Daoist Harmonics. Is there an idiot’s/dummy’s guide out there?

By Phoenix3, 10 hours ago in Daoist Discussion

Yes that is me you are referring to. I have studied this topic for over 20 years. So I will give you my latest summary.
 
First of all realize that using a string for wavelength is not necessary - the Daoists used a pitchpipe or a bell.
 
Secondly realize that the Daoists did not try to line up the octave and Perfect Fifth. In other words it was accepted that 2 (the octave) does not go into 3 (the Perfect Fifth).
 
Thirdly realize that the Perfect Fifth is two different geometries at the same time - so as subharmonic it is 2/3 as C to F, the Perfect Fifth and as overtone harmonic it is C to G as 3/2 Perfect Fifth.
 
So the Perfect Fifth is  yang but in relation to the same fundamental pitch, the subharmonic is doubled back into the same octave as 4/3 which is yin as C to F (overtone) - no longer the undertone.
 
So this means for the Daoists using pitch pipes - if the first fundamental pitch was 9 long (in whatever units they used) then the perfect fifth was 6 long with 2/3 the wavelength so that the frequency was 3/2. That was yang. Then the next note was 4/3 of 6 as the wavelength. So the frequency was yin as 3/4 while the wavelength was 8/6.
 
O.K. this is not the same as Western tuning. I could go into Western tuning but I will instead simply state that Western math is derived from the wrong Western music tuning and so Western music is a deep mass mind control based on the wrong mathematics.
 
Now since the Octave and the Perfect Fifth do not line up - with the Yin pitch is created by 4/3 wavelength of 2/3 of the fundamental pitch - this process actually changes the fundamental pitch since the octave value just got changed to 3 instead of from 1 to 2.
 
So not only did the Daoists not try to line up the octave with the Perfect Fifth but also they realized there is no fundamental pitch! Or as the Tao Te Ching states - the highest note can not be heard.
 
And so when we listen to sound - Westerners are mass mind controlled to think that a medium that is materialistic is required to create the sound - like air or water - and also some kind of physical mechanical tool - like a pipe or string vibrating. But in fact we LISTEN to sound and science has proven our inner ear has hairs that hear at sub-angstrom wavelength which is smaller than the wavelength of light.
 
So for Daoists the sound was actually the basis of alchemy training as the original qi energy. The "Yuan qi" is the undivided yin-yang. In science this has been discovered by Fields Medal math professor Alain Connes who uses music theory as the foundation of his unified quantum relativistic science. What this means is that at each zero point in space, with a geometric dimension of zero, there is still an infinite frequency that is noncommutative geometry. Connes calls it (2, 3, infinity) based on music theory. So just as the Daoists understood this means that sound or music more properly is the foundation of reality as harmonic energy or coherent phase harmonics. So this means that at the same time, at zero point in space, there is a nonlocal protoconsciousness that is energy-information that has a "triple spectral frequency" as Connes calls it - at the same time. So it is frequency 2 (C to F subharmonic as 3/2 wavelength) and frequency 3 (C to G overtone harmonic) with both as the Perfect Fifth. So this is the secret of the Single Perfect Yang as it is called in Daoist alchemy - the Yuan Qi as the undivided yin-yang at the same time - as the 3 that is in two places as "nondualism" or "not-two."
 
So that means when we listen there is an eternal process of time-frequency energy creation that is superluminal - faster than the speed of light - as nonlocal consciousness-energy. So at zero time and zero space there is infinite frequency but since it is noncommutative phase it is also infinite time and zero frequency. Or more precisely we can say that zero does not exist but frequency and time resonate as complementary opposites that are undivided and harmonic at the same time.
 
Since Western science measures time visually then this is not possible because this creates the "measurement problem" of quantum physics. This means we need the speed of light to limit our measurement as an external linear operator with time as a "zero point" of space as a "center of mass" with a circle using radians from the Solar Calendar.
 
But in Daoist alchemy instead the fundamental pitch was NOT the Solar calendar but rather it was the Lunar energy. So the number 9 was the fundamental pitch but since it was a pitch pipe it was also based on diameter of the pipe also a 9 to create 81 which was the number of lunar months to line up with 19 solar years - as their approximated unified cycle. The difference between the Solar and Lunar calendar when converted to days as their denominator is then approximately the SAME difference as between the octave and the Perfect Fifth in music harmonics.
 
And so then the Chinese created a 12 note music scale, just as in the West, but again the math was different and so the "small universe" meditation as Daoist alchemy also has 12 harmonic nodes that are precisely based on the music energy with each node as the yang and yin energy resonating - alternating from reverse frequency and time.
 
For example if we do throat singing it is proven that this is from meditation to listening to the highest sound that we can hear externally and this resonates the brain as a whole as ultrasound, by activating the vagus nerve. The vagus nerve activation in turn relaxes the throat but also creates a subharmonic in the ELF frequency as the OM of the quantum nonlocal protoconsciousness. The OM is actually from the vagus nerve going to the right side of the heart - and the ELF subharmonic is actually the reverse time phase wave or electron-proton magnetic moment spin that is nonlocal consciousness being resonated. So the qigong masters can hear this OM sound as the sound that the protoconsciousness of the Universe makes as it converts the electrochemical energy or jing into shen, the spirit energy, via the nonlocal yuan qi.
 
So in Daoist alchemy it is known then that the sound of the voice is the jing energy.
 
So I have documented the above summary with references but to understand the above summary you have to piece together different references as clues that connect a larger puzzle. In other words no one else has done this research and so it required combining various levels of science and Daoist alchemy research.
 
So first of all in 1996 I discovered the book Biosonics by Dr. JOhn Beaulieu. This is after I had experienced qigong master Effie P. Chow in 1995. So I knew that qi was real and very powerful. Dr. John Beaulieu then confirmed my suspicions when he said the Perfect Fifth is yang and the Perfect Fourth is yin and the Octave is the Emptiness. I have corresponded with Dr. Beaulieu since then.
 
Then for my master's thesis in 2000 I cite other sources confirming this. There are 2 different versions of my master's thesis online since I continued my research on the subject. It looks like the 2nd version that has more of the citations is maybe just not available as reocities website is not loading.
 

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The Chinese concept of music as radically different than the West: “This is not simply a case of assigning pitchpipes to the 24 nodes as a system of correspondence; rather the qi [energy] of the nodes themselves were believed to resonate these tones. With the arrival of each seasonal node, in other words, the appropriate pitchpipe was supposed to spontaneously emit its note.” John S. Major, “Celestial Cycles and Mathematical Harmonies in the Huainanzi,” Extreme-Orient, Extreme-Occident, 1994. See also Erica Brindley, Music, Cosmology and the Politics of Harmony in Early China, (SUNY Press, 2012). 

So the 2nd note as 6 of 9 was from 90 feet long with a circumference of 9 as 81 - the number of Lunar Months as the 1st note as Heaven. 6 was 2 as Earth x 15 (the solar month as 24 solar months in a year) which gives 12 months (or 12 harmonic notes) with Earth as the value of 2 solar months!! So 30 is the value of Earth and take 2 to get 60 as the length x 6 of the diameter to get 360 as the solar year!

Wow - so we just revealed the secret of how the Dragon of the Sun turns the Earth into Fire as alchemy based on the measurements of the pitch pan pipes!!
Which means a Tong was actually 6.75 years (81 months) x 19 years not 1,539 YEARS but rather 128.5 which is the SAME as the Pythagorean Comma!! So the harmonization of Sun and Moon as the first note is the Pythagorean Comma.
So he [Professor Tito Tonietti] says that, translating the reed pipe tuning - the first pipe is the number 1 but is also the number 81 as the harmony of the Sun and Moon!!
 
Juzhong Zhang, Xinghua Xiao, and Yun Kuen Lee, “The early development of music. An analysis of the Jiahu bone flutes,” Antiquity Journal, July, 2005 documents a  12 tone yin-yang scale in China from the sixth millennium BCE.
 

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As arising from the Diapason or Tai Ch'i of the Wu Chi (the void), sound healer John Bealieau comments, "the fourth and fifth work together as yin and yang...The fifth and the fourth are the basis for the 1-4-5 chordal progressions found throughout music of all cultures." Bealieau, Music and Sound in the Healing Arts, p. 47

And so we need to realize that as we practice the small universe meditation or microcosmic orbit - this is infinite energy resonance as listening process.
 
Let’s quote a Western physicist:

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“To put the same thing in another way, we have just identified the frequency ratio 1.5 with the interval of a [perfect] fifth, although our table gave the value as 1.4983. The difference is only small – 1.13 parts in a thousand – but by the time we have taken the twelve steps needed to pass completely around the clock-face, it has been multiplied twelvefold into the difference of 13.6 parts in a thousand, which represents the aforesaid difference in pitch of almost a quarter of a semitone. When this is allowed for, the true clock-face is that shown in fig. 55; it extends to infinity in both directions and all simplicity has disappeared.” Sir James Jeans book Science and Music, (Dover Publications, 1968), p. 166 (my emphasis). 

Taoist qigong master Michael Winn agrees with me about the secret music origins of inner alchemy paranormal training: 

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“But the fifth is a given of the Chinese pentatonic scale (possibly symbolized by five dots in the center) and is omnipresent in Daoist cosmology as the first female (2) and first male (3) number, as cited previously in verse 42 of the Daodejing.” 

 

and

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Within the Matter-Being Paradigm, f is the resonance frequency that produces the collapse of quantum. Remember, this is the resonance between inaudible (in Base-9) and the audible (in Base-10) sound. And E is the information-mass resonance energy.

 

Wing Y. Pon, TCM biophysicist electrical engineer

The Yellow Emperor, Huang Ti, in 2700 BCE, told Ling Lun to create the “infinite spiral of fifths” music tuning based on the Perfect Fourth music interval as yin and the Perfect Fifth musical interval as yang, according to the 240 BCE book, Lü-shih ch’un-ch’iu (The Spring and Autumn of Lü Pu-Wei). Empirically the frequencies are infinite.  
 

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“Before the idea of frequency existed, however, the same relation was expressed simply in terms of length, the length of a resonating agent multiplied by 2/3 being equivalent to the frequency multiplied by 3/2. The length of a zither string, then, multiplied by 2/3 gives a note which when struck is a perfect fifth higher than its fundamental. This is the first step (or lü) in a process which evolves an unending spiral of notes. The length of the resonating agent which sounds the perfect fifth is then multiplied by 4/3, the resulting note being a fourth below the perfect fifth . . .” Joseph Needham, Science and Civilization in China, Volume 4, Part I, pp. 172–173.

 
Joseph Needham, being a Westerner, did not understand the subtle math secret of the Daoist resonance.

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Therefore the bone flute plays both the five or seven-notes scale of Xia Zhi and six-notes scale of Qing Shang of the ancient Chinese musical system. In the same grave wherethe bone flute was found, sacrificial tortoise shells were unearthed. There are characters carved on the tortoise shells. Some of the recognizable characters are similar to those of the Yin Dynasty (Picture 4). The Jiahu bone flute indicates that musical culture of China began to develop in the late Neolithic Age."

http://www.greenwych.ca/9ooo-1.htm
 
"After 9,000 Years, Oldest Playable Flute Is Heard Again"
 

 
So the small universe meditation is the 12 nodes as the music harmonics as ancient advanced acoustic alchemy.

Professor Tito M.Tonietti 

And Yet 
It Is Heard: Musical, Multilingual and 
Multicultural History 
of the Mathematical Sciences 

 

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"Each of the 12 harmonic notes of the Chinese alchemical music scale are Qi nodes, just as in Kriya yoga, as a month of the Solar Year (the Perfect Single Yang as Perfect Fifth infinite spiral) The Yellow Emperor, Huang Ti, in 2700 BCE, told Ling Lun to create the “infinite spiral of fifths” music tuning based on the Perfect Fourth music interval as yin and the Perfect Fifth musical interval as yang, according to the 240 BCE book, Lü-shih ch’un-ch’iu (The Spring and Autumn of Lü Pu-Wei) Yang pipe became Yin, and by “increasing” the Yin pipe was transformed into Yang. In the first case, the result was a downward generation, and in the second, an upward one. Thus we find a continuous process of generation, with continuous exchanges of qualities between Yang and Yin, making clear the dynamic characteristics of the procedure followed. Each of the 12 lUlU [pipes of Perfect Fifth/Fourth] were assigned a hou [climatic season] chosen among the 24 jieqi [solar terms]. For example, Huangzhong corresponded to Dongzhi [winter solstice]; Linzhong recalled the Dashu [great heat] and so on. Furthermore, the figure indicates, together with the names of the lUlU, the 12 dizhi [earthly branches] in their relative order. Thus the first lUlU corresponds to the first dizhi, that is to say Zi [son] and so on. The dizhi were also used to indicate couples of hours during the day; for example, Zishi [time of the son] indicates the hours from 1 1.00 p.m. to 1.00 a.m., and the other dizhi follow the order of the hours And the same truth is found in India - the spinal cord is consider the "frets" of the music instrument and the body/mind is the musical instrument as a microcosm of the 12 zodiac constellations based on turning the yin energy into yang (Perfect Fifth). 

So for example in the book Foundations of Internal Alchemy: The Taoist Practice of Neidan

 we find, on page 130, Table 6: Sovereign Hexagrams" stating
 

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the twelve "sovereign hexagrams" (biguas) and their relation to other duodenary series: earthly branches, bells and pitch-pipes, months of the year, and "double hours"