"Music and Elliptical Planetary Orbits"

[HATHORS LAMP 0]

Keppler was the first to demonstrate the planets and moons orbit the Sun and eachothers not in perfect circular orbits but in elliptical ones. Electrons "copy" the same principle when revolving around the atomic nuclei of elements in nature and even galaxies assume the same elliptical shape in the universe. The mass of huge stars and planets and the subatomic particles are not the only ones following this pattern, I could mention to you two more that in their own 'dominium' also answer to the same universal architecture: One are the colors of the light (as Newton proved by decompossing the with light) and the other obviously the natural tones of music.

If you take a look at Newton's circle of colors he described 7 colors having twice an area where colors were half the distance with respect to the others. In music the rule repeats too. Using the european way to name the natural notes we have Do, Re, Mi, Fa, Sol, La and Si to close the cycle into the next octave by jumping to Do and so on. At this moment you would be asking yourselves what the heck this has to do with elliptical orbits...

Well, everything. Let me explain first some basic relationship between the musical notes, it will be short, I promise. Between Do and Re we encounter a whole note difference where #Do is between the two. Between Re and Mi we also find a complete note difference and a semi-note also called #Re. Here comes the curiosity I want you to pay attentio to: Between Mi and Fa there is only half-note. In every single instrument and based on music theory you can't find or invent #Mi because you are getting Fa instead; which means that at this point (hypothetically speaking of course) we will find a shrinking of "the fabric of music" due to a "curvature of space-time" in the nature of the notes itself.

At this point we have two complete musical notes and one half-note. Now let's see the rest or the next half of the ellipse. From Fa to Sol another complete note being #Fa in the middle, then from Sol to La another complete note with #Sol in the middle of the two and still another one Si with another complete note between La and Si with #La in the middle. After Si we encounter another curvature or anomaly in the nature of music with only one half-note in between Si-Do into the next octave or the new cycle. You could read into the close orbit.

The table below gives you the frequency in Hz for those notes:

Do (262 Hz) Re (294 Hz) Mi (330 Hz) Fa (349 Hz) Sol (392 Hz) La (440 Hz) Si (494 Hz)

If you take a close look at the phenomenom you will see that you have one side of the geometric orbit that is shorter than the other. One has two complete notes and the second half of the orbit is compossed by three complete notes. Isn't it the basics to construct an elliptcial orbit in space?

The second fact I want you to see is the difference in frequency between the notes. Between Do and Mi (two complete sets of notes) we obtain 68 Hz while between Fa and Si (three complete notes) we get 145 Hz.

Not counting the two semi-notes from Mi-Fa and from Si-Do.

The third fact I want you to pay attentio to is the concept of octave in planetary language. It means that when the cycle starts again it does not repeat itself in the same position in space, it has a different frequency or what's the same the beginning of a different scale and the shrinking of the path as it happens in our solar system every 26000 years.

I'd like to hear what the astronomers here have to object with respect to this posting. Do you like to put numbers first to be sure before objecting it?

[HATHORS LAMP 0]

The name given by Keppler to something similar was "The Music of the Spheres" (you could read about it in wikipedia and elsewhere).

As a matter of fact, this latest discovery made by Keppler was considered by himself the most important one of the previous made by this man of science. To add another issue supporting my arguments, Newton was the first to apply 'Perturbation Theory' to describe the moon's orbit around the Earth. If you also search in wikipedia what the basics of this theory is all about you'll find that a mathematical analysis in this case had to rely on the addition of a "minimal exponential" (+1) to achieve the correct solution. (I suggest you get some idea of what Perturbation means before continuing with what I'm about to write.)

Copying from above:

Do (262 Hz) Re (294 Hz) Mi (330 Hz) Fa (349 Hz) Sol (392 Hz) La (440 Hz) Si (494 Hz)

I want you to take a look at what maybe the answer to Keppler's arguments...

If we substracted the value of two consecutive frequencies in this scale, this is what we find:

From Re to Do = 32 Hz, From Mi to Re = 36 so the difference of the two substractions is 4.

Let's leave the half note Mi-Fa for a letest analysis and continue with the whole notes:

From Sol to Fa = 43, from La to Sol = 48, and finally from Si to La = 54. This gives us 5 [4 + 1] from Sol to La and 6 [4 + 2] or [5 + 1] from Si to La.

I'm not an expert in math or astronomy but it looks to me that there is an onvious PERTURBATION that resumes its continuity after passing the half-notes or half-tones -namely Mi-Fa and Si-Do-.

I want to remind you that those frequencies above were taken from the Wikipedia Page and not invented by me and that those frequencies were assigned by convention in other words.... "man-made" not "nature-made".

Even though we strated with Do (the first note of the scale) by the assignment of a non-related-to-nature frequency, as you have had the opportunity to see and doublecheck, we ended up with a perfect example of a positive perturbation.

But what is that shrinking in the "fabric of music" observed by the presence of two half-notes?

Are those two anomalies just an important detail to take into account when playing an instrument or compossing music or perhaps much more than just that?

Check what I found next. Between Fa and Mi there is a difference of 19 Hz. [349 - 330]. and between Do of the next octave 524 (262 x 2) or second harmonic and Si from the first octave we calculate 524 - 494 = 30.

It is a real coincidence that the basic substraction root was 4? is it another coincidence that we had to add (+1) four times to the basic substraction numer [4] to keep the scale right in frequency?

If we deduct 4 from 19 (the substraction of the half-note)is equal to 15 and of course is half of 30 that we found between Si and Do of the second octave.

Those frequencies although being conventionally chosen by musicians, are following a pattern that should be investigated by experts in astronomy and physics, I believe. From Pitagoras to Keppler, from Newton to Thompson, the list is wide and those men vagely "heard" the music we can't today due to the noise of our machines.

[HATHORS LAMP 0]

Have it ever occured to you that applying what we know today about harmony in music we could predict tides without the Doodson numbers?

Perhaps even explain with more accuracy the mutual effect of many bodies orbits while interacting together just by applying music theory combined with astronomy?