Esoteric Music Theory


quote from "LE CULTE_R.Will" T2, 1929, p.500
"I/ the ethereal fluid"
"the musician who has lent an ear to the harmonies of the unknowable, is pushed by the Spirit to make them heard. Music, the oldest of the arts, is religious in essence. The echo of these "cosmic movements by which the immense existence is intimate and interior to us" was discerned."

"agile pelvis"...

"Prononc.: [pεlvis]. Étymol. et Hist. 1666 anat. (Compte rendu du Journal des savants, 23 mai ds Fr. mod. t.23, p.224). Mot lat. signifiant «bassin (de métal), chaudron»." translated... basin (metal), cauldron


A. - Harmonious or expressive combination of sounds.
1. MYTH, ANTIQ. GR. The Muse (and so I call art as a whole, all that is of the realm of imagination, much as the ancients called Music the whole education) (Vigny,Vérité l'art,1829, p. xi).
♦ Music of the spheres. Musical scale formed by the notes generated, according to Pythagoras, by the various planets turning around the sun (Mus. 1976). Never listen to the music of the spheres, Never stop your eyes on these burning messengers (Noailles,Forces étern.,1920, p.217).
2. The art of expressing oneself through sounds according to rules that vary according to time and civilization.
Prononc. and Orth.: [myzik]. Attn. in Ac. dep. 1694. Étymol. and Hist. 1: Ca 1150 "art de combiner les sons musicaux" (Thebes, ed. G. Raynaud de Lage, 4995: par la gamme chante)

According to Greek authors, Orpheus tamed ferocious animals to the sounds of his Lyra (Grillet,Ancêtres violon, t. 1, 1901, p. xi)

These particles would constantly perform movements of all kinds, sometimes vibratory, sometimes translational; and the physical phenomena, the chemical actions, the qualities of matter that our senses perceive, heat, sound, electricity, even perhaps attraction, would be objectively reduced to these elementary movements.
Bergson, 1889.

Considered as a man, a Newton, a Cuvier, a Heyne, makes a less beautiful sound than an ancient sage, a Solon or a Pythagoras for example (Renan,Avenir sc., 1890, p. 12).

Solon, (born c. 630 BCE—died c. 560 BCE), Athenian statesman, known as one of the Seven Wise Men of Greece (the others were Chilon of Sparta, Thales of Miletus, Bias of Priene, Cleobulus of Lindos, Pittacus of Mytilene, and Periander of Corinth). Solon ended exclusive aristocratic control of the government, substituted a system of control by the wealthy, and introduced a new and more humane law code. He was also a noted poet.

Draco, also spelled Dracon, (flourished 7th century BC), Athenian lawgiver whose harsh legal code punished both trivial and serious crimes in Athens with death—hence the continued use of the word draconian to describe repressive legal measures. The six junior archons (thesmotetai), or magistrates, are said by Aristotle to have been instituted in Athens after 683 BC to record the laws. If this is correct, Draco’s code, which is generally dated to 621, was not the first reduction of Athenian law to writing, but it may have been the first comprehensive code or a revision prompted by some particular crisis. Draco’s …(100 of 184 words)

- Why does Loti always sound the same? (...) - His lyre has only one rope, Bouvard concluded (Proust,Plais. et jours, 1896, p. 100).

♦ ANTIQ. MYTH. Daughter of Ares and Aphrodite. It was there that the young Harmony was raised, which Jupiter intended for her as his wife (Dupuis, Orig. cultes,1796, p. 167).PHILOS. Harmony of the spheres. Harmonious sounds that, according to the Pythagoreans, celestial bodies emitted by moving according to harmonic numbers.

Index Gammes

otherwise, from a fifth interval, we can deduce all the harmonics; the question would be to know if we can put the tempered system (and its teaching?) « in the trash »…(?)

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b - The scordatura in the Fifth Suite in C by J.S. BACH

Obviously, the main reason for using a scordatura for this Fifth Suite in C m. is a technical reason, related to the key of C m., for which the frequency of the Lab poses a fingering problem. The lowering of the upper G string thus facilitates the execution of this note in "half position", i.e. without having to move the hand as is the case for a Lab played on the D string, thereby also allowing certain chords which are rendered impossible on a normally tuned cello, as well as an easier realization of the double strings. 469 One of the important consequences of this use of the scordatura is the general colour conferred by this lowering of the tone of the chanterelle, which thus becomes much less brilliant and sonorous, which tends to veil the whole sound 470 and still contributes to the dramatic character already contained in the key. On the other hand, the phenomenon of sympathetic string vibration and the use of partial harmonic resonance sounds are favoured over the tonic and dominant of the main tone.

We also know that, like many of the composer's other collections, the Six Suites for solo cello also constitutes, in the mind of its author, a "sum" of the possibilities of the solo instrument and the technical difficulties that the instrumentalist must be able to overcome. The scordatura, which is taking place for the fifth Suite of this collection, appears here as a further step in this progression. Indeed, for the cellist already conditioned to the configuration by fifths which was beginning to impose itself at the time of the composition of these works (c. 1720), the agreement required here is certainly confusing, even if the notation of the "transposing" type, which can be seen on the manuscript of Anna-Magdalena BACH 471, aims to facilitate its execution. On this manuscript, Suite n°5 is designated by the indication Suitte discordable, and clearly shows, before the beginning of the Prelude, the instrument's tuning: C, G, D, G.

Example n°132 : J.S. BACH, Suite V, First page of Anna-Magdalena BACH's manuscript. This manuscript is kept at the Staatsbibliothek Preussischer Kulturbesitz in Berlin, under the symbol Mus. ms. Bach P 269. It is also reproduced in facsimile by Bärenreiter, under the designation "source A", dated around 1730, and is followed by three other manuscript sources: the "source B" is attributed to Johann Peter KELLNER around 1726, the sources C and D are unknown and later (second half of the 18th century).

The score is then noted, for everything played on the upper string, a tone above the real note, so that the instrumentalist maintains the hand position and fingerings to which he is accustomed. However, it is disturbing to note that, of the three other manuscript sources from the 18th century,473 the one attributed to a pupil of Bach, Johann Peter KELLNER, the closest chronologically apparently to the composition of the work, since located around 1726, does not take into account the scordatura and restores the whole work in a notation in real sounds. This may raise some questions about BACH's intentions and practices at the time regarding this Suite.

The same problem arises again when one examines the successive editions since the publication of the work in 1825, and more precisely those published in the 20th century. There are then three cases:

1. - the score reproduces the transposing notation of Anna-Magdalena Bach's copy (cf. Diran ALEXANIAN, who also gives in the Preface of the work the facsimile of A.M. BACH's manuscript)

2. - the score makes no allusion to the original scordatura and notes the whole work in real sounds, in accordance with J.P. KELLNER's manuscript (cf. Paul TORTELIER), which makes the performance of this work particularly difficult and requires certain adjustments with regard to the chords in the original manuscript.

3. - the score gives the two superimposed versions: one with the transposing writing for the scordatura on the one hand, and the other with the notation in real sounds for a normally tuned cello (cf. Fernand POLLAIN), which has the merit of allowing an easier execution for the fingerings with the scordatura, while always clearly bearing in mind the way this should sound.

The various problems raised by this scordatura will nowadays make two opposing points of view confront each other on the level of interpretation of this Suite for cello alone: the defenders of a certain "authenticity", who aim to make the instrument sound as close as possible to what BACH seemed to seek by practicing scordatura, and the supporters of making the instrument sound as well as possible in its modern form, who reject the scordatura considered as a real obstacle. 474 One can measure through everything that has just been said how a transformation of this type, which may appear minor to some, is in reality fraught with consequences. It is probably what made us forget this practice for nearly two centuries, but the important opening that this process constitutes will appear clearly in the eyes of the composers of our century and support its re-use in the compositions for cello alone of the XXth century.


It should be noted that for similar reasons of fingering difficulties in relation to the key of Eb M. of the Fourth Suite, the Queen FLACHOT cellist uses a scordatura of the two upper strings each raised by a semitone (Bb, Eb). Quoted by Jacques WIEDERKER, Le violoncelle contemporain, op. cit., p.56]

Jacques WIEDERKER also rightly notes that "the lower tension of the chanterelle brings a greater equality of sonority in the chords and the string changes (bariolages on two strings dear to this author)". See WIEDERKER, Jacques, Le violoncelle contemporain, op. cit. p.52.

It should be recalled here that there is no autograph manuscript of these Six Suites for solo cello by BACH.

This manuscript is kept at the Staatsbibliothek Preussischer Kulturbesitz in Berlin, under the symbol Mus. ms. Bach P 269. It is also reproduced in facsimile by Bärenreiter, under the designation "source A", dated around 1730, and is followed by three other manuscript sources: the "source B" is attributed to Johann Peter KELLNER around 1726, the sources C and D are unknown and later (second half of the 18th century).

See Annex 5.

In addition to the reading and making problems mentioned above, there is indeed a physical problem of instability of the instrument which is usually subjected to a different balance of the tension of the four strings, and which, when the upper string (or any other string for that matter) is relaxed, does not properly maintain this new chord. Some cellists (J.G. KINNEY, Arto NORAS...) recommend for this reason to use a different instrument to play this Fifth Suite, instrument previously stabilized in this scordatura.

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extract/traduct from
La scordatura, accord ou désaccord ? Histoire et pratique actuelle

Scordatura was not theorized in the treatises on instrumental technique until quite late. If we counted scores in the seventeenth century, the notion did not appear in the treaties until the eighteenth. Apparently very convinced by the beneficial effects of this practice, Michel Corrette (1707-1795) devoted several exercises to the practice of scordaturad in his method L'École d'Orphée17 written in 1738.
The scordatura technique has undergone a rather particular evolution with a first phase of intense discovery and practice, a second period in which it is absent from most sources and finally a revival with the aesthetic research of the twentieth and twenty-first centuries. Used implicitly before, it is now becoming synonymous with complexity, because of discouraging reading with completely changed instrumental cues and an ear less used to tolerating transposition. Special therefore, the scordatura is nevertheless convincing for all types of effects it allows both on the technique of the instrument itself and on the resonance, harmonics, timbre. It therefore deserves to be tamed by composers and performers. Although Theodore Russell argues that no other chord can compete with the possibilities offered by the fair fifth chord,27 the abandonment of key with its structure based on this interval opens up a new horizon for scordatura. Performers should not only use it for contemporary pieces where it is required, they may also consider it for works from other periods. From now on, the work for us string players will be to transmit it, to practice it and to convince composers to use it... and to use it.

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Scordatura : définition de Scordatura et synonymes de Scordatura (français)

The scordatura designates a way of tuning string instruments (violin, cello, viola, lute, guitar, viola d'amore, etc.) that deviates from the usual chord. This technique is used in the Renaissance on plucked stringed instruments (lute, guiterne) and the pieces containing this artifice are preceded by the expressions with swallowed or swallowed strings. One of the first composers[1] to publish a piece for violin in scordatura is Biagio Marini, in his opus 8[2], in 1629. This use allows the use of unusual chords and changes the string tension, which also produces new sound effects.

The technique is also used in traditional Scottish and Norwegian music ("Hardingfele"). The fiddlers used three different chords (mi4-la3-re3-la2, do#4-la3-mi3-la2 and mi4-la3-mi3-la2 now called the Cape Breton tuning) to get a drone similar to the bagpipe. This technique was also used by jazz and rock guitarists - Frank Zappa in particular was used to it.

Another example of use, the low notes of some harpsichords were diatonic - G - A - B - then chromatic - C - C - D, etc. A B-flat scordatura would add a bass to a B-flat chord. In some archaic instruments, the leftmost (longest) string was even intended to be tuned ad libitum.

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Centre National de Ressources Textuelles et Lexicales

P. allus. in Orpheus, legendary poet and musician of Greek antiquity] Poet musician of great talent. Well, what are you looking forward to, harmonious Orpheus? If on the tomb of the Persians Jadis Pindare, Aeschylus, erected trophies (Chénier,Ïambes, 1794, p.260).
Orphéen, -enne, adj. Poétique, which recalls the poetry of Orphée. Orphéennes expressions drawn as with a golden plectrum (Sainte-Beuve,Portr. contemp., t.2, 1834, p.40).
Happy if he does not make some pompous and Orphéenne presentation (Valéry,Corresp.[with Gide], 1891, p.122).

Pronunciation.: [ɔ ʀfe]. Etymol. and Hist. 1611 fig.
"Poet or illustrious musician" (Malherbe, Poésies ds OEuvres compl., ed. L. Lalanne, t.1, p.187, 123). From Orpheus (lat. Orpheus, gr. Ο ρ ε φ ε ε υ ́ ς), character of the myth. gr., famous as musician and to the origin of mystical sects.

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Saint Père LEON le THAUMATURGE, Evêque de CATANE

This brilliant star of the Orthodox Faith and this emulator of the Apostles lived at the time of the first wave of persecution against the Holy Icons (circa 780). Coming from a noble family of Ravenna, he climbed, thanks to his virtues, all the degrees of the ecclesiastical hierarchy, and was charged with managing, as a faithful steward, the affairs of the Church of this city. His reputation having spread far beyond the limits of his diocese, he was elected Bishop of Catania, Sicily, and immediately began to purify his spiritual flock from the contagion of heresies and the remains of idolatrous superstitions. Through his prayer, he collapsed a pagan temple and had a church built on its site dedicated to the Forty Martyrs of Redfish. Energetic and sharp as far as Faith was concerned, he overflowed with love and compassion for the poor, the orphans, the afflicted, becoming like the Apostle everything for all in order to procure salvation for them.

At that time, a magician named Heliodorus, who had acquired a formidable power following a pact contracted with Satan, terrified Sicily by his tricks, no less formidable than the flames of Etna which always threatens the city of a sudden irruption. The prefect sent an allarmed letter to the emperor of Constantinople, who ordered the magus to be arrested. By an evil subterfuge Heliodorus had him and his escort transported to Byzantium in one day where, condemned to death, he mysteriously disappeared, crying out: "Hail, Emperor. Look for me in Catania!" Once again arrested and brought to Constantinople, he put out all the fires, plunging the great city into darkness. Then, condemned to suffer from hunger, he starved the city, and he disappeared once again magically, at the moment of being executed.

In Catania, Leon had tried to convert the magus, but in vain. One day, Heliodorus entered the church at the moment of the Liturgy, trampling like a mule and making fun of the Mystery Saints, claiming moreover that he had the power to force the Bishop and his Priests to start dancing in front of the crowd. After praying, Saint Leo came out of the Sanctuary clothed in all his ornaments and captured Heliodorus by means of his omophorion, thus destroying all his demonic power. Then, the order having been given by the Prefect to burn alive this servant of the devil, the Bishop went up with him on the stake, from where he came out unscathed, his ornaments intact, while the villain was reduced to ashes.

Then invited to Constantinople by the emperor, Saint Leo also spread there the wonders of divine grace, for the glory of God and the terror of demons, pagans and heretics. He healed the blind, relieved the paralytic, comforted the afflicted, not only during the rest of his earthly life, but also after his death, through his Holy Relics which were venerated in a church he had founded in honour of Saint Lucia.

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Byzantine Rite
The Byzantine Rite, also known as the Rite of Constantinople or Constantinopolitan Rite, is the liturgical rite currently used by the Eastern Orthodox Church and some other churches. Its development began during the third century in Constantinople and it is now the second most-used rite in Christendom after the Roman Rite.

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The pallium (or pall) is an ecclesiastical vestment used in the Church of Rome and originally worn only by the Bishop of Rome. However, it has been bestowed by him for centuries on metropolitans and primates in the Western Church as a symbol of the jurisdiction delegated to them by the Holy See.

In its present form the pallium is a narrow band of cloth, "three fingers broad," woven of white lamb's wool from sheep raised in Valencia, Spain, with a loop in the centre resting on the shoulders over the chasuble, and two dependent lappets, before and behind. Thus, when seen from front or back the vestment resembles the letter Y. It is decorated with six black crosses, one on each tail and four on the loop, is doubled on the left shoulder, and is garnished, back and front, with three jeweled gold pins.

In origin the pallium and the omophorion, used in the Orthodox Church, are the same vestment. The omophorion is a wide band of cloth, much larger than the modern pallium, worn by all Eastern Orthodox bishops and Catholic bishops of the Byzantine Rite.

Only the Pope and metropolitan archbishops wear the pallium. A metropolitan has to receive the pallium before exercising his office in his ecclesiastical province, even if he was previously metropolitan elsewhere. No other bishops, even non-metropolitan archbishops or retired metropolitans, are allowed to wear the pallium unless they have special permission.

« « «éliodore

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Joseph Héliodore Sagesse Vertu Garcin de Tassy (25 January 1794, Marseille – 2 September 1878)
La poésie philosophique et religieuse chez les Persans
Philosophical and religious poetry among the Persians

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Heliodorus is a minister or vizier, literally a "business attendant" (epi tôn pragmatôn), of the Seleucid king Seleucos IV whom he assassinated in 175 BC.

According to the account in the second book of the Maccabees, in 176 B.C., Seleucos IV commissioned Heliodorus to inspect and confiscate the treasure of the Temple of Jerusalem. The high priest Onias III categorically refused this requisition (the treasure included not only the deposits of the people but also the fortune of the Hyrcan tobiad). After his failure in Jerusalem, Heliodorus poisoned Seleucos in Antioch and tried to be declared king but he was overthrown and executed by Antiochos IV, brother of Seleucos IV.

This story of supernatural events seems to be the echo of a conflict between the Seleucid power and the Jewish authorities. The Seleucids have been struggling with financial problems related to the debt to be paid to the Romans since the peace of Apameus, while the Jewish authorities are anxious to preserve the financial autonomy of the Temple. Within Jewish society, this conflict is relayed by various parties fighting to seize power in Jerusalem and who take advantage of it to play their political alliances. An inscription containing a copy of an order addressed by Seleucos IV to Heliodorus was found in Israel in the years 2000. This stele, called "stele of Heliodorus", indicates the appointment of a certain Olympiodorus as administrator of the sanctuaries of satrapy of Cole-Syria and Phoenicia.
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Édouard Will, Histoire politique du monde hellénistique 323-30 av. J.-C., Paris, Seuil, coll. « Points Histoire », 2003

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A heliodore is a mineral of the cyclosilicates family. It constitutes a variety of beryl of yellow color with greenish nuances or honey. Its chemical formula is: Be3Al2Si6O18.

From the Greek helios, sun and dorea, gift.
Fine specimens in the pegmatites of Mursinsk near Yekaterinburg (Urals).
Jytomyr in Ukraine.
Fazenda do Funil in Brazil.
In France, they can be found in La Bachelerie-en-Compreignac and near Pont-de-Barost in Haute-Vienne.

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In Greek mythology, Oenopion (in ancient Greek Οἰνοπίων / Oinopíôn) is the son of Ariadne and Dionysus and king of the island of Chios.
He refused orion his daughter, whom he had promised in marriage if the hunter rid the island of all his beasts. Orion succeeded, but the king did not keep his promise and blinded Orion before driving him off his island.

He has six other brothers:
Ceramos (eponymous hero of the Ceramics district of Athens) ;
Staphylos, known to have improved the wine recipe:
Preparathos (eponymous hero of the first capital of the island of Scopelos) ;
Thoas, Eurymedon and Phlias.

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« Background: Clisthenes' reforms

Citoyenneté à Athènes : les réformes de Clisthène

Redefining political space and time »
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Pont-de-Barret in Haute-Vienne
Architecture - Chapelle Saint Jean de Crupies

Many historical sedimentary layers overlap here. But that doesn't explain how strong this place is.
Set between sky and earth, between mountains and plain, the chapel is in balance between light and shade. Sometimes chapel, sometimes temple, it oscillates between Catholicism and Protestantism. Probably a successor to other older cults.
It blends into the landscape, of which it seems to be an integral part: mineral by its materials, almost organic by their tones, between "savel" (local sand pulling on the green) and freckles (sandstones).
Dominant - it dominates the Roubion valley - and dominated - some 1036 meters under the imposing stature of the Montagne de Couspeau - it seems to be gathered in a posture of humility, without ever being resolved to be forgotten.
Depending on the angle from which the spectator is positioned, she alternately wears a suit of greenery, an austere outfit of aridity, a case of cliffs...
Desacralized, it seems to aspire only better to universality. It comes down to us having preserved the trace of multiple influences, without losing its own identity: that of a place with harmonious architecture, obvious to the eye, almost familiar. That of a location that could not be elsewhere, not even a few meters away. As for its orientation, you only need to spend a few moments inside at the end of the day to be convinced: it is not the result of chance. She imposes herself. Here the cult, which has become cultural, meets the natural, in a rare unity.
The simplicity of the building hides a wealth of symbols, which until today preserve a part of mystery: here a bird picks a fig, there spirals, everywhere a thousand-year-old resonance.
The chapel captures the light, inside and out: it now plays with the labyrinth, which echoes the circumvolution of the omnipresent spirals. The oculus, also circular, is the intermediary of this dialogue which precedes sunset. Inside, too, the mosaics respond delicately to the tan tones of the exterior cladding. The rhythm is subtly taken up by the stained glass windows, a fragile border between the outside world and the inside world, between what is visible and what is not. To the symbols of the past are added other symbols, some explicit, others left to the imagination.
The place invites to pause, to silence, to reflection. Nothing has quite started there. Nothing is quite finished.
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The Chapelle romane St-Jean-Baptiste is the only one still standing with the church of Comps on the 12 priories or churches owned by the Benedictine abbey of Savigny in the Burdeaux region. Mentioned for the first time in 1107 in a bull by Pope Pascal II. Church isolated, dominating the course of Roubion, Saint-Jean depended on the priory Saint-Michel de Bourdeaux, priory known since 1031. Why did you choose such a location? The Church was certainly built on an older building, which one? An early Christian church? A Gallo-Roman villa? A temple or a Gallo-Roman place of worship? A Celto-Ligure place of worship?

La chapelle Saint Jean de Crupies - Patrimoine Drome
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Roubion (river)ère)

The length of its watercourse is 66.6 km
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At equal distance from Dieulefit, Montélimar and Crest, Pont-de-Barret, this small village in the Drôme is situated in an enchanting setting.
Nestled at the foot of three mountains (Sainte-Euphémie to the north, Éson to the northeast and Briesse to the east), Pont-de-Barret is watered by two rivers: the Roubion and the Rimandoule.
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Restaurant La Fontaine Minérale - PONT DE BARRET Drôme
A source of naturally sparkling mineral water is present under the establishment. This restaurant is an old thermal water establishment.
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Legend has it that Hannibal passed through the village.


« old rock »

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At that time, we are in 1888!
The flourishing razor stone industry (the coticule) is the region's main economic activity and employs more than 40 workers in Salmchâteau (in the property that has now become the Régie des Ponts et Chaussées).
The atmosphere is excellent and at the end of November, Saint Clement, patron saint of quarry workers is celebrated with dignity. Small fisher and songs of all kinds decorate the festival. The most diverse voices, low or powerful in some, clear or melodious in others and very often used in the most accurate tessitura, encourage the creation of a choir !... Why not?
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The coticule of Vielsalm (from the Latin coticula ; of cos, cotis, " stone with razor ") or Belgian stone is a kind of crystalline schist with very fine grain, composed for 35 to 40 % approximately of small crystals of garnet spessartine, of diameter ranging between 5 and 20 microns. It is a metamorphic rock of sedimentary origin with an important volcanic input marked by a high manganese content. It is a rock 480 million years old, in the purplish phyllades of the "salmian" (geological stage of the Ordovician).

Garnet has a hardness of 7 on the Mohs scale of 10 degrees. This high hardness combined with the small size of the spessartine crystals gives the rock great abrasive power combined with exceptional fineness.

This rock has been mined since the early 16th century. They were made into highly sought-after razor stones for their long life. It has declined with the progression of electric razors. With the depletion of the deposits, the last mine (Old Rock) closed in 1982. Maurice Célis, former engineer of the Mines of Campine, relaunched the activity in 1994 by founding the SPRL Ardenne Coticule which exploits the veins of coticule at the place called Thier de Preu, wooded hill of Lierneux. The main outlets have become the sharpening of precision cutting tools (cutlery, cabinet making, etc.) because the fineness of its abrasive power is greater than that of artificial materials and this allows it to easily sharpen the most resistant modern steels.

A Coticule Museum opened in 1982 in Salmchâteau in a former razor stone production workshop.
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>>> additional consideration

M. Joseph-Alexandre de SAINT-YVES (d'Alveydre)

extract from L'Archeomètre


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<<< extract/traduct

When Philip of Macedonia replied with sweet irony to the outrecuidance of the ambassadors of the Peloponnese: "How many true Greeks are among you? "He gave them, without looking like it, a little history lesson, knowing better than they that the Graoi, or Totemists of the Crane, were Celto-Slavic Epirotes and that ancient Greece itself was Slav and Pelasge, until the invasion of the revolutionary mercantis of Asia: Yonijas and Yavanas of Manou, Yavanim of Moses. An Etruscan Larthe, a Numa, could also have told the Levantins of the Tiber: how many true Italians are among you?

Indeed, the true Greeks were Slavs from the Balkans; the true Italians were also Celto-Slavs descended from the mountains, western and eastern Alps. All were part of the immense confederation of the Pelasges of Harakala, before him of the Rama of Moses and the Brahmes, the Bacchus of the Greek-Latin, and even more before the first Cycle of the Patriarchs.

These rectifiers of rivers, seas and flooded lands, these tamers of animality and wild nature, were learned priests, military engineers, labourers and founders of cities as never before seen.

Their Aryas grouped into dodecapoles stretched from Italy to Greece, from the Balkans to the Caucasus, from Taurine to the plateaus of Tartary, from Ghiborim Iran to Nephilim Hebyreh, and from all of Aryavarta.
Lorsque Philippe de Macédoine répondait avec une douce ironie, à l'outrecuidance des ambassadeurs du Péloponnèse: " Combien y a-t-il de vrais Grecs parmis vous ? " il leur donnait, sans en avoir l'air, une petite leçon d'histoire, sachant mieux qu'eux que les Graïoi , ou Totémistes de la Grue, étaient des Celto-Slaves épirotes et que la Grèce antique elle-même était Slave et Pelasge, jusqu'à l'invasion des mercantis révolutionnaires de l'Asie : Yonijas et Yavanas de Manou, Yavanim de Moïse. Un Larthe étrusque, un Numa, aurait pu dire également aux Levantins du Tibre : combien y a-t-il de vrais Italiens parmis vous ?

En effet, les vrais Grecs étaient des Slaves des Balkans ; les vrais Italiens étaient des Celto-Slaves descendus eux aussi des montagnes, Alpes occidentales et orientales. Tous faisaient partie de l'immense confédération des Pelasges d'Harakala, avant lui du Rama de Moïse et des Brahmes, le Bacchus des Greco-Latins, et encore plus avant du premier Cycle des Patriarches.

Ces redresseurs de fleuves, de mers, de terres inondées, ces dompteurs de l'animalité et de la nature sauvage, étaient des sacerdotes savants, des ingénieurs militaires, des laboureurs et des fondateurs de villes comme on n'en a plus revues.

Leurs Aryas groupées en dodécapoles s'étendaient de l'Italie jusqu'à la Grèce, des Balkans jusqu'au Caucase, de la Taurine aux plateaux de la Tartarie, de l'Iran des Ghiborim à l'Hébyréh des Néphilim, et de toute l'Aryavarta.


« … for the benefit of these new Atlantians of the day before yesterday and their industrial Moloch. »

« … au profit de ces nouveaux Atlantes d'avant-hier et de leur Moloch industriel. »


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The Living Force
FOTCM Member
I mean "compliance" in terms of self-satisfaction/"divide and conquer", that's fashion.


You did not say "compliance" BlackCartouch did and my comment was in reference to his post.

Hello, I think there is a link of STS interest between "western music" and the exclusive ideology of the venerable "great architect";
on the other hand, the Cassiopian idea of a "great compensator" could give us some leads, and concerning the purpose of a "sacred music" as well as its true history.
Also, what would be the human interest in music, in esoteric terms? undoubtedly there is a relationship between "our high emotional center" and our creativity; perhaps music is only a symbolic representation of 3rd density, like a celebration of life or belonging to ONE religion.

As far as I know there is no "Cassiopeia idea of a "great compensator".


The Living Force
FOTCM Member
Yes, "unity" is better.
Satan was said to be in charge of music in Heaven before his 'Fall' - and came to use his knowledge of the power of music to alter our mood and state-of-mind, to promiscuously dance with one another, and enter into sin. So yes, unity with STS.

Music and dance is also a Dionysus theme.

I am not so sure that every story in the bible is accurate especially after reading Laura's book Secret History of The World.

Unity can be for both STS and STO purposes as far as I am concerned.

As for music the Cs did say that at least in some respects music can be good:

October 16, 1994

Frank, Laura, V___

Q: Hello.

A: Hello. Music is Good.

Q: (L) Can you give us your name?

A: Cederra.

Also more recently in 2008 there are these questions and answers that emphasize how music can be depressing and mind warping but also can be a great gift depending on the person creating it: said:
Q: (A****) Will the detox/anti-candida diet help me to stop having negative thoughts?

A: Yes indeed! Follow the diet and especially the supplements. The information about "secrets" applies to you too!!!!

Q: (Discussion of answer)

A: Also, what's with the depressing and mind warping music?!

Q: (A******) My music isn't depressing!

A: You should sing more. Clear melodies can change the vibration of your physical structure.

Q: (A****) That's why I sing in the bathroom.

A: Art and music are your gifts. Do not waste them.

Q: (A****) So that's why I sing because I know subconsciously...

A: You should study voice. It could be your ticket to dreamland.

Q: (A*****) So if I follow this candida thing and stop being so weird then it could help me accomplish my goals? (Discussion)

A: Yes. Always. When the voice within is in harmony with the voice without, the angels will sing with you.

Q: (A***) Okay. Sounds good. So when I do all this stuff, and I bloom, will I know instinctively where I ought to be?

A: Yes.

Q: (Simon) (question about breathing exercises)

A: Laura can teach you a better technique.

Q: (Chu) Does this music and singing thing apply to all of us?

A: Yes.

Q: (Anna) Uh-oh. (L) Just not to the same extent. (Anna) I have a whiskey voice, people! (L) I think singing helps you, but in A****'s case it was specific. (Scottie) So that would mean that playing an instrument would be good, yes?

A: Music is a good mode of expression for most people. But there are some who can change others lives with their heart and voice: A******.

Q: (L) Any last questions? (Ark) I just wanted to make a comment about how this music is good for everybody. It depends on what you have in your heart and mind. Remember F****! (laughter)

A: You hit the nail on the bald head! Goodbye.

{The referenced individual "F****" is completely bald.}




Your last few posts don't seem to have much to do with Esoteric Music. Are you aware of the Diet and Health section of the forum? Rice and lentils are not the healthiest choice for most of us.

of "spherical music", language (to express the thought) of birds, poetry and fauna, like phonetics, ethics too? so, "lens and race" ... a focal plane?
otherwise, I was thinking about the pill story.


of "spherical music", language (to express the thought) of birds, poetry and fauna, like phonetics, ethics too? so, "lens and race" ... a focal plane?
otherwise, I was thinking about the pill story.
focal plane reminds me of an "Atlantean symbol" and "prependicular reality"
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