Vortex Based Math

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I have been following VBM with interest for about a year and have an urge to understand the solfeggio scale. Good article here http://www.redicecreations.com/specialreports/2006/01jan/solfeggio....

The six frequencies are 396, 417, 528, 639, 741, 852. And is often illustrated on a nine point circle with the addition of 963, 174 and 285. The 396 at the 9 position.

In fact the center digits are 1 through 9.

Each frequency is a family group.

Applying what we know about the rodin diagram with multiplication and division we can see in the solfeggio that all the 1,4, 7's are division in order, and the 2, 8 and 5's are multipying with 3, 6, 9's moving anticlockwise (division).

Multiply Constant Divide
147 = 3 = 174
285 = 6 = 258
369 = 9 = 396

471 = 3 = 417
528 = 6 = 582
693 = 9 = 639

714 = 3 = 741
852 = 6 = 825
936 = 9 = 963

I believe there are some secrets to be discovered and just wanted to see if anyone else has any ideas about this.

Tags: solfeggio

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In reality, the cromatic scale doesn't exist.
You have to use the Just Scale Temperament.

Every different note or frequency has its own unique scale. Equal tempered cromatic scale was invented to make instruments sound ok when played in any key. However in nature, the natural resonant harmonics or overtones that accompany every note, define a unique scale for that single note.

For example, an instrument tuned to C with Just scaling, will have a different B note frequency than the standard modern equal tempered cromatic scale.

What needs to be found is a fundamental frequency to start from. A base note. So maybe use the solfeggio frequencies as the base notes for 9 different scales.

I'll have to work on this some more, maybe make some tables of scales.

I can go a bit mad with tables sometimes, as seen here where I was experimenting with division of space.
It demonstrates interlacing (I think).
9 Base Solfeggio frequencies on the left hand column.

12 tone scale.

10 tone scale.

9 stone scale.

8 tone scale.

7 tone scale.

6 stone scale.

5 tone scale.

4 tone scale.

3 stone scale.

I'll MOD 9 them later, but I can see some patterns already.
The 7 tone scales are very interesting. An ever repeating pattern of 714285714285714285 in the decimal places. Always in the same order but starting from different points. (My table above rounded them up :()

And 714285 =27 =9.
Here are the notes played together for the 3 tone scales of 174, 285 and 396.

174 3 tone including octave
285 3 tone including octave
396 3 tone including octave
And here is 174, 285 and 396 in the right ear, with 147, 258 and 369 in the left ear (opposite rotation).


I've seen lots of people just retuning their instruments from 440Hz to 417Hz for A4, or tuning the C5 up to 528Hz.
But they still have the intervals divided into 12 with the same harmony as modern music.

I've been experimenting with the 9 point circle, using some Vedic maths logic. When you count around the circle and get to 10, the 10 is the first number on the next perimeter of the circle. Its the start of another revolution. To find which perimeter a number is located at, you just divide by 9. So 528/9 = 58.6666666666, which means 528 is on the 58th perimeter on the number 6. The recurring decimal 6 shows the point or angle on the circle and the 58 is the distance.

This is where I have the idea that 7 is very special, because the remainders of a 7 point scale are recurring ancient PI.

I'll eventually hope to have rediscovered a form of music, based on ancient PI and a PHI spiral. The spiral is made from plotting points on the distance from the circle, these points are the frequencies for the intervals. Its just a case of making a phi spiral and working out the frequencies in divisions of 7. (I think).

Not sure if the solfeggio frequencies have any relevance, other than the fact they are on the 3, 6 and 9 points of a nine point circle.

Dividing evenly into 18, found the relationships between 396 and 528, 639 and 852, but 417 and 741 no go. The only relation between 417 and 741 is the 15th note of 417 is 741.333333. An octave of 396 is half an octave of 528, and the same true for 639 and 852.

How do I divide an octave using a ratio of Phi or Pi, or fibonacci.?
awesome - i posted it on desktop background
why the bigger circle it tilted? (9 not on the axe, like on others)

Barbitone said:

Its not my graphic, so....I dunno really.

Anton Novikov said:
awesome - i posted it on desktop background
why the bigger circle it tilted? (9 not on the axe, like on others)

Barbitone said:

Another approach to understanding the solfeggio scale is found in the teachings of G.I. Gurdjieff, who was the first to present the enneagram to the western world. Much of his teaching was based on the concepts revealed through the movements of energy expressed mathematically in the decimal divisions of seven, which he related extensively to the octave.

According to him, as the octave progresses there comes an interval between mi and fa which must be bridged by the 'do' of another octave, and another 'do' bridging that second octave's mi-fa interval, eventually allowing the first octave to complete only by considering the interaction of inner octaves. Like this ...

9 is Do(1)
1 is Re(1)
2 is Mi(1)
3 is Do(2)
4 is Fa(1), Re(2)
5 is Sol(1), Mi(2)
6 is Do(3)
7 is La(1), Fa(2), Re(3)
8 is Ti(1), Sol(2), Mi(3)
9 is Do(1)
1 is La(2), Fa(3)

etc, etc ... If you follow the enneagram around, and look at the numerical attributions to each step, you find the solfeggio frequences all stacked up ... 174, 285, 396 ... :)
Hi Frank,
I have been contemplating this a lot although I new nothing of the Solfeggio Frequencies or that these frequencies were the family groups of VBM.
However I had come to a conclusion that government means control mind.
Through government our music & notation is determined.
This music & notation sets us up for consumerism.
By stimulating in us - to the fore - amusement & entertainment rather than the soul
The ancient music stimulated our soul to the fore.
It can be known as the science of imagery.
From here comes form, or manifestation.

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