Key Characteristics FAQ - final edition
Astronomick
Q1. What are the effective key characteristics in
the chromatic transposition of fixed/diatonic
modalities onto the black and white keys of a
piano, for example? What's the basis for this?
A1. These are called the 7 x 12, the 7 times 12,
which diatonic-sidereal orbits of the seven
planets (plus the three outer planets whose
repeat modalities are in the bass up to one
at the center) formed the solar system iris
of twelve chromatic signs called the zodiac,
which is the quadteruncian division of four
cardinal quadrants of the circle tri-sected
into the cardinal, fixed & mutable twelfths
completing the chromatic circle ergo Zodiac.
Each center of radiant activity is centered
on its own zodiac, relative in the Universe.
Each of the sacred seven modalities will be
transposed onto any of the twelve chromatic
keys in the iris, centered where the center
of the instrument or voice, the listener or
symphony is most befitting its whole center
of activity. Treat the keys of the piano as
you would treat the signs of the zodiac, as
these are formed in the same universal iris
or eye of the Sky: one brow evening-morning.
Sidereal pitch-key characteristics form the
order of the signs in the zodiac. The signs
rule in the Titan time-keeping place of the
elder gods, whereas the Olympians Gods rule
over these signs, enabling transposition in
the iris but never reordering! The order is
our regulation, our seder, in the zodiac as
the transposition must follow the order but
freely turns the order as a whole under the
reign of the heavens from their position to
the Earth as a whole one whole solar system.
Thus, the chromatic key characteristics are
formed in the iris and are transposable but
not re-orderable. For example, you may wish
to play a song written in the major-perfect
Ionian mode in a key other than C, i.e., in
any of the twelve chromatic keys other than
the fixed pitch-key of C owned by Venus and
Pluto in the diatonic sidereal order of the
planets. This transposition of the Venusian-
Plutonian mode is enabled in the iris which
they co-formed with the other eight heavens.
Thus the sidereal order is preserved, where-
ever the transposition may be centered, i.e.
re-centered. The tonic, or center, relative
in the transposition is defined by sidereal
orbits of the ten heavens in the iris. This
means that key characteristics are owned by
the heavens in the fixed-sidereal sense and
their ownership of each respective modality
finds its tonic note through chromatic form;
that is, the chromatic-center of any melody
no matter where it is transposed: its tonic
pitch key is owned by the corresponding God
of that key IN THE CHROMATIC IRIS which was
defined by the sidereal heavens together in
their respective and nontransposable places.
E.g., Mercury inferior (morning) is the key
of D in the chromatic iris. Whereas the Sun
and his fixed Dorian mode is diatonic, thus
is not transposable. When you transpose any
of the seven diatonic modes onto the key of
D, then the center of that transposition is
Mercury inferior not the Sun. Its that easy.
Where more complex & overlapping modalities
on the circle of 4ths & 5ths etc. are found
in the music, their key characteristics are
always referenced to non-transposable notes
in the iris. E.g., the key of "C" is always
owned by Mars inferior in the chromatic key,
irrespective of the key(s) of transposition,
whereas modes are fixed by sidereal planets.
The rule is transposition follows the order.
The order of the twelve signs of the zodiac
are defined by the sidereal order of heaven
which is fixed and so is never transposable.
Transposition "awakens" the chromatic reign
of the Gods in the iris. Each mode is owned
by the sidereal planet(s) of that mode, e.g.
the Moon & Uranus own its natural minor, or
Aeolian mode, in the fixed sidereal heavens.
Any melody touching on the Aeolian modality
renders service to the Moon & Uranus, while
the key(s) it is written in or performed in
renders service to the planets who rule the
signs in the iris. As in judicial astrology,
transpositions are made by the planets from
their position to the Earth at the time and
place for which chart calculations are made.
Thus the musical composer or performer will
favor the center of his / her own horoscope
relative to the time and place of composing
or performing, i.e., to the one progression
of the solar system as a whole to the Earth.
Q2. So the pitch key of a song is not the same as
its key signature, is that what you're saying?
A2. Yes and no. A song's key signature is shown
by sharps or flats next to the clef in most
all musical scores. This shows not only the
mode but also the pitch key or tonic of the
musical notation. In transposing this music
to another key, the pitch key changes, thus
the sharps or flats are changed accordingly
depending on the line-position of the clefs.
In musical notation, the term key signature
is understood to define both pitch and mode.
For all 12 chromatic keys, the pitch key is
relative to the center of our human hearing
as relative to the middle C on a piano. The
pitch key of a song is the sign of the song,
and the modal signature of the same song is
defined by the fixed planet of its diatonic
modality, i.e., always counting by seven on
the white keys of the piano. Of course most
music touches more than one planet-modality.
Most music is well-structured, so its pitch
key and key signature is readily recognized.
Longer scores include transitional sections
with modulations to keep things interesting
along the most pivotal moments in the music.
Many contemporary composers write "keyless"
music, which tends to repeat a central tone
to make it work, so the music isn't exactly
keyless. Even Mercury-Neptune Locrian isn't
taboo for the most daring of composers--the
point being that virtually all compositions
and performances convey an underlying theme,
its predominant pitch key and a predominant
modality, no mater how simple or complex it
is. The pitch key is the zodiac sign of the
music and a modal signature is its modality
known by the sidereal orbits of the planets.
NOTE that the modalities are what are being
transposed, but not the pitch keys relative
to the center which is always middle C. The
mode is its seven diatonic keys relative to
themselves, whereas its transposition among
the twelve chromatic pitch keys defines its
key signature in the iris. By contrast, the
astrological transposition of house-numbers
in the terrestrial (meridian) houses relies
on the position of the planets to the Earth
at the time and place for which calculation
is made, as already stated. This means that
the signs of Earth's zodiac are rotated for
the greatest rulership under the planets in
the houses. Such astrological transposition
is distinct from common music transposition,
since the latter accommodates an instrument
of performance but not the planets in orbit.
True judicial astrological transposition is
more exactly called transliteration, as the
planetary glyphs transliterate to the signs
they are ruling in--revealing the horoscope.
In conclusion, every key on the piano has a
corresponding sign in the zodiac, and these
are fixed not transposable. These signs are:
Bb B C Db D Eb E F Gb G Ab A
A# B C C# D D# E F F# G G# A
Aqu Pis Ari Tau Gem Can Leo Vir Lib Sco Sag Cap
| | | | | | | | | | | |
11 12 1 2 3 4 5 6 7 8 9 10
The seven, diatonic sidereal modalities are
transposed in the chromatic iris, these are:
Mixolydian Saturn
Lydian Jupiter
Phrygian Mars
Dorian Sun
Ionian Venus-Pluto
Locrian Mercury-Neptune
Aeolian Moon-Uranus
This transposition of the seven modes among
the twelve signs results in 84 combinations
of key signatures within the musical zodiac,
with each of the 84 having its unique ethic,
its key characteristic imbued by modalities.
Daniel Joseph Min
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Spåmster
Astronomick wrote:
> Daniel Joseph Min
FOAD!