles completed the cycle of terres trial

conquest.

Mathematical Basis of Musical Sounds

,.
Since it has been known since the six~centh c e ntury

how to divide the so-called octave mathematically into

twelve musically equidistant intervals, it would h a ve b een

easy for the same reason during the past four hundred year s

to know how to divide the musical unit called the octave

mathematically into the number of parts which one would

desire. It would have been even easier when, in a subse-

quent period (1711), Sauveur published his general table

of tempered musical systems which theoretically included

all the tempered mathematical divisions of the tone and

the semitone.

It was curious that a ·group of Mexican musicians,

ignorant of the history of music or acoustics, banded

together 1n 1926 to organize the so-called Congress of

Music in Mexico City in which two men presented "the g e n-

eral theory of the subdivision of the whole tone and it s

 40

scientific basis." This theory has existed since the six-

teenth century and was the basis of the tempered musical

system then in use. It was strange that in the Congress of

Music there was not a single musician who knew that the

tempered system had been known for four centuries, nor did

they know that Sauveur had published in 1711 his General

Theory of the Tempered Musical System.

On the other hand, the mathematician, Ramos de Pareja,

who in the sixteenth century presented the theory for the

mathematical division of the octave into twelve musically

equal intervals, should be considered both historically and

morally the author of mathematical theory for all of the

theoretical and tempered divisions of the so-called octave,

in view of the fact that in order to form the scales (even

though only in theory) one simply followed his devised pro-

cedure based on any desired root of two.

As for me, for the same reason that I consider

Ramos to be the author of the mathematical theory for all

temperaments, I cons1'd er Re f ug1o

· Centeno cS to b e t h e au th or

of procedure for obtaining in valved instruments any

tempered division of the whole tone or the octave, except-

ing the semitone, although he neither said so nor actually

did it. I base my reasoning on the fact that Centeno,

before anyone else had succeeded, perfected a method of

achieving quarters, eighths and sixteenths of tone which

the world had vainly sought. I completed Centeno's process,

 41
showing how to obtain on those same instruments thirds,

fifths, sixths, sevenths, ninths, tenths, and so forth, but

employing the procedure developed by him.

Centeno not o~ly blueprinted how to attain fourths,

eighths, and sixteenths of tone but also demonstrated in

practice on a trombone which he had altered. Following the

procedure devised by Centeno, a number of valve instruments

were constructed in New York and 1n Cuba, which accomplish-

ment I am pleased to record here in order to protect the

modest inventor from unjust claims, because it is possible

that some thief unexpectedly lay claim to Centeno's process.

·
A m1nor ·
JOUrna 1c 9 h as a 1 rea d y appeare d 1n
· wh'1ch some

individual explained how to produce fourths of tones on

valve instruments without mentioning Centeno's name, leading

people to assume that the author of the article was also the

author of the method.

Having made this clarification, I must say that what

I claim as mine is only that which nobody had accomplished

before my revolution of the Thirteenth Sound. I therefore

claim:

1. The division of the whole tone into sixteen

intervals, accomplished in my experiment of 1895, a divi-

sion which has been accredited to me by the entire world.

Suffice it is to say that Germany officially

declared that no one before me or simultaneously with me

had accomplished such a thing.

France, through the utterings of Vincent d'Indy,

 42

said that until the thirteenth of October, 1925, such a

division had not been heard of.

2. I claim for my revolution of the Thirteenth

Sound all intervals greater than 16ths of tone attained in

my experiment of 1895 (excepting the tone and semi-tone),

whether or not they produce fractions of whole or semi-

tones, since all those intervals greater than 16ths of tone

were physiologically included within the radius of my

experiment, since a record is determined by the smallest

interval.

3. I claim the new conquest subsequent to 1895

which, without exceeding 8,192 vibrations per second, have

reached 4,·ooo,ooo sounds where only 96 had existed prior to

my revolution.

Now, if from only 8,192 vibrations I have derived

4,000,000 sounds, one could ask how many could be produced

from 90,000 vibrations per second, which is what modern

experimenters assure us can be heard.

4. I also claim a "first" for having composed

music without tones or semitones which has never been done

in all music history before my revolution.

5. I claim for my revolution of the Thirteenth

Sound all new intervals resulting from these same conquests

as well as the infinite number of scales and chords which

can be attained using these new intervals.

6. I claim all scales and chords based on natural

intervals whose existence nobody ever before suspected.

 43

7. I also claim new systems of harmony and me lody

resulting from these conquests about which I have s p o ke n on

various occasions.

8. I claim the infinite number of proclaimed

musical systems whether using natural or tempered intervals.

9. I claim all physical intervals not classified

prior to the Thirteenth Sound as well as all chords based

on physically pure intervals.

10. I claim as mine the theory that in the harmonic

series there are no equal intervals as physicists and

musicians have claimed for centuries. That is, all are

different. There is only one of each species, and none is

exactly a ·tone or a semitone.

Natural Intervals Called Harmonics

What intervals did physicists and musicians note in

the harmonic series? Only whole and semitones and their

compounds. The discovery of the revolution of the Thir-

teenth Sound, however, shows that in that scale there was

not one single interval of a whole tone, nor semitone nor

mixture thereof, and one understands that physicists and

musicians alike were deceiving themselves as to the true

intervals of the natural scale which we know as the

harmonic scale.

Without presuming to limit the intervals of that

marvelous scale to whole tones and semitones as was

erroneously done for so many centuries and is done still,

 44

I began to employ it in musical compositions in its natural

purity. I claim, thus, the use of natural intervals in

musical composition, as well as all the scales and chords

which are formed by them, totally unrelated to the laws of

temperament.

I make the necessary declaration that whatever

process may be in practice in my revolution, or whatever

discovery may be reached or may figure in my theoretical

writings belong to me even if it not be listed in my histor-

ical and technical claims, for I wish to prevent imitators,

of whom there are many, from taking advantage of knowing my

research theory and method and claim~ng them as original.

There are two absolutely clear cases of "lifting"

in this musical revolution. One of the pilferers has been

accused in the courts by several of my disciples for having

tried to claim my methods, and another has been thoroughly

discredited by me in the Mexican press as morally reprehen-

sible and abyssmally ignorant in technical musical matters.

Geronimo and Samuel are the names of the two.

In a moment so weighty in the realm of musical art

as is the appearance of my revolution of the Thirteenth

Sound, I have tried not to fall into the number of errors

which beset Johann Sebastian Bach when he introduced the

tempered system.

I am an admirer of the genius of Bach. I admire

his contrapuntal dexterity! I admire his spirituality!

 45

I admire his prolificacy! But it would weaken my work if I

covered up with admiration the mistakes of Bach in a sector

which detracts nothing from his merits as a musician--the

most admirable of the ·many who have walked this earth.

Bach did not realize, in introducing temperament in

musical practice, the transcendency of his work, and over-

looked three problems which I shall euphemistically call

details, notwithstanding the fact that they were funda-

mental to the reform:

He forgot that for a new musical system, new

instruments, new notation, and new theory, are needed!

Bach did not concern himself with any of these problems,

which meant that with the pragmatic success of his efforts,

we fell heir to the chaos, an anarchy ln which we still

found ourselves, as much in theory as in the practice of

music, before the revolution of the Thirteenth Sound real-

ized the tremendous disorder existing in that musical

system.

The unfortunate fact is that not only musicians

but physicists were caught up in a fictitious situation.

The revolution of the Thirteenth Sound made a definitive

clarification of the situation.

Physicists did not realize that the tempered system

left out of reach all natural intervals and have continued,

through the centuries, teaching a theory of natural inter-

vals which has nothing to do with music as it is practiced.

 46

The physical scale 9/8,10/9,16/15,9/8,10/9,9/8,

16/15 neither exists nor has it ever existed in music.

How painful it is that this is what physicists

teach as a musical scale. For this scale to be truly dup-

licated in music, it would take pianos and organs of sixty-

five notes.

More curious still is the fact that the so-called

chromatic scale of the physicists has eighteen sounds in

the octave and that of musicians has only twelve!

It was unsuspected through the centuries that one

single sound, beside the twelve of the tempered system, was

enough to work a fundamental change in the current musical

system.

In order for the chromatic scale of the physicists

to be a musical fact, one would need, as I have said, key-

board instruments of eighteen keys, and if that argument is

not sufficient I will give yet another reason to show that

the scale of the physicists does not exist in music. If

these scales were musical realities one would have to dis-

card the music of the most eminent composers: Bach, Haydn,

Mozart, Beethoven, and so forth.

It is also inexact that there are in music four so-

called whole tones as physics claim 8/7,9/8,10/9, and

11/10, which figure in their harmonic series. Worse yet,

none of these four tones is in actuality a musical whole

tone. Naturally, if the whole tones taught by the

 47

physicists are not musical intervals in practice, semitones

are also necessarily incorrect.

It is absolutely untrue that there exists in our

classical musical system of twelve notes to the octave the

interval 25/24 (the so-called diatonic semitone), nor is

there one of 16/15 (another so-called diatonic semitone--

both so named by the physicists). The musical semitone is

1.05963, while 25/24 is 1.041 and 16/15 is 1.066.

This is an example illustrating the fact that much

of what the physicists teach in the matter of musical

intervals has nothing to do with music.

Musicians, in turn, made similar mistakes in

professing to use natural intervals, which shows that what

my colleagues are teaching in conservatories actually has

nothing to do with existing music. None of this has been

brought out until the revolution of the Thirteenth Sound.

It is false, ~hen, that in the tempered musical

system, the base of actual music since Bach's time, there

are diatonic and chromatic semitones! It is false, as well,

that there are major and minor semitones! It is also false

that there are major and minor whole tones! False that

there are consonant intervals, for temperament is based

completely on the dissonance of all fifths! False it is

that there are perfect chords, since all of them are based

on imperfect fifths! False it is that there are consonant

chords, since it is · physically impossible to form harmony

 48

from discord. False that the musical theory of musicians

agrees with the musical system in current usage! Thus,

musicians are teaching a theory that has no system and

practicing a system that has no theory! What a frightful

disaster prevails in musical technology.

Is it not curious that none of this was known before

the Thirteenth Sound? And is it not more curious still that

Mexican musicians preferred not to know it and that official

musical educational institutions continue teaching false-

hoods to their students, instead of musical realities?

I repeat to my colleagues, the Russian, German,

French, Belgian, Dutch, English, Italian, and other musi-

cians who continue saying that the musical scale is 9/8,

10/9,16/15,9/8,10/9,9/8, and 16/15, that if it were thus we

would have to cast aside the composers who have written for

equal tones and semitones. So, away with Bach in whose

works there are no maJor and minor tones nor semitones--and

away with Handel--with Haydn--Mozart--Beethoven, Wagner,

Brahms. Out with Richard Strauss, Debussy, and Stravinsky.

When they are swept away what would be played?

No, my colleagues: that scale which you claim as

musical--9/8,10/9, and so on, ·never existed in practice and

does not exist today. In music in current usage all whole

tones and semitones are equal.

I deal with some of these problems in my book Pre-

Sonido 13. I shall not pursue them further for the moment
 49

Historical Order Latin Names Numbers 1n Notation

of Sounds (to 12) in 16ths

1 26 Centuries B.C. Fa (F) 40

2 " Do (C) 0
3 " Sol (G) 56
n
4 Re (D) 16
5 16 " La (A) 72

Conquest of Terpander in Greece, 6th Century B.C.

6 Mi (E) 32
7 Si (B) 88

Conquest of Rome, 8th Century A.D.

8 sib (Bb) 80

Doubtful Date
9 Lab (Ab) 64
10 Solb(Gb) 48
11 Mib (Eb) 24
12 Reb (Db) 8

Conquest of Mexico with the revolution of the Thirteenth

Sound to 96, 19th Century (1895).

Thirteenth Sound . . . . . . . . ... . 57

14 . . . . . . 58
15 . . . . . . 59
16 . . . . . . 60
17 . . . . . . . . 61
18 . . . . . . . . 62
19 . . . . . . . . . . . . 63
20 . . . . . . 65
21 . . . . . . 66
22 . . . . . . 67
23 . . . . . . . . . . . . . . 68
24 . . . . . . . . . . 69
25 . . . . . . . . 70
26 . . . . . . . . . . . . . . 71
27 . . . . . . . . . . . . . . 73
28 . . . . . . 74
29 . . . . . . . . .. 75
30 . . . . . . . . . . 76
31 . . . . . . 77
32 . . . . . . . . 78
33 . . . . . . . . . . 79
34 . . . . . . . . . . . . 81
35 . . . . . . . . . . 82
 50

36 83
37 84
38 85
39 86
40 87
41 89
42 90
43 91
44 92
45 93
46 94
47 95
48 1
49 2
50 3
51 4
52 5
53 6
54 7
55 9
56 10
57 11
58 12
59 13
60 14
61 15
62 17
63 18
64 19
65 20
66 21
67 22
68 23
69 25
70 .. 26
71 27
72 28
73 29
74 30
75 31
76 33
77 34
78 35
79 36
80 37
81 38
82 39
83 41
84 42
85 43
 51

86 44
87 45
88 46
89 47
90 49
91 50
92 51
93 52
94 53
95 54
f
 THE PRACTICAL SIDE

Although from the time I initiated the revolution

of the Thirteenth Sound I began to employ intervals of

16ths of a tone and their components in all of my composi-

tions, I had no wish to create confusion by putting into

practice all of my discoveries. I limited myself at that

time to the use of 16ths, 8ths, and quarter tones, but on

occasion used semitones and whole tones and sometimes thirds

of tones.

There are those who find it strange that I did not

go from the twelve note division of the so-called octave

first to 13, then to 14, 15, 16, 17, 18 (thirds of tone} but

rather immediately attacked the 96 division of the octave or

16ths of tones.

Those who remark on this as a strange development do

not realize that if I had moved from the division into

twelfths to that of thirteen all the sounds from the classic

system would disappear--a fact which would have resulted in

certain failure for the Thirteenth Sound.

Busoni, 1n Germany, in attempting to use thirds of

tones eleven years after I, had succeeded in Mexico in iso-

lating 16ths of tones, became alarmed, because a system

based on thirds results in the disappearance of all semi-

tones. Why would I, too, not be alarmed turning from

52
 53

t we lve to th i rt een s ounds i n t he s o-c a ll ed octave when

not only semitones but whol e ton es , too, wo u ld disappear .

On the othe r hand, u s ing in my compositions 16ths

of tones and their components, all t he int erva l s i n mu sic

are still included; the whole tone 16/16 and semi t o ne 8/16

which made it easy to continue the exp ansion.

Elimination of Names for Sound s

In the musical system of the Thirteenth Sound n ames

for sounds are never used since I consider th e m not only

unnecessary but absurd, scientifically false, damaging, a n d

lacking in logic.

They are absurd because they lack mean1ng, being

monosyllables which are the first syllables of lines from

the Hymn of Saint John, from which Guido took them (exc e p t

for "do" and "si" which do not appear in the Hymn).clO

They are scientifically false; they convey to the

mind the idea that musical sounds become higher or lower by

modifying the name with different adjectives. For examp l e ,

when we speak of "sol" double flat, "sol" flat, "sol"

natural, "sol" sharp, and "sol" double sharp, it appears

that "sol" has risen four steps.

Such an error originates from the lack of recog-

nition on the part of musicians that a musical sound is

produced by an exact number of vibrations which can in no

way be altered s1nce the alteration conve rts it to anothe r

 54

sound.

The system lacks logic because the names for sounds

have no exact relation among themselves, beside which they

are misleading since they imprison musicians' minds within

the concept of these seven monosyllables instead of allow-

ing their imaginations free rein·.

Musicians are victims of these monosyllables, and

think musically of "do," "re," "mi," "fa," "sol," "la," and

"si," instead of idealizing sounds, freeing them from all

idiomatic contact.

The names "do," "re," "mi," and so forth which were

so useful to the monks of the eleventh century are of little

use to musicians of the Twentieth Century who have no con-

nection with monks, and who do not need to remerr~er the

pitch of a sound by the place that the monosyllables "ut,"

"re," "m:L" and so forth occupied in the Hymn of St. John

which, we might add, few musicians know anyway.

Even supposing musicians knew the pitch represented

in the Hymn by the monosyllables it would serve no exact

purpose since currently one monosyllable can represent five

different sounds

In singing we give the same name to five sounds.

A "do" double flat we call "do"; a "do" flat we call "do";

a "do" natural we call "do"; a "do" sharp and even a "do"

double sharp we call "do."

For these reasons the system of the Thirteenth

 55

Sound eschews the ' use of names for sound s ; first th e y ar e

unnecessary and moreover, it would be a next to impossibl e

task to add the thousands of syllables that, thanks to the

expansion of sounds through the Thirteenth Sound, would b e

necessary. For solfege, or for singing in my new system,

one may vocalize on any of the vowel sounds.

Absolute Pitches

The number of exact vibrations for the tempered

system of twelve tones, taking as a basis the C of 256

vibrations per second is:

c . . .. 256
C# or Db . . . . .. . 271.2
D . . . . . . 287.4
D# or Eb . . . . . . . 304.4
E . ... . .. . . . . . 322.5
F . .. .. .. . . . . . . . 341.7
F# or Gb . . . . . . . . . 362
G . . . . . . . . 383.6
G# or Ab . . . . . . . . . 406.4
A . .. . . . 430.6
A# or Bb . . . . . . . 456.1
B . . . . . . . . . . .. 483.3
c . . . . 512

The ~athematical process to ascertain any ascending

tempered interval is as follows:

intervals mathe~atical ratios
17IT (1 semi tones) . . . . 1.059463
2/12 (2 s.emi i:ones) . . . . . . 1.122462
3/12 (3 semi tones) . . . . 1.189000
4/12 (4 semi tones) . . . . . . 1.259921
5/12 (5 semi tones) 1.334840
6/12 (6 semi tones) .. . . . . 1.414214
7/12 (7 semi tones) . . . . . . 1.498450
8/12 (8 semi tones) . . . . . . 1.487450
9/12 (9 semi tones) 1.681793
10/12 (10 semi tones) . . . . 1.781793
11/12 (11 semi tones) . . . . 1.887888
12/12 (12 semi tones) . . . . 2.000000
 56

The application procedure is most simple:

Multiply the mathematical ratio by the frequency of any

desired note and you obtain the frequency corresponding to

the note at the interval of the ratio chosen. The calcula-

tion we can say, since we are dealing with irrational

numbers in the ratios, is nearly exact. To calculate

descending intervals based on any frequency, instead of

multiplying the ratios, we divide them.

For the so-called octave, according to classical

rules (objected to by the revolution of the Thirteenth

Sound), one simply multiplies by two any numbe~ of vibra-

tions to find the frequency of the upper octave and divide

by two to knov.,r the frequency of the lower.

According to the classical theory, the octaves over

512 are 1024, 2048, 4096, and 8192, and the lower ones 265,

128, 64, and 32.

Before giving the mathematical ratios for any

division of tones, I shall reiterate my "General Law" for

various divisions of the octave: to use as many numbers in

consecutive order as there are different sounds in the so-

called octave. Some--the tempered ones--will be equi-

distant musically, that is in.intonation, and the others--

the non-tempered ones--will be equidistant vibrationally,

that is by the vibrations which exist between one and

another sound, which is the case of the harmonic

 57
1
scale which is why my system of notation is applicable

either to the tempered or non-tempered system; that is the

intervals that form it may be natural or artificial.

Thus, only 12 numerals from 0 to 11 are needed for

the classical musical system of twelve sounds:

c C# D D#
0 1 2 3

E F F# G G# A A# B C
4 5 6 7 8 9 10 11 0

From 0 to 17 for thirds of tone:

c D E F# G# A# c
0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 0

From 0 to 23 for quarters of tone:

C C# D D# E F F# G G#
0 1 2 3' 4 5 6 7 8 9 10 11 12 13 14 15 16

A A# B c
17 18 19 20 21 22 23 0

The same procedure is used for the remaining systems,

whatever the number of intervals in the so-called octave,

as is shown in the corresponding example.

In my new notational system, instead of the tradi-

tional staff we use one central solid line: Using only

this line three cycles of sounds can be written, one immed-

iately above it. (I call a cycle the total of different

sounds between the one serving as a base and the one which

has double the vibrations.)

1 The classical theory is: to know how many vibra-

tions there are in any of the harmonics of a string or tube,
multiply the number of the harmonic by the number of vibra-
tions in the basic tone. The number of vibrations is the
same between the 1st and the 2nd as the 2nd and the 3rd, etc.
 58

For the lower cycles I use a broken auxiliary line

below the solid line. Below this auxiliary line the lowest

cycle is written.

or 2 1 4 s 6 7 8 9 10 11 a
On the auxiliary line is cycle number 2 and above cycle 3.

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

Below the solid line (without auxiliary) is cycle 3, and

on the solid line, superimposed is number 5.

0 1 2 3 4 5 6 7 B 9 10 11
0 1 2 3 4 5 6 7 8 9 10 11
Above the .solid line is cycle 6 and with the auxiliary added

is cycle 7.

o 1 2 3 4 56 1 s 9 10 11 or 2 3 4 s 6 7 8 _9 ro rr
Superimposed on the higher auxiliary line is cycle 8.

There is a published booklet dedicated especially to

· . ell
new notat1on.

Using the new notation one can form three large

sections of musical sounds, each one of three cycles: low,

middle, and high. The low register is written using the

lower broken line, the middle using the solid line, and the

high with the aid of the upper broken line.

With this method of writing music one can immedi-

ately know the absolute pitch of a sound. With the object

 59

of simplifying music notation I am able to indicate the

smallest intervals and their components. For example, on

the basis of 16ths of tone one can also write 8ths--2/16ths

equal 1 8th; quarters of tone: 4/16ths equal 1 quarter

tone; semitones: 8/16ths equal 1 sernitone; and whole tones

16/16 equal 1 whole tone.

Thus, with my notation of 16ths one can notate 8ths,

l/4ths, semitones, and whole tones. With a base of 12ths

one can notate 6ths; 2/12ths equal l/6th; quarters: 3/12ths

equal 1/4; thirds 4/12ths equal 1/3; half tones: 6/12ths

equal 1/2; and whole tones 12/12ths equal 1 whole tone.

Rather than mention all the divisions of the octave

from 5 to 768 (which are achieved with 128ths of tone) I

will show only those of thirds, quarters, fifths, sixths,

sevenths, ·up to sixteenths.

More general still, the ratio for any individual

tempered interval (though it may not produce tones or

semitones) is N~ where N is the number of intervals to

the octave.

The only divisions of the octave which produce tones

and sernitones are 96, 84, 72, 60, 48, 36, 24, and 12. Those

which produce whole tones but not sernitones are 90, 78, 66,

54 I 4 2 1 3 0 1 18 1 and 6 •

Between each one of the divisions of whole tones, in

a spectrum up to 16ths, there are five musical systems for

it must be realized that each consecutive number represents

 60

Mathematical Ratios

Tones . . . . . . 6
r2 = 1.1-22462

Semi tones . . . . . . 12r2 = 1.059463

Thirds . . . . 18r2 = 1.039259

Quarters . . . 24r2 = 1.029293

Fifths . . . . . . 30r2 = 1.023373

Sixths . . . . . . 36r2 = 1.019450

Sevenths . . . 42
r2
= 1.016640

Eighths . . . 48f2 = 1.014545

Ninths . . . . . . 54r2 = 1.012908

Tenths . . . . . . 60r2 = 1.011619

Elevenths 66r2 = 1.010557

Twelfths . . . . . . . 72r2 = 1.009739

Thirteenths . . . 78r2 = 1.008926

Fourteenths . . . 84r2 = 1.008285

Fifteenths . . . . 90r2 = 1.007730

Sixteenths . . . . 96r2 = 1.007246

 61

an individual musical system. From this fact I made the

deduction that there are as many systems as there are num-

bers in consecutive order, and from this simple deduction

evolved my theory of musical infinity.

Where do numbers end? Well, if numbers are infinite,

so are musical systems. On the other hand, if we recogniz e

that in millions of years humanity has managed to attain

only one musical system, that of twelve tones, how many

years will be necessary for the mastery of any of these

other systems?

In a document that I gave to the then President of

the Republic, Don Plutarco Elias Calles, about twenty years

ago, I said, 11
If I succeed in solving the problem that I am

studying, who knows if the lifetime of this planet will be

long enough to see the total development of this Mexican

Musical Revolution of the Thirteenth Sound!" The problem I

referred to was that of putting together each number in

progressive order together with the musical system of each

one.

Between the so-called tones that divide the octave

in six equal parts, and the semitones which divide it in

twelve, still remain the systems which never produce tones

or semitones; the same is true from the division 12 (semi-

tones) to 18 (thirds of tone) for there remain the systems

of 13, 14, 15, 16, 17 which never produce tones or semi-

tones, and so it goes on from thirds to quarters, from these

 62

to fifths, from fifths to sixths, and so on.

To recapitulate: my experiment of the year 1895, 1n

a very few minutes paved the way for the crystalization of

all possible musical systems, tempered and non-tempered,

within the octave.

At this point I have succeeded in formulating the

musical systems of 5 through 768 different tempered sounds

in the so-called octave, and there will be more still when

the education of the auditory organ permits.

One can surmise already that there can be an era--

only God knows in how many centuries--when with my Law of

Musical Metamorphosis all the music before the Thirteenth

Sound can be capsulated in an interval of less than three-

fourths of a tone.

Of course, if we do not limit ourselves to divisions

of whole tones the number of tempered systems becomes infin-

ite for between the whole and the semitone there is a

possibility of more and more musical systems, and the same

happens between semitones and thirds of tone, between thirds

and fourths, and so on.

In order to comprehend what this breakthrough sig-

nifies, suffice it to say that each number represents a new

musical system and, in order to put into practice at least

from 5 to 768 it would be necessary to have new instruments

for each number's system as well as a new system of notation

(although the latter could always be derived from the

 63

g e n e ral graphic s o f the Thi rtee nth Sound) , a new musical

theory and new auditory e ducation. Th is l ast would be , with-

out doubt, the consideration which would r equire the greatest

amount of time for the mus ical publ i c to gr asp .

Calculating the rate of fiv e thous an d ye ar s to pop u-

larize each musical system of the one s mention e d above -- the

time elapsed for the acclimatization of the t we lve tones of

our system in only some parts of the globe--we would h a v e to

multiply 768 by 5,000, and this without departing from t he

tempered systems, for to abandon them for natural int e rvals

would find us at the gates of the infinite in time.

To these riches one would have to add the in f inite

number of scales also possible, natural as well as tempere d,

which number not only millions but billions and even

trillions.

Many years ago I evolved more than eleven thousand

million scales! And in each scale there are as many mode s

as there are steps in the scale. To appreciate the extent

of this discovery think of the fact that classicism in mu s ic

developed to its present stage with only two modes: the

major and minor.

As for simultaneous sounds, I have announced publi-

.
cat1on 0 f my b 00 k 1 E1 In f 1n1t0
· · · 1c 12 (MUSlCa
MUSlCa · 1 I n f lnl
· · t Y) ,

in which, without departing from the so-calle d tempe r e d

semitones, I offer one thousand, one hundred ninety-three

millions, five hundred fifty-six thousand, two hundr e d

thirty-two combinations of simultane ous sounds.

 64

This stunning number of combinations can be appre-

ciated when these 1,193,556,232 combinations are compared

with the 300 which the masters of classicism have produced.

On passing from semitones to thirds of tone, and without

even taking into account quarter tones, the number of

chords is measured in quintillions.

 PHYSICAL DIVISIONS OF STRINGS AND COLUMNS

Acoustical Corrections

In the revolution of the Thirteenth Sound I was

concerned from its inception with natural sounds, with

physically pure intervals. For this reason I studied the

harmonic scale assiduously which the consensus among

musicians and physicists states as follows:

J 0

Could I have even suspected that, upon analyzing

the elements of music, the sounds unanimously adopted by

physicists and musicians would be false, these elements

which were the fruit of centuries of culture? No.

Therefore I did not hesitate, in beginning my

revolution, to base my research on what had been preached

for centuries on this subject, for the small discrepancies

between individual teachers were so slight that one could,

without scruples, consider as unanimous the age-old

criteria on the matter of harmonics.

Europe had begun to cast doubt on the precision of

tones corresponding to the 7th, 11th, and 13th harmonics,

65
 66

but no one had questioned any of the others. 1 (cl 3 )

Confronted by this unanimous opinion as taught by

physics text-books and manuals on instrumentation, most

people before the revolution of the Thirteenth Sound were

convinced of the validity of these harmonics. For this

reason I, along with all other musicians, believed in the

exactitude of the sounds that had been established for this

harmonic scale and committed the same errors.

How great is the sacrifice which truth demands of

us when we begin to find errors made by men of genius in the

past whom we admire so greatly! How difficult it is to

convince ourselves that the centuries of human culture in

any particular line of scientific and artistic thought have

been in error! This was my predicament when I began to

delve into the make-up of the harmonic scale.

It had been asserted that the 9th harmonic was

related to the 8th as . an interval of a whole tone. I

accepted this as true, and then reducing to halves this so-

called whole tone I arrived at the conclusion that the

semi-tone must fall nearly exactly between the 18th har-

monic as it relates to the 17th, and not between the 16th

and the 15th, as all acoustic · studies until now had claimed.

That simple calculation showed that the interval

18/17 was much closer to a musical truth than the 16/15

1 The first person to doubt that the 7th harmonic

was an exact minor 7th of the fundamental was Hector Berlioz.
 67

accepted as a semitone for many centuries.

16/15 is equal to 1.066, while 18/17, chosen by me,

equals 1.058823, and the semitone in use is 1.059463. As

you can see, the difference is 0.00064, or 640 millionth of

a vibration. The difference between the accepted semitone

and that of the physicists is very great since 16/15 differs

by 0.007203. It is even worse if you consider the other so-

called semitone whose difference is 0.017797.

In the first calculation in which I diverged from

academic procedure my error is a minimal 0.000640. This was

the first transcendental correction effected by my revolu-

tion of the Thirteenth Sound in classical acoustic theory.

To obtain thirds of tone (an interval which no one

before my revolution suspected could exist in the harmonic

scale) I multiplied 9 by 3, resulting in 27. Thus, the

third of tone must be nearly exactly between the 27th and

26th harmonic (1.038461), a calculation which had not been

made before this revolution.

To find the quarter tone I multiplied 9 by 4 and I

determined that interval, also approximately, to be between

harmonics 36 and 35, or 1.028571; the fifth I fixed accord-

ing to the same method, between the 45th and 44th, or

1.022727; the sixth between 54 and 53; the seventh between

63 and 62; the eighth between 72 and 71; the ninth between

81 and 80; the tenth between the 90th and 89th; the eleventh

between 99 and 98; the twelfth between 108 and 107; the
 68

thirteenth between 117 and 116; the fourteenth between 126

and 125; the fifteenth between 135 and 134; the sixteenth

between 144 and 143, and so forth.

Between each of the indicated intervals there are

seven more that have no resemblance to tones and semitones,

and which could provide a basis for new musical systems

based on intervals placed within our reach by God. Here I

part company with what has been done for centuries by

physicists and musicians. I claim that to indicate series

of equal intervals in the harmonic scale is irremediably

false. In the marvelous Divine arrangement there are no

two men or women on earth physically, morally, and intel-

lectually alike even though there are two billion human

beings. Similarly, in the harmonic scale there are no two

equal intervals.

With the simple calculation which I have mentioned

we would have arrived at such exact intervals if the whole

tone had been positively 9/8 as had been claimed by musi-

cians and physicists.

To confirm what I have asserted I shall quote three

eminent writers who supported and propagated this basis

error:

"The whole tone of the tempered scale is invariably

9/8." This was stated by Lavignac, professor at the Con-

servatory of Paris, who bases his reasoning on the best

authors on the subject.

I
r/b_
 69

"The tempered whole tone is equal to the major

natural whole tone 9/8." Words of Tacchinardi, emin e nt

Italian physicist.

"The scale of whole tones is formed of 9/8,9/8,9/8,

9/8,9/8,9/8, although the octave is somewhat sharp." This

is according to Helmholz, the eminent German scholar.

When I began my revolution of the Thirteenth Sound,

could I have doubted the word unanimously expressed by the

greatest scholars in the world relating to the problems of

musical physics? No. When I finally was certain that the

tone which is normally used is· not 9/8 (1.125) but 1.122462,

I realized immediately that not only were the intervals in

use not in the harmonic series, but the error between 9/8,

which ·was presumed to be the true musical whole tone and

the real whole tone in use was 0.002538. If 9/8 is, indeed,

not exact, it is obvious that the harmonics I had indicated

for the various tone differentials by the above method had

to be proportionately adjusted.

Beside these errors I fell into other more far-

reaching inaccuracies, thanks to my predecessors in music

and physics. They had all indicated a series of four

consecutive whole tones in the harmonic series:

11
.. C , " " C" to " D, " " D" to " E , " and " E 11
to " F # , " based on C."

Again, because of my education in the canons of

classicism, I did not question that which had been taught

in the entire Western world for centuries by as many

 70

brilliant musicians and physicists as had e xist e d on ear t h.

With the conviction that these theories must b e true I u se d

them as a basis of calculations, and deduce d that if ther e

existed in the harmonic series these four consecutive whol e

tones, in the octave above, these four whole tones had to

produce in their division, eight semitones. I established

the position of the eight semitones between the harmonics

15/14,16/15,17/16,18/17,19/18,20/19,21/20, and 22/21. I

continued in my deductions to place 16 consecutive quarter-

tones in the octave above the second one--between 29/28 and

44/43~ Obviously, following this reasoning there had to be,

in the next higher octave, 32 consecutive eighthsof tone

between the harmonics 57/56 through 88/87, and finally in an

octave higher still there must of necessity appear 64

consecutive 16ths of tone between harmonics 113/112 through

177/176.
1
Ergo, the eminent Belgian physicist, professor of

the physics of music in the higher echelons of Belgian edu-

cation, gives place to eight consecutive semitones in his

14
work entitled Propylees de 1' Instrumentation (page 225).c

He, like all other physicists and musicians, falls into the

error of indicating in the harmonic series larger intervals

following smaller ones, which is incontrovertibly impos-

sible. This fact is true because all intervals in the

lErgo indicates eight consecutive semitones between

the harmonics 14:15, 15:16, 16:17, 17:18, 18:19, 19:20,
20:21, 21:22.
 71

natural s cale of harmonics are differ e nt in si ze and as

they progress upward they become smaller. This is easy to

see since one-half is greater than one-third; one-third

greater than one-fourth; a quarter is greater than one-

fifth, a·n d so on, and this is exactly what the harmonics

indicate: unity (1) represents the total length; (2) is

one-half of the total length; (3) is the third part; (4) the

fourth part, and so on.

2/1 2.000 8/7 1.142 14/13 1.076 20/19 1.052

3/2 1.500 9/8 1.125 15/14 1.071 21/20 1.050
4/3 1.333 10/9 1.111 16/15 1.066 22/21 1.047
5/4 1.250 ll/10 1.100 17/16 1.062 23/22 1.045
6/5 1.200 12/11 1.090 18/17 1.058 24/23 1.043
7/6 1.166 13/12 1.083 19/18 1.055 etc.

As is shown, the numbers confirm that there are no equal

intervals in the harmonic scale which makes it impossible

for a series of equal intervals to follow each other as

musicians and physicists have claimed.

What I have shown above refers to differences in

vibrations. In lengths (of string or column) the problem

is the same since a half is greater than a third, and this

greater than a fourth, and so on. Consequently, in both

longitude and vibrations musicians and physicists have

committed a collective error in dealing with the intervals

which are produced in the harmonic scale.

During my investigations I came to the conclusion,

as I have already said, that musical sounds in general use

are not to be found in the harmonic series since each har-

monic is the result of diverse physical divisions of a unit

 72

length. Thus, it is mathematically and geometrically

impossible to have two equal intervals produced by two

different lengths of the same cord at constant tension.

Therefore, I evolved the following law: IN THE SCALE OF

HARMONICS PRODUCED BY STRINGS OR TUBES THERE IS ONLY ONE

INTERVAL OF EACH CONFIGURATION.

This was such a transcendental correction in classi-

cal acoustics that it destroyed the fruits of twenty-six

centuries of human effort in this sphere of knowledge and

it was rocking the stability of the harvest reaped by

eminent cultivators of the spirit. By my stated musico-

revolutionary law it was proved to be impossible to have

a full tone of Bb to C (8/7); and between C and D (9/8);

from D toE (10/9); and from E to F# (11/10). Therefore,

in the scale of harmonics there is only one interval for

each configuration, contradicting what all musicians and

physicists have maintained throughout the centuries, with-

out any exceptions. I claim that any one of these might be

the interval of a whole tone but it would be impossible for

the four mentioned ratios all to be the positive represen-

tation of the same interval as the textbooks, not only of

elementary theory but of advance technology in the field of

instrumentation and acoustics, state unequivocally.

I state that since it is false to presume four

consecutive whole notes in the harmonic scale, it is also

false to presume 8 semitones in the next higher octave, as

 73

Ergo maintained, and 16 quarter-tones in the octave follow-

ing, as I had declared; 32 eighths in the next, and 64

16ths in the next, as I also had deduced, basing my claims

on theories which turned out to be erroneous .

. a~ ~~~
~,....... ~
-- ~~
.A
w b& ~
!A.._,.., 2J........,
· - "'e-4, = ·= ::.
- - ,, i* kd ....._..,

My law states: "IN THE HARMONIC SCALE THERE IS

ONLY ONE INTERVAL OF EACH KIND, AND NONE OF THEM IS THE

WHOLE TONE OR SEMITONE OF OUR MUSICAL SYSTEM."

With this law and its proof (see above), it was

easy for me to prove also that neither the tone nor the

semitone in use is in the scale of harmonics. Naturally,

if neither of them is part of the scale, neither are the

intervals which are derived from whole and half tones.

The theoretical whole tone (9/8) which has been

claimed to be in use proves to be larger than the factual

one (1.122462). On the other hand, the other whole tone

which we supposedly used in practice (10/9) is very small

(1.111). The actual whole tone, 1.122462, has never

existed in the scale of harmonics.

As regards the semitone, the case was similarly

negative. The musical semitone is 1.059463, and the major

semitone of the physicists is 16/15, which is equivalent to

1.066666. Consequently, the semitone 1.059463 (the diatonic

semitone currently used) is not part of the harmonic series.

 74

On the other hand, it is obvious that neither physicists

nor musicians realized that no tempered interval appears

in the harmonic series which is proved by the fact that

only those produced as harmonics are considered intervals.

To temper musical intervals is to alter their

physical purity, from which fact we deduce that that which

is physically pure is not tempered and vice versa.

From my son, Na b or Carrl. ll o, cl5 wh o lS

. an englneer,
.

I have learned a mathematical rationale so precise, complete,

and clear that it is difficult to improve. Here it is:

All tempered systems are based on the division of

the so-called octave in a series of equal intervals
whose mathematical ratio is N;-2 where N is a positive
integer. (In the interest of brevity I will refer to
positive integers simply as integers).

Now, any tempered interval will have as its ratio

R, N;-IM where M is a whole number but not a multiple
of N, since as we have said before, one or more com-
plete octaves are excluded from this analysis because
they are not 'tempered.'

Nevertheless, we must admit that they coincide

with harmonic intervals. Therefore, we can presume
that M a = B where B is an integer and less than N,
N N
and 'a' is an integer or zero.

Thus: if we suppose that R coincides with certain

harmonic intervals U (U and V are integers and prime
v
numbers), then it is clear that 2B = u
N 2a.V

Since the first is less than 2 and more than 1, the

second must be an irreducible fraction which we will
call P.
B

Raising both members to the nth degree: P· P· P· P

B· B· B· B
 75

(P raised to the Nth power in the numerator and B raised

to the Nth power 1n the denominator).

As B is a whole number the first member is also

whole, but the second is necessarily an irreducible
fraction, since there are no common factors in the
numerator and the denominator. Consequently, equality
is impossible, and the original supposition is neces-
sarily false."

Musically, the artificiality of the tempered scale

can be shown in another way s1nce, once it is realized that

its intervals are musically equal, we understand that the

scale is not natural. In the same way that in nature there

are no two men or women alike, in natural scales there are

no two intervals alike. This ·being so, it is inconceivable

that all the intervals of a natural scale be equidistant.

Now it can be understood why the revolution of the Thirteenth

Sound . in principle has done away with all scales which have

two or more equal intervals.

In the tempered system in use all the intervals are

musically equal from step to step: 1/12,2/12,3/12,4/12, and

so on, which demonstrates the fundamental difference between

temperament and the laws of nature in which no two intervals

are alike.

If this revolution is developing within the tempered

system this is due to the fact that this is the system

which is in common practice but the ideal would be to carry

human achievement into the field of physically pure inter-

vals. This will assuredly take place but it will take time

and a significant advance in aural training. Toward the

 76

realization of this ideal we will seek to achieve the second

postulate of the Thirteenth Sound: to purify music.

When I realized that none of the intervals of the

harmonic series existed in the current musical system I

immediately began a total comprehensive correction and

declared the 15th harmonic to be inexact in relation to the

musical scale which we use: later the 14th, then the 13th,

and following this the 12th; then the 11th, the lOth, 9th,

and 8th, and shortly afterward the 7th, the 6th, the 5th,

the 4th, the 3rd, and finally I even suspected the validity

of the 2nd.

This was the reason for my proscription of the en-

tire harmonic series which I published in 1925 in my pamph-

let Sonido 13 (Thirteenth Sound) .

I began to suspect that the second harmonic was not

produced in a tube by doubling the vibrations of the 1st.

When I became certain of this, it discredited everything

that had been said and done in relation to these harmonics

since Pythagoras, which means for the last twenty-six

centuries. From this followed my hypothesis that by divid-

ing a column of air by means of compression or a length of

string through harmonics, the mathematical half disappears.

This is because the node or dead point subtracts from the

length, which makes the sound of the so-called octave dif-

ferent from twice the vibrations, thus it falls within the

classic law which states: the shorter the length of a

 77

string under equal tension, th e gr at r the number of

vibration s .

Flats and Shar ps

Another misconception which has persisted for cen-

turies lS that a musical sound is capable of being rai sed or

lowered.

The cause of this false belief had its origin from

the time of the appearance of the eighth sound in th e

16
eleventh century which was called "si" flat.c The nome n-

clature made it appear that the new sound was a "si" which

had been lowered. This misunderstanding of musicians was

supported by physicists since they also used the name and

came up with a most specious numerical formula to explain

flattened sounds. They believed that 25/24 was the chro-

matic semitone ascending, and on descending they obtain ed

the same interval with 24/25.

This continued for nine centuries or 900 years, due

to the fact that physicists knew little or nothing of music,

and musicians knew little or nothing of physics. The worst

of it was that neither group bothered to analyze the

phenomenon.

The revolution of the Thirteenth Sound clarified

the meanlng of a musical sound to mean the exact number of

vibrations produced isochronally in a stated time. When

the number of vibrations increases or decreases it is no

 78

longer the same sound; it is completely different from the

former sound. For this reason a sound with an accidental

has no relationship with a tone of the same name but with-

out the accidental.

The revolution of the Thirteenth Sound announces

that a musical sound may not be raised or lowered without

ceasing to be the same note. It was therefore an error to

give the same name to the various number of vibrations pro-

ducing If ebb f If
11
cb f If
11
C f If If c# 1 C
If f If Which leadS One tO

believe that "cb" increases from semitone to semitone while

remaining "C" which is a physical impossibilit.y.c 17

Nodes

Everyone who has studied physics knows about the

existence of nodes, but no one realized before the revolu-

tion of the Thirteenth Sound that the node subtracts length.

Thus, what was considered an infallible truth for centuries

was shattered; namely that vibrationally the second harmonic

was produced by double the vibrations inherent in the fun-

damental.

I continued my experimentation, and basing it on

the hypothesis that the node is a "dead point" in a string

or a vibrating surface, I said to myself: if you take two

tubes, one a meter in length and another of fifty centi-

meters, both of the same diameter, you will see that when

the meter-long tube produced its harmonic 2 whose sound,

 79

according to the laws of physics should be exactly equal to

the sound of the fundamental of the fifty centimeter tube,

it is not so. The sound produced by the meter long tube

will sound its second harmonic higher than the fundamental

of the tube which is exactly half of its mathematical

length. The smaller tube is exactly fifty centimenters but

when the meter tube is divided in two by the node in produc-

ing the second harmonic, neither of its two sections is of

fifty centimeters because the node subtracts length in the

tube. Consequently, a tube of one meter's length, divided

by air compression in its interior into two pcrts, these

two parts will be smaller than fifty centimeters, and will

produce a sound higher than that of the fundamental tone of

the fifty centimeter tube.

This reasoning suffices to make way for a new cri-

terion on the function of numerals which I enunciate thus:

in the harmonic scale, numbers will not indicate relations

proportional to the vibrations of sounds, as has been the

practice previously, but will indicate only chronological

order.

In the field of acoustics and specifically as a

result of the nodes, the numb~r 1 indicates the entire

length of a vibrating surface; the number 2, that this

length has been divided in two equal parts, although those

two parts are not mathematical halves of the basic length;

if it is divided into three parts by nodes, it will

 80

indicate that they are three equal segments but not thi rds

of the entire mathematical length, as has b e en belie v e d.

The same thing will happen when dividing by means of node s a

length into four, five~ six, or more parts.

The day that I proved this premise by means of indis -

pensable apparatuses in a physics laboratory, this judgment

corrected twenty-six centuries of culture in the study of

Vl.b rat1ons.
. 1

Natural Sounds 1n Practice

Starting with my first composition using the Thir-

teenth Sound system, I began to use natural sounds, first

simultaneously and then successively. Fr om the time of

these first compositions the door was opened to the infinity

of nature, both in melody and in harmony.

Consonance and Dissonance

Numbering chronologically the generating tone and

its resulting harmonics, the numbers indicate the degree of

consonance and dissonance in each one.

From an absolute point of v1ew, dissonance cannot

exist in the Divine order but musically we have tried to

establish differences in degree of consonance and disso-

nance which could not be effected before the revolution of

the Thirteenth Sound.

1 The experiment which I carried out at New York Uni-

versity, December 16, 1947, demonstrated the error of cla s sic
theory in connection with the unode."
 81

Law of Relative Consonance and Dissonance

I have developed a law of relative consonance and

dissonance which can be stated as follows: THE DEGREE CF

CONSONANCE OF TWO ADJACENT SOUNDS IN THE HARMONIC SERIES

(NATURAL INTERVALS) PRODUCED SIMULTANEOUSLY IS GREATER THE

. I

CLOSER THEY ARE TO THE FANDAMENTAL SOUND. For example:

2 in relation to 1 is more consonant than in relation to 3;

3 in relation to 2 is more consonant than 1n relation to 4;

4 in relation to 3 is more consonant than 1n relation to 5,

and so forth. From this we can see that 3/2 is more con-

sonant than 4/3 but less _than 2/1; and ln its turn 4/3 is

more consonant than 5/4 but less than 3/2. So the relativ-

ity of consonances and dissonances proceeds, a~ I shall

define as follows: THE DISSONANCE OF A NATURAL INTERVAL IS

IN DIRECT RATIO TO THE NUMBER OF NODES WHICH DIVIDES THE

VIBRATING LENGTH.

With this law · the psychological shading can be

determined for each natural scale and each natural chord.

A scale based on the harmonics 3,4,5,6 is more con-

sonant than one based on 4,5,6,7,8 , and this, 1n turn, is

more consonant than 5,6,7,8,9, and so forth.

If, in formulating natural scales, we follow the

process of limiting the series of sounds to those which the

fundamental sound gives, we will have -natural scales rang-

ing from 3 sounds to infinity.

 82

Before dealing with natural scales I will consider

melodic shapes which will conform to the law of consonance

and dissonance producing the effect which that law dictates~

For example: the sounds 2,3,4 will be melodically more con-

sonant than 3,4,5, and 3,4,5 will be more consonant than

4,5,6; and 4,5,6, in turn, will be more consonant than 5,6,

7, and so on.

Natural Scales

The number of scales based on physically pure inter-

vals is infinite and if in accordance with classical belief,

a scale is composed of sounds between the fundamental and

the doubling of its vibrations, we will have on any tonic

(a gi~en number of vibrations), scales of three sounds (two

intervals) 2,3,4; of four sounds (three intervals) 3,4,5,6;

of 5 sounds (four intervals) 4,5,6,7,8; of six sounds (five

intervals) 5,6,7,8,9,10; of seven sounds (six intervals)

6,7,8,9,10,11,12; of eight sounds (seven intervals) 7,8,9,

10,11,12,13,14, and so forth.

Natural Chords

In dealing with chords we may say that the numbers

appearing vertically show simultaneous sounds (harmony);

if they appear horizontally they show successive sounds

(melody).

For the combination of simultaneous sounds one

 83

follows the same rule as for successive soundsi there can

be chords of two sounds in accordance with the procedure of

my synthetic tables. The table follows:

2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
1 1 1 1 1 1 1 1 1 1 1 1 1 1 ' 1
3 4 5 6 7 8 9 10 11 12 13 14 15 16
2 2 2 2 2 2 2 2 2 2 2 2 2 2
4 5 6 7 8 9 10 11 12 13 14 15 16
3 3 3 3 3 3 3 3 3 3 3 3 3
5 6 7 8 9 10 11 12 13 14 15 16
4 4 4 4 4 4 4 4 4 4 4 4
6 7 8 9 10 11 12 13 14 15 16
5 5 5 5 5 5 5 5 5 5 5
7 8 9 10 11 12 13 14 15 16
6 6 6 6 6 6 6 6 6 6
8 9 10 11 12 13 14 15 16
7 7 7 7 7 7 7 7 7
9 10 11 12 13 14 15 16
8 8 8 8 8 8 8 8
10 11 12 13 14 15 16
9 9 9 9 9 9 9
11 12 13 14 15 16
10 10 10 10 10 10
12 13 14 15 16
11 11 11 11 11
13 14 15 16
12 12 12 12
14 15 16
13 13 13
15 16
14 14
16
15

Total: 120 chords of two physically pure sounds in

first position which, when applied to invertible counter-

point obviously give 240 different combinations of two

 84

simultaneous sounds.

From three sounds the combinations obtained are

3,360; from four, 10,920, and so on.

One must not forget that according to my law of

relative consonances and dissonances, as the numbers become

higher, the pleasing effect of the chord is proportionately

reduced. To get an idea of the backwardness which has

reigned in musical spheres, and to comprehend how shamefully

slow humanity has been in its spiritual climb, it is suffi-

cient to say that despite the millions of years that man

has existed on earth, at this time the vast majority of

human beings have not experienced simultaneous sounds beyond

the harmonics 7, 8, and 9--and had no suspicion that the

sounds used before the revolution of the Thirteenth Sound

did not truly represent harmonics.

It is imperative to note that the numbers which we

have shown as based on natural intervals warrant being

called chords both from the physical as well as the semantic

point of view. Since, until the present, chords have been

based on the mathematical division of the octave (tempered

intervals) they are thus all discordant relations and it is

elementary logic that discord is the antithesis of harmony.

Let us consider chords of three natural sounds and

3
apply the same procedure. The chord 2 is more consonant
4 1 5
than 3 and this is, in turn sweeter than 4. As the
2 3
powers of the numbers rise, the resulting chords are less
 85

consonant.

The same judgment will be employed for chords of

5
four, five, six, or more sounds; thus 4 is more consonant
8 3
than 7. 2
6 1
5
4
3
2

With these quick explanations we can pose the ques-

tion: h~ere is the end of the possibilities for chords?

And for scales? Both questions can be answered by the same

sentence. Natural scales and chords are infinite, and have

existed as long as the air has existed.

Although they will have physical impurities, tempered

scales and combinations of intervals can be infinite as well

as the natural ones, applying the principles of my new

musico-revolutionary technique.

In conclusion I will say that although the revolu-

tion of the Thirteenth Sound has concerned itself so far

basically with intervals in acoustics, it has explored other

points of great transcendency. Some of them have already

shown results; others are under study and I shall condense

them in a few words.

 RESUME

Acoustical Corrections

1. That the experimentation on a musical basis

proves that the node subtracts length physically, which

fundamentally destroys the classical law of frequencies for

each tone of that scale.

2. That it is doubtful that sounds are produced in

instruments, but rather in th~ ambient air outside the

instruments. Automobile horns are proof of this.

3. That possibly timbre does not depend on the

number of harmonics which accompany a created sound, but

rather on the manner in which the surrounding air is made

to vibrate.

4. In the harmonic series there is only one inter-

val of each kind; this destroys everything written about

the problem until the revolution of the Thirteenth Sound.

5. That none of the intervals in the musical

system now in use (tempered) is physically pure, and for

this reason are not to be found in the harmonic series,

from which we deduce that the mathematicians of the six-

teenth century banished from music, with temperament, the

Divine intervals, and committed the grave error of confus-

ing the mathematical with the physical.

86
 87

6. That music is essentially physically pure and

not mathematical and for this reason one s hould study its

phenomena as physical rather than mathematical.

7. That modern music (the tempered system) is

entirely discordant if we consider all deviations of inter-

vals from physical purity, which must produce beats.

8. That the classical law of sound propagation

should be amplified since the law which states that sound is

not propagated in a vacuum is incomplete. That law should

state that sound is not produced in a vacuum and consequently

it is impossible to propagate that which does not exist.

9. That musical sounds are not susceptible to being

raised or lowered without ceasing to be that sound.

10. That numbers when adapted to sounds in the har-

monic series have chronological relevance but do not have an

exact relation with the vibrations which produce them.

11. That the degree of consonance of two adjacent

sounds in the harmonic series when struck simultaneously or

in series is greater the closer they are to the fundamental

sound.

12. That one can form an infinite musical series,

tempered or otherwise, unrelated to the so-called octave.

And finally:
13. That hundreds and thousands of musical systems,

tempered or otherwise, can be devised within the so-called

octave without ever producing whole or semitones.

 88

Such are the problems of physicomathematics as pro-

nounced by the revolution of the Thirteenth Sound. Some of

these discoveries corrected physical theories which were

perpetuated for centuries, while others complement and

amplify them. In the field of music the discoveries are:

1. An infinite number of musical systems based on

natural and tempered intervals.

2. A plurality of musical systems with tempered

and natural intervals having neither whole or semitones.

3. An infinite number of chords with both natural

and artificial sounds achieved through invertible counter-

point.

4. An infinite number of scales with both natural

and tempered intervals.

5. Infinite rhythms, also obtained through counter-

point.

6. New techn~que for harmony, counterpoint and

canon writing based on the new scales, having no relation

to the classical procedures of the last few centuries.

7. Law of the relativity of consonance and dis-

sonance for natural intervals.

8. New notation for any musical system of either

natural or artificial intervals.

9. Discovery of the arithmetic of sound in which

we suppose that each number represents a sound, such that

we arrive at the conclusion that any numerical quantity is

 89

also musical.

10. New instruments for practical use in my new

musical systems, both "physical" and tempered.

Within the Musical Revolution of the Thirteenth

Sound there is an infinite number of concepts which affect

physics, mathematics, music, poetry, the dance, painting,

biology, psychology, physiology, chemistry, and so forth,

but I have deemed it prudent not to refer at this time to

all of them and have limited myself to history, music,

physics, and mathematics relating to my Musical Revolution

of the Thirteenth Sound, leaving for another time the prob-

lems which arise in other fields.

Scientific Basis

The scientific basis for dividing the tone or the

so-called octave in twelve parts has existed since the six-

teenth century calculated by Ramos de Pareja, and again in

the eighteenth century by Sauveur.

When the moment arrived to establish mathematically

my 16ths of tones, I found the route open since it was

necessary simply to follow the procedure of the sixteenth

century when they divided the octave into twelve parts, to

continue dividing it into as many parts as I wished.

I took as a base Pareja's mathematical calculations

to g1ve scientific reasoning to the intervals established

by my revolution of the Thirteenth Sound; since, although

 90

he refers only to the semitone and I include thirds, quar-

ters, fifths, and so forth, and other divisions of the

octave that never produce tones or semitones or any of their

fractions, I did not want to fall into the grotesque error

of those who presented a theory for dividing the tone in the

so-called Congress of Music in Mexico, where they attempted

to create the illusion that they were the authors of what

had existed since the sixteenth century. I do not conceive

as mine the fundamental mathematical principle of dividing

the octave into as many parts as one wishes. My discovery

is the practical division of tone, as well as the mathemat-

icai formulas for thirds, fourths, fifths, and so forth,

which no one had done before me. As regards the 16ths of

tone rto one conceived of such a thing before me, a fact that

has been admitted by countries excelling in this field--

Germany, France, and others. Within my harvest will also be

found a technique for the use of the elements discovered in

sound, rhythm, and color.

Historical Transcendence

The historical transcendence can be synthesized in

a single phrase, proclaimed by eminent personalities: A new

era in music has begun, containing elements never dreamed

of, with new intervals, new melodies, new scales, new

rhythms, new color, new time signatures, new instruments,

and so forth, and with new theories, notation, and pedagogy.

 91

Musical Transcendence

The conquest of infinite musical systems to enhance

the human soul will allow musical art to develop for an

infinite period. Its acoustic transcendence encompasses the

general realignment of the harmonic series plus the develop-

ment of more and more musical systems based on pure physics.

Such is the revolution of the Thirteenth Sound,

initiated in Mexico, which has already excited the thinking

of the most prominent musicians of the entire world. The

ideal of my revolution is--to enrich, purify, and simplify

IDUSlC.
 COMMEN'l'ARY

cl) This chapter is comprised of quotations from othe r s

of Carrillo's writings such as the short essays entitl ed
'The Thir-teenth Sound," one written in 1924, and anothe r
in 1925. Unpublished.

c2) See Julian Carrillo Tratado Sintetico de Instrume nta-

cion para Orquesta Sinfonica y Banda Militar nsynthe-c.ic
Treatise on Instrumentation for Symphony Orchestra and
Military Band," (Mexico, D.F.: Published privately by
Carrillo, 1948).

See also Errores Universales en Musica y Fisica

Musical, "Universal Errors in Music and in the Physics of
Music," (Mexico, D.F.: Seminario de Cultura Mexicana,
19 6 7 ) ' pp . 2 5 , 2 6 .

As for instrumentation suggested by me in my book on

instrumentation it has the characteristlc of forming
true families of each type of instrument; that is,
that each one of them has the total extension of
sounds that exist in music from the lowest to the
highest, filling in the timbral vacuum which now
exists in all symphonic orchestras in the world.
Thus, there would be "sopranino" flutes, soprano
flutes, altos, tenors, baritones, basses and counter-
basses. Can you imagine the beauty of tone obtained
from a musical unit which included whole families of
oboes, clarinets and other instruments of the orches-
tra, all with equal richness although they would
preserve their ~ndividual timbre, shape of tube, and
mouthpiece. . . Of the classical instruments only
the clarinet is almost complete in its range.

c3) See page 23 for a comparison of frequ~ncies. The

scale of modern physics is what we call just temperament.
Its ratio calculations purports to be a system in which
all the fifths are pure as they are in the Pythagorean
tuning and all thirds are pure as they are in meantone
temperament.
c4) Harry Partch's instruments are tuned to the ratios
of just temperament. Partch began constructing the
imaginative instruments in 43 tones-to-the-octave in the
1920's.

c5) Charles Kent, "Introduction to Tuning and Tempera-

ment." (Bloomington, Indiana: Unpublished, 1961), p. 3.

92
 93

The intervals between partials successively decrease

in size: octave, perfect fifth, perfect fourth,
major third, minor third, etc. This is true even
when it is not apparent in the notation; the minor
third E-G is large~ than the minor third G-Bb and
the major seconds ~-c, C-D, D-E, and E-F# are each
successively smaller. Conventional musical notation,
however, is not equipped to deal with these grada-
tions in size, nor can we notate the intervals
smaller than a semitone which exist between higher
partials.

c6) Julian Carrillo, Pre-Sonido 13: Rectificacion

Basica al Sistema Musical Clasico, "Pre-Thirteenth
Sound: Basic Correction of the Classical Musical
System," (San Luis Potosi, Mexico: Editorial del
Sonido 13, 2nd Ed. 1930).

c7) Aristogenus was a Greek musical theorist born

ca. 354. Author of Harmonic Elements.

c8) Refugio Centeno, 1875-1950, Mexican trombonists

who played in the National Symphony of Mexico while
Carrillo was its conductor and later joined his
Thirteenth Sound chamber orchestra in Mexico City.
He became interested in preparing valve instruments
for microtones and drew up plans for their construc-
tion which Carrillo put to use.

c9) There is no record of the name of the journal.

clO) Latin America uses the fixed "Do" for C. Except for
this section which deals specifically with solf~ge
I have reverted to the lettering system: C, D, E, etc.
which English-speaking musicians prefer.

"Do" replaced the original "Ut," the first syllable

of the Hymn of Saint John from which the scale
syllables were derived.

ell) Julian Carrillo, Sistema General de Escritura

Musical, "General System of Musical Notation,"
(Mexico, D.F.: Ediciones Sonido 13, 1957).

cl2) Published under the title of El Infinite en las

Escalas y en los Acordes, "The Infinite in Scales and
Chords," (Mexico, D.F.; Ediciones Sonido 13, 1957).
On page 21 he says, "As a result of my experiment of
1895, a new technique has been created for the forma-
tion of new scales and new chords based on the cal-
culus of probabilities, well known in mathematics."
 94

cl3) Hector Berlioz. Treatise on Instrumentation and

Orchestration, quoted in Carrillo Dos Leyes de
Fisica Musical, "Two Laws of Musical Physics
(Mexico, D.F.: Ediciones Sonido 13, 1956),
"Bb seventh harmonic to the base C is a little too
low. "
/
cl4) Emile Ergo. Dans les Propylees de !'Instrumenta-
tion, "On the Threshold of Instrumentation,"
(Anvers: La Librairie Ne'erlandaise, 1908), xxvii,
275 p.

cl5) Nabor Carrillo was president of the Atomic Energy

Commission for all Latin America and Rec·tor of the
University of Mexico.

c16) Bb in our system.

cl7) In the preparation for performance of the quarter-

tone vocal piece of Carrillo, Tepepan, the writer
discovered that it was far easier and exact to pro-
duce quarter-tones using the original numerical
notation in which each quarter-tone had the indi-
viduality of an exact number than singing from the
transcription in traditional notation using slant
lines upward or downward from the head of the note
to indicate the quarter-tones. In this rendition
of the score quarter-tones had no real identity,
but rather "leaned" on the semitones on which they
were based.
REFERENCES

95
 WORKS BY THE SAME AUTHOR

Tratado Sintetico de Armon1a. ("Synthetic Treatise on

Harmony.") 8th ed. New York: Schirmer, 1915. 80 pp.

Platicas Musicales. ("Musical Lectures. rr) Vol. I, 3rd. ed.

Me xi co, D. F. : By the author, 1930. 62 pp.

Pre-Sonido 13: Rectificaci6n Basica al Sistema Musical

Clasico. ( 11 Pre-Thirteenth Sound: Basic Correction
of the Classic Musical System)." San Luis Potos{,
Mexico: By the author, 1930. 62 pp.

Genesis de la Revoluci6n Musical del Sonido 13. ("Genesis

of the Musical Revolution of the Thirteenth Sound."
San Luis Potosi, Mexico: By the author, 1940.
160 pp.

Tratado Sintetico de Contrcpunto. ("Synthetic Treatise on

Counterpoint.") Mexico, D.F.: By the author, 1948.
82 pp.

Tratado Sintetico de Instrumentaci~n para Orguesta Sinf~nica

y Banda Militar. ("Synthetic Treatise on Symphonic
Orchestra and Military Band.") Mexico, D.F.: By
the author, 1948. 126 pp.

Sonido 13: Fundamento Cient{fico e Historico. ("The Thir-

teenth Sound: Scientific and Historical Basis.")
Mexico, D.F.: By the author, 1948. 67 pp.

Leyes de Metamorfosis Musical. ("Laws of Musical Metamor-

phosis.") Mexico, D.F.: By the author, 1949.
89 pp.

Teor1a Logica de la Musica. ("Logical Theory of Music.")

2nd ed. Mexico, D.F.: By the author, 1954. 150 pp.

Dos Leyes de F{sica Musical. ("Two Laws of Musical Physics.")

Mexico, D.F.: Ediciones Sonido 13, 1956. 105 pp.

Sistema General de Escritura Musical. ("General System of

Musical Notation.") Mexico, D.F.: Ediciones
Sonido 13, 1957. 67 pp.

96
 97

El Infini to en las Escalas y en los Acordes. ("The

Infinite in Scales and Chords.") Mexico, D.F.:
Ediciones Sonido 13, 1957, 81 pp.

Errores Universales en la MGsica y la F1sica de la M~sica.

("Universal errors in Music and in the Physics of
Music.") Mexico, D.F.: Seminario de Cultura
-Mexicana, 1967. 445 pp.
 BIBLIOGRAPHY

Barbour, J. Murray. Tuning and Temperament. East Lansing:

Michigan State College Press, 1951. 228 pp. illus.

Blackaller, E. R. La Revolucion Musical de Julian Carrillo.

(The Musical Revolution of Julian Carrillo). Mexico,
D.F.: Secretaria de Educacion Publica, 1969. 109 pp.

Boulez, Pierre. Boulez on Music Today. Translated by

Susan Bradshaw and Richard Rodney Bennett. Cam-
bridge: Harvard University Press, 1972. 143 pp.

Kent, Charles. Introduction to Tuning and Temperament.

Bloomington, Indiana: Unpublished, 1961.

Mandelbaum, Mayer Joel. Multiple Division of the Octave

and the Tonal . Resources of 19-Tone Temperament.
Ann Arbor: University Microfilms, Indiana University,
1961. 4 79 pp.

Marie, Jean Etienne. "Julian Carrillo." Nouvelles du

Mexique, [Cultural Services of Mexican Embassy in
Paris]. October, 1965- March, 1966. pp. 3-10.

"Microtonal Music in America." American Society of Univers-

ity Composers. Proceedings of the Second Annual
Conference, April, 1967.
Yates, Peter. "Microtones." pp. 79-88.
Johnston, Ben. "Three Attacks on a Problem," pp.
89-98.
Mandelbaum, Joel. "The Isolation of the Microtonal
Composer," pp. 107-112.

Novara, Augusto. Sistema Natural de la Musica. ("Natural

System of Music.") 6th ed. Mexico, D.F.: By the
author, 1951. 254 pp.

Partch, Harry. Genesis of a Music. Madison: The University

of Wisconsin Press, 1949. 4X 362 pp.
Riemann, Hugo. History of Musical Theory. Translated by
Raymond H. Haggh. Lincoln: University of Nebraska
Press, 1962. xxii 435 pp.

98
 99

Yasser, Joseph. Theory of Evolving Tonality. London:

Oxford University Press, 1932.

Benjamin Gerald. "Julian Carrillo and Sonido Trece."

Yearbook. [Inter-American Institute for Musical
Research]. Vol. III, 1967. pp. 33-68.
APPENDIX I

100
 101

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