Description of the Lambdoma Keyboard
The Lambdoma keyboard has a right and a left duality based upon ratios that are <1 – 1/1 - >1. Ratios that are less than one are on the left side descend. Ratios that are more than 1 are on the right side of the diamond and ascend. When these ratios are multiplied by a frequency representing the musical notations C through C, or Do through Do, eight cycling notes of each scale are heard whether it be C, D, W, F, G, A, B –B or C. Any numerical phenomena may be used as a resonant musical note and placed into an eight-note scale. Therefore all numerical phenomena may be characterized as a musical notation and may be formed into an interdisciplinary data bank limited to eight modalities.
Unique Applications of the Lambdoma Keyboard
The Lambdoma tactile matrix keyboard has the unique ability to generate any keynote through its programming abilities using a Lambdoma_FTS software program with a Vista, XP – ‘Windows’98 computers. It is this generating feature of the Lambdoma Keyboard that allows any numerical frequency to be used as a fundamental audible frequency and enables an interdisciplinary application to the arts, sciences, education and health modalities.
Therapeutic applications of the Lambdoma Keyboard.
Barbara Hero in-group and individual private sessions at conferences across the country and in Europe recorded the many effects from those playing the keyboard. The latest published findings are recorded in “Boston’s IEEE KIMAS’07” CD.
Each row, playing to the right, of the Lambdoma matrix has its ascending arpeggio scale from the tonic to the eighth harmonic and its harmonic scale from the eighth to the 16th harmonic. Each column, playing to the left, has its descending arpeggio scale from the tonic to the eighth sub harmonic and its sub-harmonic scale from the eighth to the 1/16th sub harmonic. Each of the eighth notations are of different frequencies and in different octaves and are in the same matrix so that modulating from the harmonic relationships of key to key maintains the pure energy field of the fundamental chosen frequency. It is this feature that might explain the therapeutic uses of the Lambdoma keyboard.
The Lambdoma Keyboard as a mathematical link between art and music
Barbara Hero designed the Lambdoma Keyboard, “Pythagorean Lambdoma Harmonic Keyboard” PLHK, in the 1990’s after doing research on art, mathematics and music since the 1970’s. Barbara Hero designed the diamond shaped overlays, with color, ratio, and frequency and octave notations.
This research was based on finding a link between visual art and audible music. The link was found to be mathematics of ratios based upon Pythagoras’ “CHI X” matrix and Georg Cantor’s mathematical “array of rational numbers.” The Lambdoma Keyboard’s matrix was programmed first by Robert Miller Foulkrod, in the 1980’s in a software program written in “basic.” David Bellantone became the first person to build the diamond shaped circuit into a wooden housing with the help of Richard Lord. Then in the 1990’s Richard Lord applied the matrix in a diamond form to an electronic printed circuit board within the Lambdoma Keyboard.
Richard Norley using a Java designed a virtual keyboard as an interactive Internet experience. This was lost in cyberspace after being on the web for a few years at www.lambdoma.com in the 1990’s.
In the 1990’s the software was sent to Robert Walker of Fractal Tune Smithy in England who designed an entire software program for the “therapeutic” uses of the Lambdoma Keyboard, including a frame of Lissajous figures. These Lissajous figures have a one-to-one relationship to all the keys that are played at the same time on the Lambdoma Keyboard. A menu frame and a colored diamond keyboard frame are also shown on the monitor. The keyboard frame shows each of the keys pressed in the different colors depending on the keynote chosen.
http://robertinventor.com/software/tunesmithy/fts_lambdoma.htm
Paul Mickevich, collaborating with consultant Richard Lord, became the virtual manufacturer of the metal housing of the Lambdoma Keyboard in single quadrants with 64 digital keys and later a four-quadrant keyboard with 256 digital keys. The latest version is now a midi Lambdoma Keyboard that enables a user to connect the Keyboard with a Midi out to a computer’s USB port through an edirol cable.
Monday, June 23, 2008
Wolfram's Mathematica Lambdoma Demonstrations
wolfram.com/, developers of Mathematica software, have a demonstration pages about Barbara's lambdoma work:
http://demonstrations.wolfram.com/search.html?query=lambdoma&imageField.x=0&imageField.y=0&limit=20
http://demonstrations.wolfram.com/search.html?query=lambdoma&imageField.x=0&imageField.y=0&limit=20
Sunday, June 22, 2008
A Brief History of the Lambdoma
A Brief History of the Lambdoma and the Musical Properties of the Computer Program for the “Lambdoma Harmonic Keyboard”™
Barbara Hero
Volume 16, pp. 104-113
Barbara Hero
Volume 16, pp. 104-113
Saturday, June 21, 2008
Correlate Colours with Shapes and Keynotes
I have just come across some of your web pages, and they look absolutely fascinating. I have recently been looking at Chladni shapes, and I am currently attempting to consolidate my base-level understanding of quantum physics and the potential for transcending perception/reality based on wavelength perception. I have recently been considering the possibility of using sound and/or color as a means to condition the body and mind, so your research is extremely interesting to me. I have some questions you may be able to help with, if you have time?
First of all, perhaps you could let me know which of your books would be the most accessable, given that I don’t have a grounding in high level mathematics or physics.
Secondly, I was hoping you may be able to clarify the mechanism via which you were able to correlate colours with shapes. I understand that both colors and shapes are simply perceptions of wavelengths, however I would be curious what your starting point was. I understand that the Lambdoma system is based on the interrelationships between intervals, however how do you know that you are in the right “key” musically as a starting point? Or perhaps this doesn’t matter with microtones
Thank you for your email. Conditioning the body/mind by sound and color is a wonderful mission.
My easiest book to understand is the "Resonant Harmonic Scale." It is more meta-physical than some of the others.
Correlating colors with shapes depends upon the musical notation chosen as the "keynote", whether it be C red, D orange, E yellow, F green, G blue, A indigo and B violet.
The shapes would be based upon the ratios of the Lissajous figures' wavelengths associated with the "keynote" chosen. My starting point would be the ratio of 1:1 for C as red, for example. The interrelationships between intervals is cyclic and shifts with each color and notation although the ratios determining the wavelengths is the same with all intervals, tonic, fifths, fourths, thirds, sixths, seconds or sevenths. It doesn't matter with which note you decide to start.
First of all, perhaps you could let me know which of your books would be the most accessable, given that I don’t have a grounding in high level mathematics or physics.
Secondly, I was hoping you may be able to clarify the mechanism via which you were able to correlate colours with shapes. I understand that both colors and shapes are simply perceptions of wavelengths, however I would be curious what your starting point was. I understand that the Lambdoma system is based on the interrelationships between intervals, however how do you know that you are in the right “key” musically as a starting point? Or perhaps this doesn’t matter with microtones
Thank you for your email. Conditioning the body/mind by sound and color is a wonderful mission.
My easiest book to understand is the "Resonant Harmonic Scale." It is more meta-physical than some of the others.
Correlating colors with shapes depends upon the musical notation chosen as the "keynote", whether it be C red, D orange, E yellow, F green, G blue, A indigo and B violet.
The shapes would be based upon the ratios of the Lissajous figures' wavelengths associated with the "keynote" chosen. My starting point would be the ratio of 1:1 for C as red, for example. The interrelationships between intervals is cyclic and shifts with each color and notation although the ratios determining the wavelengths is the same with all intervals, tonic, fifths, fourths, thirds, sixths, seconds or sevenths. It doesn't matter with which note you decide to start.
Monday, June 16, 2008
SHORT AUTOBIOGRAPHY Of Barbara Hero
02/14/07
Barbara Ann Ferrell was born on January 3rd, 1925 in Los Angeles, California. Her mother Lucile Evans was the daughter of David Evans, the son of the Mormon Bishop
David Evans. Bishop David Evans was one of the 12 ordained by Joseph Smith on their way to Salt lake City, Utah. Barbara was named after her great Grandmother Barbara Ann Ewell from Jamestown, Virginia. Barbara Ann Ewell and her sister left their home in Virginia and traveled with the Mormon group from Virginia to Utah. Barbara Ann Ewell’s sister died on the trip having given birth to a daughter whom Barbara Ann Ewell raised. Barbara Ann Ewell married David Evans on their pioneering trip to Utah with other devotees of Joseph Smith the founder of the Mormon faith. Joseph Smith was a visionary, and a mystic passionate about the revelations given to him by an assumed angel.
Barbara Ann Ferrell’s father, Paul Clendenin (Calvin) Ferrell was a descendent of Jonathan Edwards, the colorful “hell fire and damnation” preacher in New England at that time. Paul had a brother (George) and a sister (Erna). The two brothers were in Europe in World War 2, where George was gassed but survived. Erna was a metaphysician who channeled a book called “The Subconscious Speaks” that became a bible to the lesser Hollywood community of actors. Paul was the editor of her book, and only gave hints in the introduction about Erna’s method of channeling.
Barbara’s mother Lucile Evans (Ferrell) was a suffragette who marched in the streets of Washington when she was a teenager while attending “National Park Seminary,” a Junior College near Washington D.C. She also was a poet, a singer and a player of the zither when she joined Margaret Anglin’s Greek Play dramas. She stayed with the troupe in New York and Canada, until her father sent her a one-way ticket to come home to Oxford Drive in Los Angeles. Paul Ferrell was a neighbor on Oxford Avenue and paid a social call on her leaving his card. They next met on a streetcar in LA and the romance began.
Barbara’s last time with her father was when she was just a few months old and road with him in his Ford convertible on a wild ride on a roller coaster designed for cars. Barbara’s mother was so furious with Paul, who had been drinking, when he returned with Barbara that she threw him out of their apartment. Barbara never spent any time alone with her father after that incident.
Uneventful times passed until Barbara was three years old and was given lessons on the piano by the mother of an architect, Bill jenny, who had met Lucile at an art class. Bill Jenny was a student at Yale and also a composer and musician. Barbara, as she was going to sleep, used to hear he and his friends often playing classical music on the Knabe Piano downstairs in the living room of her mother and grandmother’s house in Beverly Hills, California.
Barbara’s grandmother had been raised a Mormon from Lehi, Utah. She taught school in a little schoolhouse there. She married David Evans when she was 19 years old and he was already an attorney and in his thirties. He became prosecuting attorney of the US Government vs. the multiple wives issue in Salt Lake City. After winning that case he moved to Venice California where he and two other gentlemen built Venice as a replica of the Venice in Italy. He also became one of the founding fathers of Los Angeles. He died the year before Barbara was born. The year before he had taken a trip around the world alone as his wife Leah May Neagle refused to go with him.
The 1930’s depression hit Barbara’s mother to such an extent that she was forced to rent her house in Beverly Hills, to such as the writer Dorothy Parker and Allen Campbell, the opera singer, Risa Stevens, who played with Nelson Eddy in one of his musicals. Barbara’s grandmother had to live in a small apartment in Beverly Hills, while Lucile and Bill Jenny went to live in New haven, Connecticut.
At the same time, when she was eight years old Barbara was sent to Flintridge Academy, a Sacred Heart girl’s convent school where she spent the fall and the spring as the youngest and non-catholic girl there. Those were difficult times for Barbara, being the youngest and non-Catholic, being teased by the older girls, yet nurtured by the nuns.
Barbara’s survival method was to be sick and be in the infirmary with tonsillitis most of the time. She remembers being fed corn flakes for breakfast, lunch and dinner. Her Aunt, Irma, and Uncle, John sister and brother in Law of Lucile came to see her once during that time. Barbara spent Christmas with BaBa, her grandmother, in her little apartment.
After her mother came back, Barbara could never trust her nor reveal her self to her until her mother was in her nineties. Lucile had found her mission as a visual artist, which allowed Barbara to lead her own life with her own friends, which were few, but they had fun times dressing up pretending to be adults, wearing high heel shoes and their mother’s clothes and lipstick.
Barbara was pulled out of schools often as Lucile wanted to go to the East Coast and leave California. At 12 years old, one more Catholic boarding school, in Alexandria, Virginia, was the result, for a year as both a boarder and a day student, depending on when Barbara’s mother would be away for a weekend.
The good thing was that Barbara was able to continue her music lessons, in Alexandria, at one of her friend’s mother’s house next door. The unfortunate thing was that when Barbara was playing a Mozart Sonata at a School recital, she had a case of stage fright that led her to leap off of the piano stool and run to the bathroom where she stayed for hours sobbing. She never touched the piano again until she was 35 years old, and married with children.
Barbara and her mother returned to California after a year in Virginia. Barbara went to the Beverly Hills High School for one week. She told her mother that she couldn’t stand it, so her mother applied to her own girls High School, Westlake School for Girls, and Barbara was given a scholarship to go there for 4 years. When she was a senior Barbara had a poem of hers published in a National Journal and it was announced in the assembly one morning. That and the fact that she had been taken to Earl Carroll’s Nightclub by a blind date that she had met at a school dance earlier, made her more popular than she had ever been.
Her favorite subjects were mathematics and Latin. After high school she enrolled in UCLA for a semester, studying Spanish, Astronomy and Latin. She applied to Bennington College and was accepted in the middle of the term. She left California to go to Vermont, while her mother left California to go to New York City where she painted and exhibited her painting. Lucile had a whole page in the Arts section of the New York Times with an illustration of her painting of two people chained at the feet floating above the City. The caption of the article was, “Don‘t do it!”
While her mother was in NYC, Barbara was a student at Bennington College for two years, where she studied dance with Martha Graham, architecture with Richard Neutra and art, all her favorite subjects. After Bennington, Barbara studied at George Washington University receiving her BA degree in Commercial Art, while at the same time painting and exhibiting in a two-woman show, “Contemporary American Artists Series” at the Corcoran Gallery of Art in 1950.
Lucile did not stay in New York. She went to Washington, D.C. to an apartment right in the City. She found a job as an art teacher at a girl’s school, and became part of the Washington Artists group teaching with many of the artists who later became famous in NYC.
Barbara went on to pursue a Master’s of Education Degree at GWU and as a result taught art at a girls school, “Marjorie Webster’s Junior College” where she taught until she married Alfred Olivier Hero in 1954. Barbara was also a secretary to a Washington Architect, Samuel Goodman while painting whenever she could find time. She also was a clerk at “Garfinkle’s Department Store in the heart of Washington D. C., where she sold hats, suits, and ran a Paris Boutique.
Barbara was married for 17 years, having had 12 pregnancies, and delivering four children in 10 years, two boys, Alfred and David and two girls Barbara Ann and Michelle. During that time Barbara had a studio on the 3rd floor of their home in Cambridge where she painted each morning and brought each of the four toddlers to the studio in the morning while the older children were at school.
Circumstances necessitated a break in the marriage, for the benefit of husband, wife and children. For 10 years Barbara went through another “dark night of the soul.” There was light at the “end of the tunnel.” It was a time of “soul searching,” painting, reading, contemplating, living like a hermit, but always available to sit with the children or stay with them while Alfred went on his many official duties to Washington and elsewhere.
Those ten years were like a recap of the years spent in the Convent schools, where survival was the main recourse. The neighborhood where Barbara lived in the South End of Boston was poor and dangerous, not at all like the safe harbor that she left in Cambridge.
From now on the personal pronoun “I” is used, as a shift in objective versus subjective has occurred.
_______________________________________________________________________
Nonetheless, it is the difficulties that we face that make us grow stronger and more aware of life. It was in those days that I drew, exhibited, and taught art therapy workshops at the drug rehab known as the “Third Nail” in Roxbury, Boston, another drug rehab and a men’s prison in Bridgewater, Mass, I also went on get my Masters degree in Mathematics Education at Boston University, where I was determined to learn more about mathematics, as I had found that mathematics was the link between my art and music. I studied computer science the last year of my Master’s degree and was able with the help of Professor Esch to develop an algorithm for generating frequencies and ratios.
It was in those ten years that I found the meaning to my life, my mission, and the rediscovery of the Lambdoma Matrix of mathematical ratios that applied directly to music theory. It was all linked to Pythagorean ratios in music and color-coding of musical notations.
Later, I applied to MIT for a course in Synthesized Sound where I was able to generate the Lambdoma matrix in audible sound. It was in that same year that I met Robert Foulkrod, a retired engineer, a computer programmer and career councilor supreme.
His mission is to awaken humanity to the realization that we are Gods. His positivism has pulled me out of negative thinking, and our connection has resulted in untold benefits for us both in many directions and harmonious ways of living.
So this is where I am today, so blessed that my “cup runneth over,” again and again. I have become interested in the working of Government, and have been voted in to State Committees, Platforms, and Rules Committees of my political party. I ran for office of selectman in my town of Wells of 10,000, and was not elected, but learned so much from the experience. I have founded my own small business from which I receive several requests each year. I have invented with Robert’s and others help the Pythagorean Lambdoma Keyboard, which seems to help others find their true selves. I am invited to give workshops in the U.S. England, Scotland, Italy, Spain, Bulgaria, Lithuania and Canada, I have a small following of Lambdoma aficionados in many places in the world.
More opportunities are opening up for helping others all the time. Times of meditation and silence are relished. Life is good even when it is a challenge.
Barbara Ann Ferrell was born on January 3rd, 1925 in Los Angeles, California. Her mother Lucile Evans was the daughter of David Evans, the son of the Mormon Bishop
David Evans. Bishop David Evans was one of the 12 ordained by Joseph Smith on their way to Salt lake City, Utah. Barbara was named after her great Grandmother Barbara Ann Ewell from Jamestown, Virginia. Barbara Ann Ewell and her sister left their home in Virginia and traveled with the Mormon group from Virginia to Utah. Barbara Ann Ewell’s sister died on the trip having given birth to a daughter whom Barbara Ann Ewell raised. Barbara Ann Ewell married David Evans on their pioneering trip to Utah with other devotees of Joseph Smith the founder of the Mormon faith. Joseph Smith was a visionary, and a mystic passionate about the revelations given to him by an assumed angel.
Barbara Ann Ferrell’s father, Paul Clendenin (Calvin) Ferrell was a descendent of Jonathan Edwards, the colorful “hell fire and damnation” preacher in New England at that time. Paul had a brother (George) and a sister (Erna). The two brothers were in Europe in World War 2, where George was gassed but survived. Erna was a metaphysician who channeled a book called “The Subconscious Speaks” that became a bible to the lesser Hollywood community of actors. Paul was the editor of her book, and only gave hints in the introduction about Erna’s method of channeling.
Barbara’s mother Lucile Evans (Ferrell) was a suffragette who marched in the streets of Washington when she was a teenager while attending “National Park Seminary,” a Junior College near Washington D.C. She also was a poet, a singer and a player of the zither when she joined Margaret Anglin’s Greek Play dramas. She stayed with the troupe in New York and Canada, until her father sent her a one-way ticket to come home to Oxford Drive in Los Angeles. Paul Ferrell was a neighbor on Oxford Avenue and paid a social call on her leaving his card. They next met on a streetcar in LA and the romance began.
Barbara’s last time with her father was when she was just a few months old and road with him in his Ford convertible on a wild ride on a roller coaster designed for cars. Barbara’s mother was so furious with Paul, who had been drinking, when he returned with Barbara that she threw him out of their apartment. Barbara never spent any time alone with her father after that incident.
Uneventful times passed until Barbara was three years old and was given lessons on the piano by the mother of an architect, Bill jenny, who had met Lucile at an art class. Bill Jenny was a student at Yale and also a composer and musician. Barbara, as she was going to sleep, used to hear he and his friends often playing classical music on the Knabe Piano downstairs in the living room of her mother and grandmother’s house in Beverly Hills, California.
Barbara’s grandmother had been raised a Mormon from Lehi, Utah. She taught school in a little schoolhouse there. She married David Evans when she was 19 years old and he was already an attorney and in his thirties. He became prosecuting attorney of the US Government vs. the multiple wives issue in Salt Lake City. After winning that case he moved to Venice California where he and two other gentlemen built Venice as a replica of the Venice in Italy. He also became one of the founding fathers of Los Angeles. He died the year before Barbara was born. The year before he had taken a trip around the world alone as his wife Leah May Neagle refused to go with him.
The 1930’s depression hit Barbara’s mother to such an extent that she was forced to rent her house in Beverly Hills, to such as the writer Dorothy Parker and Allen Campbell, the opera singer, Risa Stevens, who played with Nelson Eddy in one of his musicals. Barbara’s grandmother had to live in a small apartment in Beverly Hills, while Lucile and Bill Jenny went to live in New haven, Connecticut.
At the same time, when she was eight years old Barbara was sent to Flintridge Academy, a Sacred Heart girl’s convent school where she spent the fall and the spring as the youngest and non-catholic girl there. Those were difficult times for Barbara, being the youngest and non-Catholic, being teased by the older girls, yet nurtured by the nuns.
Barbara’s survival method was to be sick and be in the infirmary with tonsillitis most of the time. She remembers being fed corn flakes for breakfast, lunch and dinner. Her Aunt, Irma, and Uncle, John sister and brother in Law of Lucile came to see her once during that time. Barbara spent Christmas with BaBa, her grandmother, in her little apartment.
After her mother came back, Barbara could never trust her nor reveal her self to her until her mother was in her nineties. Lucile had found her mission as a visual artist, which allowed Barbara to lead her own life with her own friends, which were few, but they had fun times dressing up pretending to be adults, wearing high heel shoes and their mother’s clothes and lipstick.
Barbara was pulled out of schools often as Lucile wanted to go to the East Coast and leave California. At 12 years old, one more Catholic boarding school, in Alexandria, Virginia, was the result, for a year as both a boarder and a day student, depending on when Barbara’s mother would be away for a weekend.
The good thing was that Barbara was able to continue her music lessons, in Alexandria, at one of her friend’s mother’s house next door. The unfortunate thing was that when Barbara was playing a Mozart Sonata at a School recital, she had a case of stage fright that led her to leap off of the piano stool and run to the bathroom where she stayed for hours sobbing. She never touched the piano again until she was 35 years old, and married with children.
Barbara and her mother returned to California after a year in Virginia. Barbara went to the Beverly Hills High School for one week. She told her mother that she couldn’t stand it, so her mother applied to her own girls High School, Westlake School for Girls, and Barbara was given a scholarship to go there for 4 years. When she was a senior Barbara had a poem of hers published in a National Journal and it was announced in the assembly one morning. That and the fact that she had been taken to Earl Carroll’s Nightclub by a blind date that she had met at a school dance earlier, made her more popular than she had ever been.
Her favorite subjects were mathematics and Latin. After high school she enrolled in UCLA for a semester, studying Spanish, Astronomy and Latin. She applied to Bennington College and was accepted in the middle of the term. She left California to go to Vermont, while her mother left California to go to New York City where she painted and exhibited her painting. Lucile had a whole page in the Arts section of the New York Times with an illustration of her painting of two people chained at the feet floating above the City. The caption of the article was, “Don‘t do it!”
While her mother was in NYC, Barbara was a student at Bennington College for two years, where she studied dance with Martha Graham, architecture with Richard Neutra and art, all her favorite subjects. After Bennington, Barbara studied at George Washington University receiving her BA degree in Commercial Art, while at the same time painting and exhibiting in a two-woman show, “Contemporary American Artists Series” at the Corcoran Gallery of Art in 1950.
Lucile did not stay in New York. She went to Washington, D.C. to an apartment right in the City. She found a job as an art teacher at a girl’s school, and became part of the Washington Artists group teaching with many of the artists who later became famous in NYC.
Barbara went on to pursue a Master’s of Education Degree at GWU and as a result taught art at a girls school, “Marjorie Webster’s Junior College” where she taught until she married Alfred Olivier Hero in 1954. Barbara was also a secretary to a Washington Architect, Samuel Goodman while painting whenever she could find time. She also was a clerk at “Garfinkle’s Department Store in the heart of Washington D. C., where she sold hats, suits, and ran a Paris Boutique.
Barbara was married for 17 years, having had 12 pregnancies, and delivering four children in 10 years, two boys, Alfred and David and two girls Barbara Ann and Michelle. During that time Barbara had a studio on the 3rd floor of their home in Cambridge where she painted each morning and brought each of the four toddlers to the studio in the morning while the older children were at school.
Circumstances necessitated a break in the marriage, for the benefit of husband, wife and children. For 10 years Barbara went through another “dark night of the soul.” There was light at the “end of the tunnel.” It was a time of “soul searching,” painting, reading, contemplating, living like a hermit, but always available to sit with the children or stay with them while Alfred went on his many official duties to Washington and elsewhere.
Those ten years were like a recap of the years spent in the Convent schools, where survival was the main recourse. The neighborhood where Barbara lived in the South End of Boston was poor and dangerous, not at all like the safe harbor that she left in Cambridge.
From now on the personal pronoun “I” is used, as a shift in objective versus subjective has occurred.
_______________________________________________________________________
Nonetheless, it is the difficulties that we face that make us grow stronger and more aware of life. It was in those days that I drew, exhibited, and taught art therapy workshops at the drug rehab known as the “Third Nail” in Roxbury, Boston, another drug rehab and a men’s prison in Bridgewater, Mass, I also went on get my Masters degree in Mathematics Education at Boston University, where I was determined to learn more about mathematics, as I had found that mathematics was the link between my art and music. I studied computer science the last year of my Master’s degree and was able with the help of Professor Esch to develop an algorithm for generating frequencies and ratios.
It was in those ten years that I found the meaning to my life, my mission, and the rediscovery of the Lambdoma Matrix of mathematical ratios that applied directly to music theory. It was all linked to Pythagorean ratios in music and color-coding of musical notations.
Later, I applied to MIT for a course in Synthesized Sound where I was able to generate the Lambdoma matrix in audible sound. It was in that same year that I met Robert Foulkrod, a retired engineer, a computer programmer and career councilor supreme.
His mission is to awaken humanity to the realization that we are Gods. His positivism has pulled me out of negative thinking, and our connection has resulted in untold benefits for us both in many directions and harmonious ways of living.
So this is where I am today, so blessed that my “cup runneth over,” again and again. I have become interested in the working of Government, and have been voted in to State Committees, Platforms, and Rules Committees of my political party. I ran for office of selectman in my town of Wells of 10,000, and was not elected, but learned so much from the experience. I have founded my own small business from which I receive several requests each year. I have invented with Robert’s and others help the Pythagorean Lambdoma Keyboard, which seems to help others find their true selves. I am invited to give workshops in the U.S. England, Scotland, Italy, Spain, Bulgaria, Lithuania and Canada, I have a small following of Lambdoma aficionados in many places in the world.
More opportunities are opening up for helping others all the time. Times of meditation and silence are relished. Life is good even when it is a challenge.
Sunday, June 15, 2008
What benefits do you receive from the Lambdoma Keyboard?
Dear Lambdoma musicians and researchers,
I would be very grateful if you would reply to this post, (click on COMMENTS, below) with the benefits you receive from playing the Lambdoma keyboard.
Thank you!
-Barbara
I would be very grateful if you would reply to this post, (click on COMMENTS, below) with the benefits you receive from playing the Lambdoma keyboard.
Thank you!
-Barbara
Thursday, June 12, 2008
Harmonic Analysis and Tone Systems.
Barbara's work has appeared in:
TATRA MOUNTAINS Mathematical Publications
Volume 23:
Harmonic Analysis and Tone Systems. Editors: J. Haluška, 2001.
http://tatra.mat.savba.sk/
TATRA MOUNTAINS Mathematical Publications
Volume 23:
Harmonic Analysis and Tone Systems. Editors: J. Haluška, 2001.
http://tatra.mat.savba.sk/
Tuesday, June 10, 2008
not western scale; works on a Mac
I am not interested in working with the Western scale. I am interested in completely re-programming the keyboard to another tuning. Can you confirm to me its parameters, i.e. how low and how high it can go?
So what you are saying is if I partition my hard drive and run Windows XP on one partition on my Mac, it will
work on a Macintosh?
The Lambdoma Keyboard is in the form of an 8 by 8 grid in a single quadrant model. It is diamond shaped and has 64 keys in each one of the four quadrants. I use the term matrix instead of grid. The entire keyboard is made up of 256 keys. The keys are based upon ratios alone. When you enter a frequency in the 1/1 position it creates a field of harmonic frequencies all attuned to its keynote that you chose.
The Lambdoma Keyboard is not a tuned to a Western scale. The Keyboard may go as low as 16Hz and as high as 20,000Hz.
What retuning do you wish to have? The Lambdoma Keyboard is tuned to something like a Saraswati scale or harmonic minor. You can put any frequency into the generating 1/1. So it has infinite possibilities.
Go to Fractal Tune Smithy on the internet and find FTS_lambdoma and you will be able to play and hear the harmonics. That is the software that I use for the Lambdoma Keyboard. That way you will be able to hear the quality of the sounds.
If you partition your hard drive to Windows '98.ME or XP that program will work on your Mac. I have not been able to have my Keyboard run yet on my MacPro, but you will at least be able to work interactively with the software FTS program.
So what you are saying is if I partition my hard drive and run Windows XP on one partition on my Mac, it will
work on a Macintosh?
The Lambdoma Keyboard is in the form of an 8 by 8 grid in a single quadrant model. It is diamond shaped and has 64 keys in each one of the four quadrants. I use the term matrix instead of grid. The entire keyboard is made up of 256 keys. The keys are based upon ratios alone. When you enter a frequency in the 1/1 position it creates a field of harmonic frequencies all attuned to its keynote that you chose.
The Lambdoma Keyboard is not a tuned to a Western scale. The Keyboard may go as low as 16Hz and as high as 20,000Hz.
What retuning do you wish to have? The Lambdoma Keyboard is tuned to something like a Saraswati scale or harmonic minor. You can put any frequency into the generating 1/1. So it has infinite possibilities.
Go to Fractal Tune Smithy on the internet and find FTS_lambdoma and you will be able to play and hear the harmonics. That is the software that I use for the Lambdoma Keyboard. That way you will be able to hear the quality of the sounds.
If you partition your hard drive to Windows '98.ME or XP that program will work on your Mac. I have not been able to have my Keyboard run yet on my MacPro, but you will at least be able to work interactively with the software FTS program.
difference between just intonation and the Lambdoma
I have done some more research and now understand the difference between
Just Intonation and Pythagoras tuning. My next question was whether there is a difference between Just Intonation and the Lambdoma tuning.
I notice you link to the Just Intonation Network on your links page, and am very curious what the relationship is between the two systems, or if they are even different from one another.
I was also curious if you know much about the Chinese Kung fundamental frequency, 344.12 Hz, and the Indian Om fundamental, 136.10221 Hz, and how they might fit into the picture. I remember you mentioning that one can
pick any fundamental frequency they wish to employ the Lambdoma matrix of relationships. Finally, I find it interesting how they had changed the standard concert pitch from 435 Hz to 440 Hz in 1939, apparently the old concert pitch brought other pitches much close to the ones I describe than they are now.
At any rate, I am looking forward to gathering the information needed to generate either one ideal scale with my synthesizers, to begin to apply to new compositions, or a set of scales I can compare against one another.
I would be greatly indebted if you could explain or refer me to the most pertinent information I would need to be able to dive directly into the musical creation I want to do - is there one particular tuning system that would be most ideal, bypassing my need otherwise to compare several scales against one another?
I have speculated that it would be the Lambdoma system using Kung as the fundamental, and if my theory were to prove correct, the Om frequency would correspondingly be a part of the subharmonic system using Kung as the reference.
Thank you for your continuing support to get me set up with an appropriate scale system to compose with, I am looking forward to abandoning the modern tempered scale system, if only the one that references 440Hz, since I theorize that the 435Hz equal temperament could be still of value.
My greatest theory at the moment concerning this particular topic is that the 440Hz system was implemented to further separate the majority of the public from beneficial audio frequencies as much as possible. It unfortunately takes on the appearance of a conspiracy theory, but at least in this case, it is something we can actually do something about - if not
with most traditional acoustic instruments, then at least with programmable electronic instruments - which is what I will willingly limit myself to, if I arrive at the conclusion that this is the only portion of the acoustic palette with which I might compose music that would be more than of just superficial interest to potential listeners.
This was all along my greatest ambition - to unlock the forgotten powers of music and invest them into a reawakening of the population, if possible.
The difference between just intonation and the Lambdoma seems to be that some just intonationists' extend the octave.
The lambdoma is a matrix and it includes all 8 intervals into the matrix. You set the generating frequency at 344.12 or 136.10220 or whatever you want and the entire matrix of 256 entries is transformed into harmonic and subharmonic scales all relative to your generating harmonic.
I don't think that there is an ideal scale or ideal frequencies. It is my experience that each person has their own frequency vibration. That is why in my private sessions I let each person find their own keynote from the matrix that is set at 256Hz. That becomes the control for all of my data for over 300 individuals.
I don't see how I can help you unless you worked directly with a Lambdoma keyboard, as you are dealing with 256 different harmonic intervals with every keynote you picked.
Hope that I have been of some help to you.
Just Intonation and Pythagoras tuning. My next question was whether there is a difference between Just Intonation and the Lambdoma tuning.
I notice you link to the Just Intonation Network on your links page, and am very curious what the relationship is between the two systems, or if they are even different from one another.
I was also curious if you know much about the Chinese Kung fundamental frequency, 344.12 Hz, and the Indian Om fundamental, 136.10221 Hz, and how they might fit into the picture. I remember you mentioning that one can
pick any fundamental frequency they wish to employ the Lambdoma matrix of relationships. Finally, I find it interesting how they had changed the standard concert pitch from 435 Hz to 440 Hz in 1939, apparently the old concert pitch brought other pitches much close to the ones I describe than they are now.
At any rate, I am looking forward to gathering the information needed to generate either one ideal scale with my synthesizers, to begin to apply to new compositions, or a set of scales I can compare against one another.
I would be greatly indebted if you could explain or refer me to the most pertinent information I would need to be able to dive directly into the musical creation I want to do - is there one particular tuning system that would be most ideal, bypassing my need otherwise to compare several scales against one another?
I have speculated that it would be the Lambdoma system using Kung as the fundamental, and if my theory were to prove correct, the Om frequency would correspondingly be a part of the subharmonic system using Kung as the reference.
Thank you for your continuing support to get me set up with an appropriate scale system to compose with, I am looking forward to abandoning the modern tempered scale system, if only the one that references 440Hz, since I theorize that the 435Hz equal temperament could be still of value.
My greatest theory at the moment concerning this particular topic is that the 440Hz system was implemented to further separate the majority of the public from beneficial audio frequencies as much as possible. It unfortunately takes on the appearance of a conspiracy theory, but at least in this case, it is something we can actually do something about - if not
with most traditional acoustic instruments, then at least with programmable electronic instruments - which is what I will willingly limit myself to, if I arrive at the conclusion that this is the only portion of the acoustic palette with which I might compose music that would be more than of just superficial interest to potential listeners.
This was all along my greatest ambition - to unlock the forgotten powers of music and invest them into a reawakening of the population, if possible.
The difference between just intonation and the Lambdoma seems to be that some just intonationists' extend the octave.
The lambdoma is a matrix and it includes all 8 intervals into the matrix. You set the generating frequency at 344.12 or 136.10220 or whatever you want and the entire matrix of 256 entries is transformed into harmonic and subharmonic scales all relative to your generating harmonic.
I don't think that there is an ideal scale or ideal frequencies. It is my experience that each person has their own frequency vibration. That is why in my private sessions I let each person find their own keynote from the matrix that is set at 256Hz. That becomes the control for all of my data for over 300 individuals.
I don't see how I can help you unless you worked directly with a Lambdoma keyboard, as you are dealing with 256 different harmonic intervals with every keynote you picked.
Hope that I have been of some help to you.
Robert Walker's Fractal Tune Smithy
I was curious if there is any way I could hear what the lambdoma
instrument sounds like. I am increasingly interested in finding a way to
purchase one.
I understand how to program the matrix onto a synthesizer, but I just need
to find ways to tune each note individually, and have the whole scale
system be transposable to fundamental of any frequency reasonably in the
midrange of the sonic spectrum.
I was playing with the fractal tune smithy auto-arpeggiator and really
liked the just intonation. I am surprised the lambdoma scale is not
programmed into it! (or i just haven't figured out how to generate it yet)
I am really excited about getting into this! It seems to be part of the
answer to a several year long quest to find a suitable musical system to
herald the coming age!
Have you tried the FTS_lambdoma that is part of Robert Walker's Fractal Tune Smithy programs.
The difference of the Keyboard from the software is that you can actually play as many keys as you have fingers
on the Lambdoma Keyboard. And you don't need to tune each note individually as when you choose the generating frequency
it automatically changes the entire matrix to the keyboard. It also does this in the software. As a musician I would recommend the full scale keyboard.
instrument sounds like. I am increasingly interested in finding a way to
purchase one.
I understand how to program the matrix onto a synthesizer, but I just need
to find ways to tune each note individually, and have the whole scale
system be transposable to fundamental of any frequency reasonably in the
midrange of the sonic spectrum.
I was playing with the fractal tune smithy auto-arpeggiator and really
liked the just intonation. I am surprised the lambdoma scale is not
programmed into it! (or i just haven't figured out how to generate it yet)
I am really excited about getting into this! It seems to be part of the
answer to a several year long quest to find a suitable musical system to
herald the coming age!
Have you tried the FTS_lambdoma that is part of Robert Walker's Fractal Tune Smithy programs.
The difference of the Keyboard from the software is that you can actually play as many keys as you have fingers
on the Lambdoma Keyboard. And you don't need to tune each note individually as when you choose the generating frequency
it automatically changes the entire matrix to the keyboard. It also does this in the software. As a musician I would recommend the full scale keyboard.
sizes of rooms and frequencies
I am looking for the page/area on your site that describes the sizes of the rooms and the frequencies.
I have them in a spreadsheet, (from ages ago) but when looking at them this time, I noticed that only one dimension of the room is listed. don't the other sides/walls make a difference too - ?
or do these sizes, when coupled together give us harmonic ratios/ and chords?
the room sizes of height, depth and length would be used either as a chord or a melody.
I have them in a spreadsheet, (from ages ago) but when looking at them this time, I noticed that only one dimension of the room is listed. don't the other sides/walls make a difference too - ?
or do these sizes, when coupled together give us harmonic ratios/ and chords?
the room sizes of height, depth and length would be used either as a chord or a melody.
The historical context of the lambdoma matrix and its applications
The historical context of the lambdoma matrix and its applications, by Hero, B.F. & Martinez, E.
available to IEEE members at:
http://ieeexplore.ieee.org/xpl/freeabs_all.jsp?tp=&arnumber=1427116&isnumber=30814
available to IEEE members at:
http://ieeexplore.ieee.org/xpl/freeabs_all.jsp?tp=&arnumber=1427116&isnumber=30814
Rife frequencies
I came upon your web site in my search for finding the hertz frequencies of the human and canine bodies and the individual frequencies of the various body organs, i.e. kidneys, liver, etc. I also am looking for a frequency chart listing the various diseases, such as cancers, heart disease, gall stones, etc. and their respective hertz frequency. Can you shed any light on my search. Or point me in the direction where i can find this information?
Look up Rife frequencies in Google. You might find some answers there.
Look up Rife frequencies in Google. You might find some answers there.
table of elements for minerals
I have come across your web site and was interested what method you have used to associate minerals/vitamins to specific frequencies.
I use the periodic table of elements for minerals. And multiply each by 2 to fit into my reference octave of 256 to 512. The vitamins were done by a graduate student whom I was mentoring.
I use the periodic table of elements for minerals. And multiply each by 2 to fit into my reference octave of 256 to 512. The vitamins were done by a graduate student whom I was mentoring.
chakra energy centers: frequencies
The research on your webpage from the Lambdoma Research Institute
(http://members.aol.com/Lambdom3/Chakras.html) describes the individual
frequencies of the body, and as such is a wealth of rare information, however
for the sake of maintaining a scientific standard I was wondering if you might
be able to explain, at least in part, how you came upon these values in your
research – what sort of equipment or techniques you used. Many of your results
correspond with results I have found elsewhere, however being a relatively new
subject there is a distinct lack of information regarding method. In many
cases research has been carried out by corporate bodies for the purposes of
marketing Bio-Resonance music, and the exact frequencies and techniques are
not available to the public.
While the entire page is fascinating (and I must admit I am now curious to
learn more of the Lambdoma matrix, having studies Pythagorean harmonographics
and ratio harmonics in the past) I am, on this occasion, primarily interested
in the tables “Notes and Frequencies of the Organs of the Body”, “Comparison
of Parts of the Body based on the Speed of Sound Through Each Organ to the
Above” and “Research with Sine Sounds”.
Any explanation that you could provide would be immensely appreciated, and
your work would of course be fully credited whenever cited in the paper. I do
not, at this stage, have access to any form of equipment necessary to attempt
to conduct my own findings, and as the study will therefore be highly
theoretical, I would be grateful for anything that might help to validate the
results.
My work is also mainly theoretical. The chakra energy centers were compiled from mostly an intuituve base by me.
The cube seemed logically to be the base chakra to me; the tetrahedron, the polarity 2nd chakra; the octahedron, the solar plexus; the dodecahedron, the heart; and the icosahedron, the throat. These all relate to the shapes in the periodic table of elements, so there might be connections there. Also if one take the frequencies in a reference octave from 256 to 512, the frequencies of the planets seem to be related to the chakra energies if one draws a human figure and places these planet frequencies where they fit between the chakras. I did do a paper for the iEEE KIMAS'05 where the orbit of the sun around the galaxy was 333Hz and this when placed in a generating frequency of 1:1 on the Lambdoma matrix became
representative of some of Helmholtz musical interval ratios to those frequencies of the planets.
As to the frequencies of the organs of the body. I took the average wavelengths of ultrasound and translated these into frequencies. You can find these from any hospital that is working with ultrasound technology. You just have to realize that wavelength and frequency are in inverse relationship to each other.
When people believe that some tool works, then it does for them. I don't think that science has tried to relate music and metaphysics to the sciences yet. But the curiosity is there. I am sure that you are one of the one's that might bring all this to the attention of the science community.
(http://members.aol.com/Lambdom3/Chakras.html) describes the individual
frequencies of the body, and as such is a wealth of rare information, however
for the sake of maintaining a scientific standard I was wondering if you might
be able to explain, at least in part, how you came upon these values in your
research – what sort of equipment or techniques you used. Many of your results
correspond with results I have found elsewhere, however being a relatively new
subject there is a distinct lack of information regarding method. In many
cases research has been carried out by corporate bodies for the purposes of
marketing Bio-Resonance music, and the exact frequencies and techniques are
not available to the public.
While the entire page is fascinating (and I must admit I am now curious to
learn more of the Lambdoma matrix, having studies Pythagorean harmonographics
and ratio harmonics in the past) I am, on this occasion, primarily interested
in the tables “Notes and Frequencies of the Organs of the Body”, “Comparison
of Parts of the Body based on the Speed of Sound Through Each Organ to the
Above” and “Research with Sine Sounds”.
Any explanation that you could provide would be immensely appreciated, and
your work would of course be fully credited whenever cited in the paper. I do
not, at this stage, have access to any form of equipment necessary to attempt
to conduct my own findings, and as the study will therefore be highly
theoretical, I would be grateful for anything that might help to validate the
results.
My work is also mainly theoretical. The chakra energy centers were compiled from mostly an intuituve base by me.
The cube seemed logically to be the base chakra to me; the tetrahedron, the polarity 2nd chakra; the octahedron, the solar plexus; the dodecahedron, the heart; and the icosahedron, the throat. These all relate to the shapes in the periodic table of elements, so there might be connections there. Also if one take the frequencies in a reference octave from 256 to 512, the frequencies of the planets seem to be related to the chakra energies if one draws a human figure and places these planet frequencies where they fit between the chakras. I did do a paper for the iEEE KIMAS'05 where the orbit of the sun around the galaxy was 333Hz and this when placed in a generating frequency of 1:1 on the Lambdoma matrix became
representative of some of Helmholtz musical interval ratios to those frequencies of the planets.
As to the frequencies of the organs of the body. I took the average wavelengths of ultrasound and translated these into frequencies. You can find these from any hospital that is working with ultrasound technology. You just have to realize that wavelength and frequency are in inverse relationship to each other.
When people believe that some tool works, then it does for them. I don't think that science has tried to relate music and metaphysics to the sciences yet. But the curiosity is there. I am sure that you are one of the one's that might bring all this to the attention of the science community.
frequencies for the 12 essential tissue salts
Firstly thank you for your wonderful sites and information. I have looked at your frequency pages, having used rife frequency treatments for many years and just wanted to ask under the mineral nutrients for bodies chart I wondered if you had frequencies for two other major body nutrients which aren't listed there a) Magnesium and b)sodium. Also the research with sine sounds chart is literally a listing of the acupuncture meridians which is great except for heart - do you have a frequency for the heart? - last question, in your work have you ever found or worked out frequencies for the 12 essential tissue salts, as these work so well with the chakra's and the meridians it would be helpful to know.
Thanks once again-great work.
Magnesium has a frequency of 400 and Sodium has a frequency of 352. The frequency for the heart meridian? I am not sure of this.
I take the mean of the two elements. * note the differences from your list.
I find it very interesting that your frequencies that differ from mine are in inverse relationships of 4ths or 5ths with the exception of 7/ Bb and D#. 4ths and 5ths are very harmonic in music as is Bb and D#.
You could play the frequencies of each at the same time. They would be in a higher octave.
This is all very fascinating.
1/Potassium K19(304) +Cl17(272)= 288 Db
2/K19(304) + S16(256) = 280 B
3/K19(304) + P15(480) = 392* (272=C#; 392=G a diminished 5th!)
4/Na11(352) + CL17(272) = 312* (448=A; 312=Eb close to a 5th! Fibonacci)
5/Na11(352) + S16(256) = 304* (432=Ab; 304=Eb a close to perfect 5th, Fibonacci)
6/Na11(352) + P15(480) = 416 Ab
7/Ca20(320) + F9(288) = 304* (464=Bb; 304=D# inverse relationships!)
8/Ca20(320) + S16(256) = 288 D
9/Ca20(320) + P15(480) = 400* (280=B; 400=G# close to a 4th)
10/Fe26(416) + P15(480) = 448* (328=E; 448=A a 5th Fibonacci)
11/Mg12(384) + P15(480) = 432 Ab
12Si14(448) = 448* (256=C; 448=A an inverse 5th or a 4th)
Thanks once again-great work.
Magnesium has a frequency of 400 and Sodium has a frequency of 352. The frequency for the heart meridian? I am not sure of this.
I take the mean of the two elements. * note the differences from your list.
I find it very interesting that your frequencies that differ from mine are in inverse relationships of 4ths or 5ths with the exception of 7/ Bb and D#. 4ths and 5ths are very harmonic in music as is Bb and D#.
You could play the frequencies of each at the same time. They would be in a higher octave.
This is all very fascinating.
1/Potassium K19(304) +Cl17(272)= 288 Db
2/K19(304) + S16(256) = 280 B
3/K19(304) + P15(480) = 392* (272=C#; 392=G a diminished 5th!)
4/Na11(352) + CL17(272) = 312* (448=A; 312=Eb close to a 5th! Fibonacci)
5/Na11(352) + S16(256) = 304* (432=Ab; 304=Eb a close to perfect 5th, Fibonacci)
6/Na11(352) + P15(480) = 416 Ab
7/Ca20(320) + F9(288) = 304* (464=Bb; 304=D# inverse relationships!)
8/Ca20(320) + S16(256) = 288 D
9/Ca20(320) + P15(480) = 400* (280=B; 400=G# close to a 4th)
10/Fe26(416) + P15(480) = 448* (328=E; 448=A a 5th Fibonacci)
11/Mg12(384) + P15(480) = 432 Ab
12Si14(448) = 448* (256=C; 448=A an inverse 5th or a 4th)
World Geek Alphabet
Possibly you will remember the " Brasseur Universal Code " ( Canada Binary Alphabet ) you noticed your Lambdoma had quite a lot in common with my Script. I am constructing a new site " World Geek Alphabet " As I find Binary Alphabet and computer associated words puts many people off. Geek people like . I have placed your site as a link on mine:
http://webhome.idirect.com/~gemstone/worldgeek.html
http://webhome.idirect.com/~gemstone/worldgeek.html
Pythagorean numbers 1 through 10
I have briefly examined your frequency work and research with some interest.
Your interest in Pythagorean Mathematics brings a question to mind.
Since all things at their core essence are frequency. Does the name of a thing tell you its frequency? Or perhaps knowing its frequency tells you its "true" name?
As you know, Pythagoras's Mystery Schooling formed the basis of his mathematics. Numbers 1 through 9. Have you discerned the core frequencies for the nine numbers?
This is my interpretation of the Pythagorean numbers 1 through 10.
The number 1 is unity (whatever frequency is put in that place); the number 2 is the octave (including 4,8,16 etc.); the number 3 (includes 6, 12 etc) is the 5th note of the scale (whatever the scale is [do,re,me,fa,sol,la,si, do], [c,d,e,f,g,a,b,c]);
the number 5 (includes 10, etc.)is the 3rd note of the scale; the number 7 (includes 14, etc.) is the seventh note of the scale; the number 9 is the second note of the scale.
The frequencies (with 1 as 256 set as C) are as follows:
256(C), 288(D), 320(Eb), 384(G), 416(Ab), 448(Bb), 480(B)
Core frequencies can be any frequency set at it's resonant frequency.
For instance the sun in its orbit around our galaxy can be set at 333Hz.
A person's choice of Keynote (from the Lambdoma scale) is his/her core frequency.
Take a look at my websites for more information. Remember these are only my own theories.
Your interest in Pythagorean Mathematics brings a question to mind.
Since all things at their core essence are frequency. Does the name of a thing tell you its frequency? Or perhaps knowing its frequency tells you its "true" name?
As you know, Pythagoras's Mystery Schooling formed the basis of his mathematics. Numbers 1 through 9. Have you discerned the core frequencies for the nine numbers?
This is my interpretation of the Pythagorean numbers 1 through 10.
The number 1 is unity (whatever frequency is put in that place); the number 2 is the octave (including 4,8,16 etc.); the number 3 (includes 6, 12 etc) is the 5th note of the scale (whatever the scale is [do,re,me,fa,sol,la,si, do], [c,d,e,f,g,a,b,c]);
the number 5 (includes 10, etc.)is the 3rd note of the scale; the number 7 (includes 14, etc.) is the seventh note of the scale; the number 9 is the second note of the scale.
The frequencies (with 1 as 256 set as C) are as follows:
256(C), 288(D), 320(Eb), 384(G), 416(Ab), 448(Bb), 480(B)
Core frequencies can be any frequency set at it's resonant frequency.
For instance the sun in its orbit around our galaxy can be set at 333Hz.
A person's choice of Keynote (from the Lambdoma scale) is his/her core frequency.
Take a look at my websites for more information. Remember these are only my own theories.
difference between older & newer Lambdoma keyboard
The only difference in your older keyboard and this is that this one has a midi/USB cable, instead of the com port 9 pin serial cable. The directions are on the manual.
crop circles might be related to sound
I was absolutely stunned by your articles and the Lambdoma keyboard! I have other "fringe" interests as well - those which would readily encompass fields related to these harmonic discoveries which you have so amazingly uncovered and now put into a workable instrument...
Could you tell me if you've delved into any research regarding crop circles? There must be numerous correlations, I'm sure.
Thank you so much for your email. It is so good to have such responses to my website. I have not delved into crop circles, but Freddy Silva was so impressed with one of my 3-D Lambdoma drawings that he added it to his book on Crop Circles indicating that the crop circles might be related to sound.
Most of my insights come to me in meditation or dreams as I am an intuitive! When I found that the Sounds of the Lambdoma instrument seemed to awaken consciousness in individuals, I have spent the last ten years using the Lambdoma Keyboard therapeutically.
Could you tell me if you've delved into any research regarding crop circles? There must be numerous correlations, I'm sure.
Thank you so much for your email. It is so good to have such responses to my website. I have not delved into crop circles, but Freddy Silva was so impressed with one of my 3-D Lambdoma drawings that he added it to his book on Crop Circles indicating that the crop circles might be related to sound.
Most of my insights come to me in meditation or dreams as I am an intuitive! When I found that the Sounds of the Lambdoma instrument seemed to awaken consciousness in individuals, I have spent the last ten years using the Lambdoma Keyboard therapeutically.
doublings of 2 for octave measurements
barb, i think we are closing in on the key to the universe. in fact
i think you are there but dont realize it yet (by that i mean
practical application)... i dont know if you are familar w\ Gl obal
Scaling Theory by muller...if not i implore you to do some research
on it...this is right on! he basically says that the universe is
logrithmic, harmonic...and our linear measure as a basis is invalid....
with this, please advise me on your interpretation of the following
sentence:
" there exists a Wheel of Generation in which later ratios fill
earlier ones, the wheel being logrithmic where the full circle
represents an octave doubling."... what i actually envisioned was a
wheel with ascending scales on the right side and descending scales
on the left....
I don't know of the Global Scaling Theory but
it sounds interesting. I like the idea of a logrithmic, harmonic
measurement.
I use doublings of 2 for octave measurements and not the logrithmic
scale. The Lambdoma Keyboard has descending scales on the right hand
side and ascending scales on the left hand side. That has always
appeared as a contradiction to me but it is all a part of the mystery
of the Lambdoma matrix. Mine is in a diamond shape rather than a
circle.
I do much therapeutic work with the Lambdoma Keyboard, as I believe
that is its present function. I have developed a simple protocol
which allows a multidimension al statistical analysis that is repeatable.
I just returned from a mathematics conference in Bulgaria with 330
participants from all over the world! I presented a power point of
the Lambdoma history, applications in art and music, and
psychophysical experiments. It was well received. The chairman of
the session said that he could see the Keyboard being applied to
either blind or deaf children to give them another window of expression.
i think you are there but dont realize it yet (by that i mean
practical application)... i dont know if you are familar w\ Gl obal
Scaling Theory by muller...if not i implore you to do some research
on it...this is right on! he basically says that the universe is
logrithmic, harmonic...and our linear measure as a basis is invalid....
with this, please advise me on your interpretation of the following
sentence:
" there exists a Wheel of Generation in which later ratios fill
earlier ones, the wheel being logrithmic where the full circle
represents an octave doubling."... what i actually envisioned was a
wheel with ascending scales on the right side and descending scales
on the left....
I don't know of the Global Scaling Theory but
it sounds interesting. I like the idea of a logrithmic, harmonic
measurement.
I use doublings of 2 for octave measurements and not the logrithmic
scale. The Lambdoma Keyboard has descending scales on the right hand
side and ascending scales on the left hand side. That has always
appeared as a contradiction to me but it is all a part of the mystery
of the Lambdoma matrix. Mine is in a diamond shape rather than a
circle.
I do much therapeutic work with the Lambdoma Keyboard, as I believe
that is its present function. I have developed a simple protocol
which allows a multidimension al statistical analysis that is repeatable.
I just returned from a mathematics conference in Bulgaria with 330
participants from all over the world! I presented a power point of
the Lambdoma history, applications in art and music, and
psychophysical experiments. It was well received. The chairman of
the session said that he could see the Keyboard being applied to
either blind or deaf children to give them another window of expression.
Differential equations
Differential equations are used to be written mathematically the relationship between the velocity and the position of a particle. I'm interested in the case when the position of the particle is perturbed from time to time instantaneously (the duration of the perturbation is negligible small). Recently, I'm interested in the investigations when the time of these perturbations are at random moments. Think about a pendulum that hits an obstacle at random moments. Will it be stable?
I hope I gave you understandable explanations about DEs.
That is a great explanation of differential equations for me.
I use the formula V = f*w
where
V = the speed of sound through air, water, etc.
f = frequency
w = wavelength
I use this formula so that people can measure their rooms in length, width, and height and then find the frequency in Hz or cps and know what musical chords are inherent in their room.
I also used the formula to determine the frequency of different blood cells based upon their dimensions ( I think in was in microns) and the velocity was the speed of sound in salt water. I wrote a paper on this in the 80's.
The "dimension" is what I used rather than the "position" in this relationship of sound and its velocity, frequency and wavelength.
The only way I used time was in calculating the frequency of the planets using seconds, minutes, hours, days and years to determine their frequencies. I then used Helmholtz's table of ratios to see if the planets would confirm some of the ratios in his table and they did correspond! I briefly showed this in my Power Point presentation in Plovdiv that you saw. I also determined the frequencies of light years, isotopes etc. and have translated some of these into both musical notations and colors.
Do you think that I could use differential equations in my work with musical intervals, color, frequencies and ratios?
I hope I gave you understandable explanations about DEs.
That is a great explanation of differential equations for me.
I use the formula V = f*w
where
V = the speed of sound through air, water, etc.
f = frequency
w = wavelength
I use this formula so that people can measure their rooms in length, width, and height and then find the frequency in Hz or cps and know what musical chords are inherent in their room.
I also used the formula to determine the frequency of different blood cells based upon their dimensions ( I think in was in microns) and the velocity was the speed of sound in salt water. I wrote a paper on this in the 80's.
The "dimension" is what I used rather than the "position" in this relationship of sound and its velocity, frequency and wavelength.
The only way I used time was in calculating the frequency of the planets using seconds, minutes, hours, days and years to determine their frequencies. I then used Helmholtz's table of ratios to see if the planets would confirm some of the ratios in his table and they did correspond! I briefly showed this in my Power Point presentation in Plovdiv that you saw. I also determined the frequencies of light years, isotopes etc. and have translated some of these into both musical notations and colors.
Do you think that I could use differential equations in my work with musical intervals, color, frequencies and ratios?
my "aha" experience
I had my "aha" experience after reading the book "Tone a Study in Musical Acoustics" by Levairy and Levi, Kent state University Press> I think it was published in 1961. It is all about the Lambdoma matrix. I had just been reading about Pythagoras in Manley Halls big "tome" and realized that I could color the musical notation with their ratios the colors that Pythagoras chose for notations. From then on all the pieces kept coming together and I found that there were complementary relationships with everything!
I decided to study mathematics in order to find a connection between music and visual art and found that connection to be the mathematical ratios in the Lambdoma table. I went so far as to get a Masters degree in Math education, and then carried it all further by my independent researches in finding the relationships of everything to everything I could think of.
Intuition certainly played a part in this adventure. I felt that I had found my mission in this lifetime. The final stage was the manufacturing of the Pythagorean Lambdoma Harmonic Keyboard. I have found that when individuals play it that it changes their consciousness to a more positive belief aspect. It is all about having a person find their own Keynote, play their own chord, and say one word that comes to them as they are holding down the keys of their chord. It based on the fact that it is all their own choices which they have dared to make.
By the way I did my interpretation of the I Ching on the Lambdoma matrix. It is on my AOL website which is found at the ILRI button at the bottom of the page in:
www.lambdoma.com
Click on New Developments and you will find it.
I decided to study mathematics in order to find a connection between music and visual art and found that connection to be the mathematical ratios in the Lambdoma table. I went so far as to get a Masters degree in Math education, and then carried it all further by my independent researches in finding the relationships of everything to everything I could think of.
Intuition certainly played a part in this adventure. I felt that I had found my mission in this lifetime. The final stage was the manufacturing of the Pythagorean Lambdoma Harmonic Keyboard. I have found that when individuals play it that it changes their consciousness to a more positive belief aspect. It is all about having a person find their own Keynote, play their own chord, and say one word that comes to them as they are holding down the keys of their chord. It based on the fact that it is all their own choices which they have dared to make.
By the way I did my interpretation of the I Ching on the Lambdoma matrix. It is on my AOL website which is found at the ILRI button at the bottom of the page in:
www.lambdoma.com
Click on New Developments and you will find it.
Pitch/ Frequency of teeth, bone, gold
Kindly inform me the Pitch/ Frequency of the following Healing Tone of
1 Ears, Eyes, Teeth, Vocal Chord
2 Prostate, HypnoBirthing, Uterus
3 Money, Gold
Teeth are bone, and the speed of sound through bone would be approximately in the + or - A range of 430Hz to 444Hz. Gold would be at approximately 79Hz also close to the note A.
Others may have different interpretations, but the above are mine.
1 Ears, Eyes, Teeth, Vocal Chord
2 Prostate, HypnoBirthing, Uterus
3 Money, Gold
Teeth are bone, and the speed of sound through bone would be approximately in the + or - A range of 430Hz to 444Hz. Gold would be at approximately 79Hz also close to the note A.
Others may have different interpretations, but the above are mine.
map color and sounds with feelings
I am fascinated by your extensive work with sound and color frequencies. I am
interested in constructing a sound sphere on the web and would like to request the
council of your wisdom and experience.
The idea is inspired by Paramahansa Yogananda's concept of a Worldwide Prayer Circle
and the buddhist concept of Nada Brahma or the world is sound.
In brief, the idea is to map color and sounds with feelings as expressed through the
written word. For instance if I were to say "My heart is full of gratitude" a color and a
sound value would be generated that corresponds to this statement. It is not clear to me
yet how the sounds and color should correlate to words. One idea I had was to cross
reference the statement to a chakra color, each of which have a corresponding color and
tone. If the statement was, "I feel the presence of God" this might be violet in the tone of C
or B depending on what scale I were to use. Then statement's that are not exactly aligned
with a parcticular chakra would have a lesser shade and a different corresponding tone.
This would require a symantic inferential reasoning engine.
Another take could be to associate color and tone values to each letter in the alaphabet
and then create a tone and color value for a statement based on this matrix.
About building the "machine." My colleague Robert Miller Foulkrod designed the Lambdoma Keyboard to be played using an Amiga Computer. As you probably know that computer is no longer manufactured. Robert believes that his program is obsolete and would not run on Macs or PCs. Please email Robert for more information on the specs.
Robert Foulkrod
As for your "sound sphere" on the web, what a wonderful idea!
Mapping color and sounds is relatively easy. According to Pythagoras red is the note C, orange D, yellow E, green F, blue G, indigo A, and violet B. As these notes ascend in pitch the colors lighten, and as they descend they darken according to my belief. You can translate notations to frequencies by using multiples of 2 to the numbers 3, 5, 7, 9, 11, 13 and 15. The number 256 is a multiple of 2 and is close to the notation middle C at 261Hz.
An octave in music is a doubling by 2 in my system. Therefore 2 times 256 C is 512C which is the octave between which fall the notes D(9). E(5), F(11), G(3), A(7) and B(15) multiplied by 2 until they fall between 256 and 512.
Mapping the above to word feelings might best be done by using the chakra system. As an example, C might be the root system or stability. D might be the 2nd chakra or creativity, E the 3rd chakra or feeling, F the 4th Chakra or love, G the throat chakra or communication, A the 3rd eye or clairvoyance and B the crown or God.
It might be easier to associate the tones and colors to the vowels of the alphabet as a start.
It sounds like a fascinating project.
interested in constructing a sound sphere on the web and would like to request the
council of your wisdom and experience.
The idea is inspired by Paramahansa Yogananda's concept of a Worldwide Prayer Circle
and the buddhist concept of Nada Brahma or the world is sound.
In brief, the idea is to map color and sounds with feelings as expressed through the
written word. For instance if I were to say "My heart is full of gratitude" a color and a
sound value would be generated that corresponds to this statement. It is not clear to me
yet how the sounds and color should correlate to words. One idea I had was to cross
reference the statement to a chakra color, each of which have a corresponding color and
tone. If the statement was, "I feel the presence of God" this might be violet in the tone of C
or B depending on what scale I were to use. Then statement's that are not exactly aligned
with a parcticular chakra would have a lesser shade and a different corresponding tone.
This would require a symantic inferential reasoning engine.
Another take could be to associate color and tone values to each letter in the alaphabet
and then create a tone and color value for a statement based on this matrix.
About building the "machine." My colleague Robert Miller Foulkrod designed the Lambdoma Keyboard to be played using an Amiga Computer. As you probably know that computer is no longer manufactured. Robert believes that his program is obsolete and would not run on Macs or PCs. Please email Robert for more information on the specs.
Robert Foulkrod
As for your "sound sphere" on the web, what a wonderful idea!
Mapping color and sounds is relatively easy. According to Pythagoras red is the note C, orange D, yellow E, green F, blue G, indigo A, and violet B. As these notes ascend in pitch the colors lighten, and as they descend they darken according to my belief. You can translate notations to frequencies by using multiples of 2 to the numbers 3, 5, 7, 9, 11, 13 and 15. The number 256 is a multiple of 2 and is close to the notation middle C at 261Hz.
An octave in music is a doubling by 2 in my system. Therefore 2 times 256 C is 512C which is the octave between which fall the notes D(9). E(5), F(11), G(3), A(7) and B(15) multiplied by 2 until they fall between 256 and 512.
Mapping the above to word feelings might best be done by using the chakra system. As an example, C might be the root system or stability. D might be the 2nd chakra or creativity, E the 3rd chakra or feeling, F the 4th Chakra or love, G the throat chakra or communication, A the 3rd eye or clairvoyance and B the crown or God.
It might be easier to associate the tones and colors to the vowels of the alphabet as a start.
It sounds like a fascinating project.
tuning forks based upon Pythagorean Lambdoma Matrix?
Custom-made tuning forks which have been precisely tuned to color frequencies based upon Dinshah and Pythagorean (Lambdoma Matrix) formulas are used in contact with the body on key acupuncture points, as well as on the energetic field surrounding the body.
http://www.spiritofra.com/Bioenergetics.htm
[Barbara has just found out about this product / service... this note is not an endorsement!]
http://www.spiritofra.com/Bioenergetics.htm
[Barbara has just found out about this product / service... this note is not an endorsement!]
320 megahertz, the frequency of rose oil.
Could you tell me please what note 320 megahertz would be.
The frequency of 320MHz is the note B at 487Hz.
The frequency of 320MHz is the note B at 487Hz.
13:20 frequency derived from the Tzolkin multiplied by 256H(C)
species to deviate farther and farther from the cycles of nature. This timing frequency Jose Arguelles identified as the 12:60, in contrast to what they now knew was the natural timing frequency,13:20. This 13:20 frequency is derived from the Tzolkin, which they also referred to as the harmonic module, a permutation matrix of 13 x 20 = 260 units. The singular nature of the use and proliferation of so many calendars by the ancient Maya they now understood to be the result of the Maya knowing the actual timing frequency of the universe, 13:20, something consciously unknown to all other peoples of the Earth.
The ratio 13:20 multiplied by 256H(C) = 166.4Hz or 332.8Hz (in the middle C octave). This is the frequency of the sun around our galaxy!
The ratio 13:20 multiplied by 256H(C) = 166.4Hz or 332.8Hz (in the middle C octave). This is the frequency of the sun around our galaxy!
paper on vortexes
I would like to read your paper on vortexes, do you sell such a document?
International Harmony Based Upon a Music of Planetary Grid Systems:
vortexmaps.com/hero-grid.php
International Harmony Based Upon a Music of Planetary Grid Systems:
vortexmaps.com/hero-grid.php
Lambdoma sounds on CD?
I was wondering if you have any of your cassettes on CDs?
Yes, I do have some of my cassettes on CD's. The one's finished are listed below:
AT2 Grand Gallery Galaxy
AT3 King's Chamber
AT6 Music of Our Organs
If you know which cassettes on my catalogue you would like, I can make most of them on a CD.
Yes, I do have some of my cassettes on CD's. The one's finished are listed below:
AT2 Grand Gallery Galaxy
AT3 King's Chamber
AT6 Music of Our Organs
If you know which cassettes on my catalogue you would like, I can make most of them on a CD.
Chartres Cathedral frequencies
I have a few lines left underneath your Chartres pictures. I wonder if you'd like to have something written under them that might enlighten the reader, if it fits the rest of the book.
Of course I have written the text about the coloring already underneath.
Are the measurements for inst. made on the spot? anything else?
I haven't realy had the time to browse your homepage yet, as it has a huge amount of material...
or maybe there is a related document in your files that I should have a glance at?
Sincerely Sven Christiansen
The measurements for the Chartres Cathedral were on the sheet when it was given to me by a contemporary architect in Boston who had a copy of the plan.
I just translated the length of each line into music notation based on the frequencies in my Lambdoma reference octave.
The formula is: V = f*w Where V is the velocity of sound through air at ~1320 feet per second at room temperature. F is frequency in Hertz or cycles per second. W is the distance in feet. Therefore when you know the length, divide the length by the velocity and you will have the exact frequency as a result. Then you take the reference octave of Lambdoma frequencies below:
C(256)red, D(288)orange, E(320)orange-yellow, F(352)green, G(384)blue, A(416)aqua, A+(448)indigo, B(480)violet and C(512)red.
I don't remember what I wrote to you about the coloring of the strings aside from the fact that the colorings were all based upon wavelengths of musical harmonics according to Pythagorean color-coding of C(red), D(orange), E(orange yellow), F(green), G(Blue), A(Indigo) and B(violet-purple).
Use what you wish of this. I am so pleased that you are citing these pictures in your book.
Of course I have written the text about the coloring already underneath.
Are the measurements for inst. made on the spot? anything else?
I haven't realy had the time to browse your homepage yet, as it has a huge amount of material...
or maybe there is a related document in your files that I should have a glance at?
Sincerely Sven Christiansen
The measurements for the Chartres Cathedral were on the sheet when it was given to me by a contemporary architect in Boston who had a copy of the plan.
I just translated the length of each line into music notation based on the frequencies in my Lambdoma reference octave.
The formula is: V = f*w Where V is the velocity of sound through air at ~1320 feet per second at room temperature. F is frequency in Hertz or cycles per second. W is the distance in feet. Therefore when you know the length, divide the length by the velocity and you will have the exact frequency as a result. Then you take the reference octave of Lambdoma frequencies below:
C(256)red, D(288)orange, E(320)orange-yellow, F(352)green, G(384)blue, A(416)aqua, A+(448)indigo, B(480)violet and C(512)red.
I don't remember what I wrote to you about the coloring of the strings aside from the fact that the colorings were all based upon wavelengths of musical harmonics according to Pythagorean color-coding of C(red), D(orange), E(orange yellow), F(green), G(Blue), A(Indigo) and B(violet-purple).
Use what you wish of this. I am so pleased that you are citing these pictures in your book.
137,163, E8 and Bucky's UVG
There's plenty more involving 137,163, E8 and Bucky's UVG......
Finding the below was enabled, in part at least, by utilizing the recent discovery cycle transit of Sun sextile Uranus, in orb a few days recently during which time I listened at length to an experimental astrosonics tape I made with an astro-colleague, Paul Dickey, in 1996 which summed up the preponderance of harmonics <30 in the natal charts of 24 historically important mathematicians so I could hear and participate in them. I had earlier found that my math improved with it, not during listening usually, but just afterwards when the better ideas would come, and the way of realizing them was not my usual style, but one more utilizing the tools those other mathematicians were use to using. The tape is tuned as my other astrosonic tapes, simultaneously octavally and phi-power recurrently with Sun sextile Uranus. It sure worked in 1998 to help discover 10800^.5+2703/35126=103.99999999999610057355533825383, which is an integer approximation within a digit accuracy from Ramanujan's constant, but unlike that which is formed from two transcendentals and an irrational, is formed with only an irrational and a ratio, so is unlike any other of that accuracy I have been able to find.
-Michael Healeus, creator of Astrosonics
Finding the below was enabled, in part at least, by utilizing the recent discovery cycle transit of Sun sextile Uranus, in orb a few days recently during which time I listened at length to an experimental astrosonics tape I made with an astro-colleague, Paul Dickey, in 1996 which summed up the preponderance of harmonics <30 in the natal charts of 24 historically important mathematicians so I could hear and participate in them. I had earlier found that my math improved with it, not during listening usually, but just afterwards when the better ideas would come, and the way of realizing them was not my usual style, but one more utilizing the tools those other mathematicians were use to using. The tape is tuned as my other astrosonic tapes, simultaneously octavally and phi-power recurrently with Sun sextile Uranus. It sure worked in 1998 to help discover 10800^.5+2703/35126=103.99999999999610057355533825383, which is an integer approximation within a digit accuracy from Ramanujan's constant, but unlike that which is formed from two transcendentals and an irrational, is formed with only an irrational and a ratio, so is unlike any other of that accuracy I have been able to find.
-Michael Healeus, creator of Astrosonics
what the Lambdoma keyboard sounds like
Is there a way to hear what the Lambdoma keyboard sounds like, before buying it?
I can send you a CD, if you like, of my latest one. It is one with different voices, piano and synthesized sounds. I call it "Planets and Chakras."
To purchase a keyboard you need a Windows'98-XP to run the software. The software is from Fractal Tune Smithy, FTS_lambdoma. Just Google Fractal Tune Smithy to hear tones from the 4 quadrants.
The single quadrant Lambdoma Keyboard is $3,500 plus 5% tax. The full Lambdoma Keyboard is $8,500 plus 5% tax. Please see my website:
www.lambdoma.com
I can send you a CD, if you like, of my latest one. It is one with different voices, piano and synthesized sounds. I call it "Planets and Chakras."
To purchase a keyboard you need a Windows'98-XP to run the software. The software is from Fractal Tune Smithy, FTS_lambdoma. Just Google Fractal Tune Smithy to hear tones from the 4 quadrants.
The single quadrant Lambdoma Keyboard is $3,500 plus 5% tax. The full Lambdoma Keyboard is $8,500 plus 5% tax. Please see my website:
www.lambdoma.com
frequency of the cerebral spinal fluid
I have been taking a cranio-sacral class, and I was wondering if you know the frequency of the cerebral spinal fluid so I could get a tuning fork made of the frequency?
I am sorry, I do not know the frequency of the cerebral spinal fluid, nor do I have any connection with the manufacturing of tuning forks.
Perhaps you could find that information from the manufacturer of the forks.
I am sorry, I do not know the frequency of the cerebral spinal fluid, nor do I have any connection with the manufacturing of tuning forks.
Perhaps you could find that information from the manufacturer of the forks.
Atlanta in February 2009
Barbara will be presenting in Atlanta in February 2009. Check lambdoma.com for info.
Roslyn Chapel concert based on the cymatic symbols
Here is the link for the Roslyn Chapel concert based on the cymatic symbols.
http://www.tjmitchell.com/stuart/rosslyn.html
I was thinking all the way home about various things. One thing that stood
out was the periodic table music you were working on. My mind kept going
back to the elements mass. With tuning forks there are usually two forks
used. I was thinking that the one fork could be the element number and the
second would be the mass. What are your thoughts on that?
One other question...you mentiond I had "psychic" hands? What did you
mean by that? I remember things after the fact most of the time so its
not uncommon for me to come back to something previously discussed.
I had a wonderful time visiting with you and Robert and for a chance to
see and play with the keyboards, they are awesome.
Thank you for the URL of the Roslyn Chapel. Robert and I were there several years ago and were fascinated by the images over every inch of the chapel. At that time we did not realize that they were symbols of cymatics.
The elements mass is usually an octave in conjunction with the element number ie a doubling by 2. So you could sound the octaves in each of your forks and record the effects on individuals, plants, etc.
Your hands were very much like others who are psychic, small and very tapered. It seems that you have that potential. If you want to develop it.
http://www.tjmitchell.com/stuart/rosslyn.html
I was thinking all the way home about various things. One thing that stood
out was the periodic table music you were working on. My mind kept going
back to the elements mass. With tuning forks there are usually two forks
used. I was thinking that the one fork could be the element number and the
second would be the mass. What are your thoughts on that?
One other question...you mentiond I had "psychic" hands? What did you
mean by that? I remember things after the fact most of the time so its
not uncommon for me to come back to something previously discussed.
I had a wonderful time visiting with you and Robert and for a chance to
see and play with the keyboards, they are awesome.
Thank you for the URL of the Roslyn Chapel. Robert and I were there several years ago and were fascinated by the images over every inch of the chapel. At that time we did not realize that they were symbols of cymatics.
The elements mass is usually an octave in conjunction with the element number ie a doubling by 2. So you could sound the octaves in each of your forks and record the effects on individuals, plants, etc.
Your hands were very much like others who are psychic, small and very tapered. It seems that you have that potential. If you want to develop it.
translate acupuncture points into harmonics
Can you give your interpretation of how you translate acupuncture points into harmonics?
I used a meridian system of numbers based on the ancient Rosetta Stone. Assuming that the human body is also a similar meridian system of its own.
It was simply an intuitive study in relationships of number to harmonics. It is the same process as relating planets to chakras, colors, sounds, shapes by ratios and frequencies.
I used a meridian system of numbers based on the ancient Rosetta Stone. Assuming that the human body is also a similar meridian system of its own.
It was simply an intuitive study in relationships of number to harmonics. It is the same process as relating planets to chakras, colors, sounds, shapes by ratios and frequencies.
Tuesday, June 3, 2008
acoustic vibratory device question
it is a pleasure to read your work. Truly inspiring.
In our IEEE paper on the lambdoma matrix you made a brief reference to acoustic vibratory devices.
I recently met an autistic girl who responded to vibrations of instruments ie drums and piano quite well.
I envision a suit or a series of wireless vibratory devices that receive signals generated by some audio device (synths, lambdoma keyboard, the voice (+harmonics)).
This suit would allow her to feel the music that someone is chanting/toning or playing.
What do you know about acoustic vibratory devices?
In our IEEE paper on the lambdoma matrix you made a brief reference to acoustic vibratory devices.
I recently met an autistic girl who responded to vibrations of instruments ie drums and piano quite well.
I envision a suit or a series of wireless vibratory devices that receive signals generated by some audio device (synths, lambdoma keyboard, the voice (+harmonics)).
This suit would allow her to feel the music that someone is chanting/toning or playing.
What do you know about acoustic vibratory devices?
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