Session 5 February 2000

I am more based in art and music but your question makes me try to understand why the Cs did not include the heptagon in their answers.
Maybe regular heptagons were not included because they lie outside the "sphere" of influence the other dimensions? They are more asymmetrical in an artistic sense and are closer to a 7th density symbolism? (Just wondering since you asked).
Thank you, your answer reminded me of the following segment from Ra:
16.51 Questioner: Could you define the word density as we have been using it to give us a little greater idea of the concept of this term when used by you?

Ra: I am Ra. The term density is a, what you would call, mathematical one. The closest analogy is that of music, whereby after seven notes on your western type of scale, if you will, the eighth note begins a new octave. Within your great octave of existence which we share with you, there are seven octaves or densities. Within each density there are seven sub-densities. Within each sub-density, seven sub-sub-densities, and so on infinitely.
So if every density is subdivided 7 times recursively, there must be a division by 7 somewhere!
In mathematics, modular arithmetic is a system of arithmetic for integers, where numbers "wrap around" when reaching a certain value, called the modulus. The modern approach to modular arithmetic was developed by Carl Friedrich Gauss in his book Disquisitiones Arithmeticae, published in 1801.
0 modulo 7 = 0
1 modulo 7 = 1
2 modulo 7 = 2
3 modulo 7 = 3
4 modulo 7 = 4
5 modulo 7 = 5
6 modulo 7 = 7
7 modulo 7 = 0

8 modulo 7 = 1
9 modulo 7 = 2
10 modulo 7 = 3
...and so on.
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The remainder is always 0, 1, 2, 3, 4, 5, or 6.
Q: (L) Just reverse everything. Light is gravity. Optics are atomic particles, matter is anti-matter... just reverse everything to understand the next level... it can't be that easy. (J) Wait a second: gravity equals light, atomic particles equals optics, anti-matter equals matter? It is all about balance. (L) And the answer must always be zero.

A: And zero is infinity.
Since zero can be considered as "infinity," maybe the heptagon wasn't mentioned because you would "get back reality by dividing by reality." The other regular polygons (pentagon (remainder=5), hexagon (remainder=6), and octagon (remainder=1)) would give back a remainder, thus generating a 'useful' imbalance in terms of knowledge application.
 
0 modulo 7 = 0
1 modulo 7 = 1
2 modulo 7 = 2
3 modulo 7 = 3
4 modulo 7 = 4
5 modulo 7 = 5
6 modulo 7 = 7
7 modulo 7 = 0

8 modulo 7 = 1
9 modulo 7 = 2
10 modulo 7 = 3
...and so on.
It looks like the modulo number is chosen by the individual in the above.

In music (at least in western music) the chosen modulo for 0 seems to be 8.

0 modulo 8 = 0
1 modulo 8 = 1
2 modulo 8 = 2
3 modulo 8 = 3
4 modulo 8 = 4
6 modulo 8 = 5
7 modulo 8 = 6
8 modulo 8 = 7
9 modulo 8 = 0
10 modulo 8 = 1
11 modulo 8 = 2
...and so on.

I don't know if that changes any of your other observations but I just hate loosing that one note I suppose. The octave becomes the reset and continuation.
 
In music (at least in western music) the chosen modulo for 0 seems to be 8.
It's a bit confusing, but the eighth note is actually the first note with double the frequency, so it corresponds to modulo 7. In modulo 8, there would be 8 distinct notes, which is not the case here because the eighth note 'feels' like the first one even though it has double the frequency. The completion of the cycle, as we jump from 7 back to 1, is what is called the 'octave,' because we land on the '8th' note which is the one we initially started with.

Ra has an explanation for it!
28.15 Questioner: Now, as the major galaxy is created, and I am assuming all of its densities— I am assuming all— there are eight densities created when this major galaxy is created. Is this correct?

Ra: I am Ra. This is basically correct. However, it is well to perceive that the eighth density functions also as the beginning density or first density, in its latter stages, of the next octave of densities.
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1701629426538.png
 
It's a bit confusing, but the eighth note is actually the first note with double the frequency, so it corresponds to modulo 7. In modulo 8, there would be 8 distinct notes, which is not the case here because the eighth note 'feels' like the first one even though it has double the frequency. The completion of the cycle, as we jump from 7 back to 1, is what is called the 'octave,' because we land on the '8th' note which is the one we initially started with.

Ra has an explanation for it!

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Actually, I think the density notation is more easily understood. I usually picture it that way I think. Thanks for the comparison charts. I was thinking of the same comparisons which are mostly just different notations of the same octave principle. And also thanks for the Ra reference too. I found the modulo notation confusing as you said. There are just 7 notes repeated octaves apart.
 
OK, but music written and performed without the artificial tempered scale has a very different affect. Real harmonics do not work with the tempered scale (in my opinion).

Perhaps there is something here about resonance and frequency that we need to understand but have not because of our "music"?
 
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OK, but music written and performed without the artificial tempered scale has a very different affect.
How would you describe a "natural" untempered scale?

I am just curious since the Cs seem to give us clues about things like "tone". A question was asked about whales singing.

Session 20 September 1997:

Q: I want to start off tonight with a question that has been bugging me all week: I want to know why whales sing?

A: Communication.

Q: They sing to communicate. I kind of figured that. Is this an elaborate and complicated form of communication?

A: Yes.

Q: Is it as complicated as a spoken language such as what we know?

A: More so.

Q: Is there any key you could give us as to how to interpret this language?

A: You would need to think in an entirely different way.

Q: What way would this be? Is it an image based language, or is it tone based? Do the tones evoke images or concepts and ideas?

A: It is psionic/practical wave modulation through flange scopotic transmisson.

Q: Could you define your use of psionic for me?

A: Seeing, hearing, feeling, absorption and response in simultaneous thought wave profile.

Q: Okay. What do whales talk about?

A: Not correct concept.

Q: What is the correct concept?

A: Total thought transference.

Q: What subjects interest whales enough that they exert energy to transfer those thoughts?

A: No need for "subjects" when one has total simultaneous comprehension.

Q: What do whales feel about human beings?

A: Wrong idea again!! You are not grasping this!!!

Q: I know that! I'm trying to... how do they feel about human beings?!

A: Each whale is able to absorb all truths that exist past, present and future at all "times."

Q: Well then, they are pretty awesome creatures and humans ought not to be hunting them down and killing them!

A: Lesson profiles interject experience.

Q: Who gets the experience interjected, us or them? We must be the ones getting the lesson here...

A: All there is is lessons.

Q: If there is anything else you want to tell us about whales, because obviously I am not understanding here. Are dolphins similar in make-up and ability?

A: Not "yet."

Q: They are down on the scale from whales. I think that whales are absolutely awesome. Are whale souls sort of like a composite soul - sort of like a bunch of dolphin souls make up a whale soul?

A: No.

Q: Is a whale soul always a whale soul from the beginning?

A: Whale is unified soul.

Q: Unified from what to what?

A: All whales share the same soul!

Q: Are human beings like that or moving in that direction, becoming unified soul?

A: Fragmented.

Q: Human beings are a fragmented soul. Were we once a unified soul?

A: Once and future.

Q: When one is a unified soul, then obviously all the experiences of the former fragments become everyone's experience, so to speak. Is that correct?

A: Close.

The Cs mention tone in the following session:

Session 7 November 1998:
Q: Alright: 'mathematics converts to sound in geometric measurements.' When we set up these figures...

A: Imagine an interlocking triangular mosaic in three dimensions.

Q: When one wishes to apply this, does one somehow... Is the sound inside one?

A: It is all around and through you.

Q: Is it a sound that can be perceived with the physical ears?

A: Yes.

Q: What frequency?

A: Not issue. Tone.

Q: Tone and...

A: Vibratory pitch.

Q: Well, if that is the case... is the tone something that is produced by a series of tones at 'mathematical distances' from one another that relate to prime numbers... chords, that is?

A: Best to reach when graspable.

Q: If these tones are produced either in sequence or in conjunction, are they based on the musical scale with which we are familiar?

A: See last response.

Q: (A) There are infinitely many prime numbers. How many of these frequencies do we have to produce so that the sound will act in a certain way? One, two, three... one hundred...

A: Variable, according to environs.

Q: Environs in what sense?

A: All senses.

Q: When you say 'environs,' do you mean indoors, outdoors, in the mountains, in the valley, by the sea, in the city... what?

A: All.

Q: (A) If I want to use the computer to produce such a composite sound based on a series of prime numbers, how many of them should I take and, from where? It is important whether it is ten or one hundred, or one thousand.

A: Okay, so start with 10. But, do not limit yourself. The pathway leads...

It seems that good vibrations can be healing when using the right "tones" and sequencing.

Session 20 September 2014:

(Pierre) I have another question if we can change topic. There is this French scientist who discovered those Paleolithic pestles made of rock. For decades they thought they were used to crush seeds or whatever. By chance, he dropped one - and he's a musician - and he found that it sounded good when it hit the ground. So, he started to analyze all these pestles. He found that each of them was tuned. Each of them generated a perfect note. Now their hypothesis is that the pestles weren't pestles, but a musical instrument. Are these pestles only used as musical instruments?

A: No, not even close. Healing tones produced when struck in correct sequence and combination.

Q: (Pierre) So it means some kind of music? Perfect tunes? If you play the right notes in the right sequence... And the right combination... Music can be healing.

A: Important that the tone is accompanied by subtones and frequencies that are natural to the stone and "speak" to the cells in the body.

Q: (L) So I guess you can't just play the music.

(Pierre) No, it's more elaborate than that. But it means a great amount of knowledge...

A: Notice the specific stones chosen for Stonehenge.

Q: (Perceval) What are they made of?

(L) Blue stones, and something else... Several kinds. Alright. Next?

(Approaching Infinity) At the last session, a question was asked about Soul Groups, and who of Caesar's soul group was still alive. The C's responded something like, "soul groups don't work that way"? So how do soul groups work?

(L) I think you need a more basic question than that. What is a soul group?

A: A soul group is an affiliation that can be due to origin or graduation.

Q: (L) You mean that souls can be part of a soul group if they have the same origin, as in some bigger soul or oversoul or something? And then they can also acquire or grow or get affiliations with other souls because of their vibrational frequencies due to their experience or growth or whatever?

A: Close enough.

Music seems to be an important part of our development.

Session 7 May 2016:

Q: (Andromeda,) What about crystals for specific cases for healing?

A: Sing for healing.

Q: (L) Healing crystals will get sung to, the water crystals get sung to, the protection crystals get recited to, and maybe we could even sing a little bit of the Psalm or tone it or something while we're doing it. Like our brass bowls or something like that?

A: Yes

Q: (Galatea) Besides crystals and salt, what else could we add to our water to amplify the effects?

A: Nothing.

Q: (L) Oh, so for the house protection, that is also the 91st Psalm?

A: Yes

Q: (Galatea) Read by each person, or just one person?

(L) We're supposed to sing/chant it, and repeat it I think; read in unison. How many times do we need to repeat it?

A: 8 times over three days.

Q: (L) 8 times per day?

A: Yes

Q: (Joe) Is that something that the person who receives it could do rather than us having to do it for each one?

A: You will do it. The recipient augments.

Q: (L) Is there any particular advantage to me doing any of this over and above somebody charging their own crystals?

A: Your life is an example of what it takes to receive our communications. You achieved frequency acceleration to do this. As we have told you, this communication is not unidirectional!

Q: (L) When you say that I achieved frequency acceleration, does that mean when I nearly died?

A: Yes

Q: (L) Swell! Anyway, what you're saying is that me doing it brings energy from you to the stone in the same way that you can communicate. Is that going in the right direction?

A: Yes

Q: (Galatea) So it applies to all of us then.

A: We merge with you during communication.

[SHORT BREAK]

Q: (L) Okay.

A: Individuals can be linked to knowledge/information via your efforts.

Q: (L) Well, somebody brought up the possibility that if I were to charge these crystals, and then some nefarious person got ahold of one, they could then send something back at me.

A: Not the way it works. The linkage is to 6th density thanks to your "installation of the software", but the mainframe is us in the future.

Q: (L) So in other words, I'm not putting myself into these crystals or creating a link between others and me, I'm putting some kind of frequency into them that links them to you/us in the future and then peeps are connected to you and through you to each other, possibly including me?

(Andromeda,) You're like the channel for the frequency.

(L) I'm channeling the frequency to the crystals, but I'm not connecting my personal energies to them?

A: Exactly. It would be "interesting" for some "nefarious" person to attempt such activity. We have a "firewall".

Q: (L) Somehow I get the feeling that when you say, "firewall", you mean that a little bit more than just symbolically...

A: Indeed.

Q: (L) I suspect that also means that those who don’t resonate to the frequency will know it pretty quick. Okay. What about the crystal business have we not covered? We now know more or less what we're doing, right?

(Pierre) Do you know what tune you're going to sing?

(L) Oh, do we know what songs we're going to sing?

A: Yes, you do!


Q: (L) I do...

A: You are also in the process of selecting songs for a meeting song book.

Another more recent session on the healing aspects of music...

Session 1 December 2018:
(Pierre) About frequencies... In a previous session, we mentioned this prehistoric stone that was perfectly tuned. The C's said that it was not a musical instrument, but instead for healing. They said you can't heal with a single tone, but with the proper tones and sub-tones. You need the right combination. I guess past civilizations had this knowledge. Today in our modern world, are there remnants of music or song that convey part of this knowledge?

A: Yes

Q: (Pierre) Oh yeah? Which one?

(L) Which one what?

(Pierre) Which song or type of music is closest to the tones and sub-tones that have those healing properties?

A: Gregorian chant.


Q: (Pierre) That's why Itellsya is always healthy. [laughter]

(Joe) I thought they were gonna say White Rabbit... [laughter]

(Chu) Or Pink Floyd. [laughter]
 
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OK, but music written and performed without the artificial tempered scale has a very different affect.

How would you describe a "natural" untempered scale?

I am just curious since the Cs seem to give us clues about things like "tone". A question was asked about whales singing.

Session 20 September 1997:



The Cs mention tone in the following session:

Session 7 November 1998:


It seems that good vibrations can be healing when using the right "tones" and sequencing.

Session 20 September 2014:



Music seems to be an important part of our development.

Session 7 May 2016:



Another more recent session on the healing aspects of music...

Session 1 December 2018:

Wow, this is such a deep subject. Hard to know what to say, but from a physics standpoint, the harmonics are related by the physical dimension of the instrument and the speed of sound wherever you happen to be.

For example, using a simple tube that is open on both ends, here are the natural wavelengths and frequencies . . . (of course there are more since the table can go on forever which leads to a discussion of the size of the tube and the notes you are looking for).

Tube open on both sides (a flute or just a pipe or tube).
L is the length of the tube
V is the speed of sound where you are​
WavelengthFrequency
(2/1)L(1/2)V/L
(2/2)L(2/2)V/L
(2/3)L(3/2)V/L
(2/4)L(4/2)V/L
(2/5)L(5/2)V/L
(2/6)L(6/2)V/L
(2/7)L(7/2)V/L
(2/8)L(8/2)V/L
(2/9)L(9/2)V/L
. . .. . .

Notice that the difference in frequencies as the wavelength shortens (musical instruments) is not a standard number as it is in the equal tempered scale.

I have actually wondered at times if those that seem to be tone deficient are actually tuned to their ear canal which is a tube with one end open and one closed instead of what they are hearing.
 
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Wow, this is such a deep subject. Hard to know what to say, but from a physics standpoint, the harmonics are related by the physical dimension of the instrument and the speed of sound wherever you happen to be.

For example, using a simple tube that is open on both ends, here are the natural wavelengths and frequencies . . . (of course there are more since the table can go on forever which leads to a discussion of the size of the tube and the notes you are looking for).

Tube open on both sides (a flute or just a pipe or tube).
L is the length of the tube
V is the speed of sound where you are​
WavelengthFrequency
(2/1)L(1/2)V/L
(2/2)L(2/2)V/L
(2/3)L(3/2)V/L
(2/4)L(4/2)V/L
(2/5)L(5/2)V/L
(2/6)L(6/2)V/L
(2/7)L(7/2)V/L
(2/8)L(8/2)V/L
(2/9)L(9/2)V/L
. . .. . .

Notice that the difference in frequencies as the wavelength shortens (musical instruments) is not a standard number as it is in the equal tempered scale.

I have actually wondered at times if those that seem to be tone deficient are actually tuned to their ear canal which is a tube with one end open and one closed instead of what they are hearing.
Made a few mistakes on the explanation, but the general idea is that there are natural resonant frequencies that depend on the structure of the musical instrument and the speed of sound AND to make all of this work together in our world we created the equal temperament scale.
 
Wow, this is such a deep subject. Hard to know what to say, but from a physics standpoint, the harmonics are related by the physical dimension of the instrument and the speed of sound wherever you happen to be.

When studying orchestration, it was always fascinating when the discussion of combination tones came up. We would sit at the piano and listen to the tones that would arise from the playing of different intervals. Wikipedia gives a better explanation than I can.


There’s also the aspect of acoustic levitation…


I wonder if the following is an example of what the C’s might be referring to…

 

When studying orchestration, it was always fascinating when the discussion of combination tones came up. We would sit at the piano and listen to the tones that would arise from the playing of different intervals. Wikipedia gives a better explanation than I can.


There’s also the aspect of acoustic levitation…


I wonder if the following is an example of what the C’s might be referring to…


This is really interesting I think. For a long time I have suspected it may be more about the relationship between whatever place you choose to start your your "tone" and how other tones are added once you decide to start at that same place others can join and adjust to that starting place. For some reason I liken it to what the Cs say is "Tribal Unity". If a group of people form a harmony among themselves it does not matter where they start necessarily but that they all see or hear that basic established melody that begins to form.

It is much like musicians tuning their instruments so they can establish that common starting point I think. From that point there may be a universal design that creates perfect melody, harmony and even sub-harmonies. And songs or compositions do not even always have to be totally without dissonance to have a positive or healing effect perhaps.
 

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