Min's Light & Sound - Chapter 6 of 10
Ph.D.
Chapter 6
Going In Circles
SO FAR we've learned about diatonic & chromatic colors
and tones of the zodiac, diatonic modes of the planets,
the decanates & pentades in the horoscope and how they
are computed--using the natal chart of Isaac Newton as
an example; the natal chart of Ludwig van Beethoven as
the preeminent example of horoscope interpretation via
modes of ruling planets by transposition in the zodiac,
and the general distinction between sidereal & synodic
orbits of the planets and their astrological influence
on the eternal soul and temporal body of life on Earth.
Music is the divine expression of the Gods & Goddesses,
as the most esteemed ancient philosophers and prophets
have concertedly reiterated, with latter-day musicians
demonstrating time and time again that music is sacred,
even magical, since music itself exists because of the
very Gods who created it--and the Muses who promote it!
The Muses, the beautiful daughters of Zeus & Mnemosyne,
the nine who are in fact the seven diatonic modalities
of the heavens with two repeat modes in the bass, then
middle C, the tone of Pluton at the center of activity.
Astrology is built on the mathematics of music and its
rudimentary tones, its harmonies, melodies and rhythms,
its crescendos and overtones, consonances, dissonances,
and resonances, its colors, its hues, its unparalleled
capacity to express that which is otherwise intangible;
Bach, Beethoven, Beatles, Hendrix, Zeppelin, Floyd, or
any other composer or performer of music who you enjoy,
be it classical, rock or jazz, country, hip hop or any
other style of music that you savor--that's good music.
Even the music that you don't care for, or even detest,
if anyone out there likes it, it's good music for them,
hence the maxim "beauty is in the eye of the beholder".
Mother nature is alive with her own genres of music in
concert twenty-four hours a day. Everywhere you listen
in nature her songs can be heard. One need only listen.
Now we come to the traditional circle of fifths, which
is the order of major key signatures linked by perfect
fifths, beginning with the key of C, the center of our
human hearing, and diatonic tone of Pluton & Mnemosyne
(recall that Pluton and Poseidon are brothers of Zeus).
This circle of fifths adds one sharp per perfect fifth
above C in a contiguous series; the key of C is simply
the diatonic Ionian modality beginning on C, whose key
has no sharps or flats. Next the perfect fifth above C
begins the key of G, which adds its one sharp tone, F#.
Climb up another perfect fifth from the G and you land
on D, which key signature adds a C# in addition to the
F#, so the key of D has two sharps, F# and C#. Next we
climb to the key of A with three sharps F#, C#, and G#.
The fifth up to E needs four sharps F#, C#, G#, and D#.
Then the fifth up to B has five sharps, F#, C#, G#, D#,
and A#. From here the key signature jumps up a perfect
fifth to F#, with six sharps F#, C#, G#, D#, A# and E#,
where the E# is the same as the F, but is notated as a
E# in the key signature of F# major. Lastly, the seven
sharps are F#, C#, G#, D#, A#, E# and B# in the key of
C#, where the B# is really the C, but is notated as B#.
Notably, the seven days of the week are actually named
for the sidereal orbits of the seven naked-eye visible
planets in diatonic fifths--no sharps or flats allowed,
from the Sun's Dorian mode to Saturn's Mixolydian mode.
The difference from our circle of fifths is that these
are strictly diatonic fifths, but not chromatic fifths
as we see above using the traditional circle of fifths;
meaning that the perfect-diatonic fifth above B is not
F#, but is necessarily the diminished fifth to Jupiter,
the Lydian mode which is naturally in the diatonic key
of F, not F# as in our chromatic circle of fifths. See?
Thus the first day of the week is Sun's day and Dorian
mode, which begins on D. Up a fifth for the second day
of the week, Moon's day, Aeolian mode and the key of A.
Up a fifth to Mars' day, whose Phrygian mode is in the
diatonic pitch key of E. Up a fifth to B, is Mercury's
day in the theoretical Locrian mode. Next is the fifth
day of the week, Jupiter's day, the Lydian mode in the
diatonic key of F natural. Up a fifth to the sixth day,
Venus' day, her beautiful Ionian mode, in the key of C.
Lastly, with the days of creation complete is Saturn's
day in the Mixolydian modality, and the pitch key of G.
The following charts illustrate tonal relationships in
raising each of the seven modalities by perfect fifths.
You'll notice that each mode adds the same sharp tones
for every perfect fifth on the entire circle of fifths:
DIATONIC MODALITY - ZERO SHARPS:
A B C D E F G Aeolian
B C D E F G A Locrian
C D E F G A B Ionian
D E F G A B C Dorian
E F G A B C D Phrygian
F G A B C D E Lydian
G A B C D E F Mixolydian
UP ONE PERFECT FIFTH - ONE SHARP:
A B C D E F# G Dorian
B C D E F# G A Phrygian
C D E F# G A B Lydian
D E F# G A B C Mixolydian
E F# G A B C D Aeolian
F# G A B C D E Locrian
G A B C D E F# Ionian
UP TWO PERFECT FIFTHS - TWO SHARPS:
A B C# D E F# G Mixolydian
B C# D E F# G A Aeolian
C# D E F# G A B Locrian
D E F# G A B C# Ionian
E F# G A B C# D Dorian
F# G A B C# D E Phrygian
G A B C# D E F# Lydian
UP THREE PERFECT FIFTHS - THREE SHARPS:
A B C# D E F# G# Ionian
B C# D E F# G# A Dorian
C# D E F# G# A B Phrygian
D E F# G# A B C# Lydian
E F# G# A B C# D Mixolydian
F# G# A B C# D E Aeolian
G# A B C# D E F# Locrian
UP FOUR PERFECT FIFTHS - FOUR SHARPS:
A B C# D# E F# G# Lydian
B C# D# E F# G# A Mixolydian
C# D# E F# G# A B Aeolian
D# E F# G# A B C# Locrian
E F# G# A B C# D# Ionian
F# G# A B C# D# E Dorian
G# A B C# D# E F# Phrygian
UP FIVE PERFECT FIFTHS - FIVE SHARPS:
A# B C# D# E F# G# Locrian
B C# D# E F# G# A# Ionian
C# D# E F# G# A# B Dorian
D# E F# G# A# B C# Phrygian
E F# G# A# B C# D# Lydian
F# G# A# B C# D# E Mixolydian
G# A# B C# D# E F# Aeolian
UP SIX PERFECT FIFTHS - SIX SHARPS:
A# B C# D# E# F# G# Phrygian
B C# D# E# F# G# A# Lydian
C# D# E# F# G# A# B Mixolydian
D# E# F# G# A# B C# Aeolian
E# F# G# A# B C# D# Locrian
F# G# A# B C# D# E# Ionian
G# A# B C# D# E# F# Dorian
UP SEVEN PERFECT FIFTHS - SEVEN SHARPS:
A# B# C# D# E# F# G# Aeolian
B# C# D# E# F# G# A# Locrian
C# D# E# F# G# A# B# Ionian
D# E# F# G# A# B# C# Dorian
E# F# G# A# B# C# D# Phrygian
F# G# A# B# C# D# E# Lydian
G# A# B# C# D# E# F# Mixolydian
Similarly, while we descend by perfect fifths down the
scale for each mode, flat keys are added in succession:
DIATONIC MODALITY - ZERO FLATS:
A B C D E F G Aeolian
B C D E F G A Locrian
C D E F G A B Ionian
D E F G A B C Dorian
E F G A B C D Phrygian
F G A B C D E Lydian
G A B C D E F Mixolydian
DOWN ONE PERFECT FIFTH - ONE FLAT:
A Bb C D E F G Phrygian
Bb C D E F G A Lydian
C D E F G A Bb Mixolydian
D E F G A Bb C Aeolian
E F G A Bb C D Locrian
F G A Bb C D E Ionian
G A Bb C D E F Dorian
DOWN TWO PERFECT FIFTHS - TWO FLATS:
A Bb C D Eb F G Locrian
Bb C D Eb F G A Ionian
C D Eb F G A Bb Dorian
D Eb F G A Bb C Phrygian
Eb F G A Bb C D Lydian
F G A Bb C D Eb Mixolydian
G A Bb C D Eb F Aeolian
DOWN THREE PERFECT FIFTHS - THREE FLATS:
Ab Bb C D Eb F G Lydian
Bb C D Eb F G Ab Mixolydian
C D Eb F G Ab Bb Aeolian
D Eb F G Ab Bb C Locrian
Eb F G Ab Bb C D Ionian
F G Ab Bb C D Eb Dorian
G Ab Bb C D Eb F Phrygian
DOWN FOUR PERFECT FIFTHS - FOUR FLATS:
Ab Bb C Db Eb F G Ionian
Bb C Db Eb F G Ab Dorian
C Db Eb F G Ab Bb Phrygian
Db Eb F G Ab Bb C Lydian
Eb F G Ab Bb C Db Mixolydian
F G Ab Bb C Db Eb Aeolian
G Ab Bb C Db Eb F Locrian
DOWN FIVE PERFECT FIFTHS - FIVE FLATS:
Ab Bb C Db Eb F Gb Mixolydian
Bb C Db Eb F Gb Ab Aeolian
C Db Eb F Gb Ab Bb Locrian
Db Eb F Gb Ab Bb C Ionian
Eb F Gb Ab Bb C Db Dorian
F Gb Ab Bb C Db Eb Phrygian
Gb Ab Bb C Db Eb F Lydian
DOWN SIX PERFECT FIFTHS - SIX FLATS:
Ab Bb Cb Db Eb F Gb Dorian
Bb Cb Db Eb F Gb Ab Phrygian
Cb Db Eb F Gb Ab Bb Lydian
Db Eb F Gb Ab Bb Cb Mixolydian
Eb F Gb Ab Bb Cb Db Aeolian
F Gb Ab Bb Cb Db Eb Locrian
Gb Ab Bb Cb Db Eb F Ionian
DOWN SEVEN PERFECT FIFTHS - SEVEN FLATS:
Ab Bb Cb Db Eb Fb Gb Aeolian
Bb Cb Db Eb Fb Gb Ab Locrian
Cb Db Eb Fb Gb Ab Bb Ionian
Db Eb Fb Gb Ab Bb Cb Dorian
Eb Fb Gb Ab Bb Cb Db Phrygian
Fb Gb Ab Bb Cb Db Eb Lydian
Gb Ab Bb Cb Db Eb Fb Mixolydian
So you see, there are only seven unique key signatures
that are built on the explicitly diatonic scale of the
planets. All others require at least one sharp or flat
tone for its modal transposition. The circle of fifths
ascending & descending begins on the diatonic scale of
the planets but expands by scalar transposition to the
chromatic zodiac along the twelve-tone scale. There're
two particularly notable features regarding this modal
behavior. One, that the seven naturally-diatonic tones
of the seven planetary modalities are centered just as
the naturally-chromatic tones for the twelve planetary
signs of the zodiac are likewise centered: on middle-C.
And two, that this correspondence between the diatonic
modes and chromatic scales is fixed by sidereal orbits
of the planets in their synodic positions superior and
inferior to the Sun. It's the Earth's orbital distance
from the Sun i.e. between the orbits of Venus and Mars,
which numbers the Sun as the fourth heaven, with Venus
third and Mars fifth, our Moon first, & Mercury second.
Thus the natural key characteristics of the planets in
their respective modalities is established strictly by
their sidereal order of orbit. Since the natural pitch
key for each planet is inextricably fixed to the first
tone commencing its diatonic modality, it is necessary
that the Moon be associated first with the A above the
middle-C, ergo the Aeolian modality for which her muse
Klio is named. By impressing this upon your memory you
will begin to automatically recognize the diatonic key
of A as the Moon's by her Aeolian order in the heavens;
which order emerges from the sidereal order of planets,
just as the planets themselves emerged in their orbits
according to the very same order thereby empowering it.
It seems the creation and the idea of the creation are
one in the same where the Gods & Goddesses are present.
By associating the sidereal order of the other planets
with their respective modes and fundamental pitch keys,
you will begin to hear the relative key characteristic
for each planet among the solar system thus altogether
as a team, since each planet's modality shares exactly
the same seven tones as the other planets do, only the
order is unique to each planet. That's what determines
each planet's natural key characteristics--in contrast
to those key characteristics for the other six planets
out to Saturn, and repeat modalities for outer planets.
You've seen by transposition how these unique keys and
modes of planets interact & overlap in the spectrum of
the zodiac, including how they share common sharps and
flats when transposed through the circle of fifths, up
and down the chromatic scale. Above this lofty plateau
would be the study of music theory, chord progressions,
inversions, smooth voicing, composition, orchestration,
etc. That's all fine, but this study is focused on the
astrology of light & sound--light & sound of astrology.
The planets and signs are the stars of this exhibition.
They are I AM of the Gods, as the bible calls LORD God.
Music is divine, color is divine & astrology is divine.
Therefore, the next chapter will focus on the profound
associations of Light & Sound with the planets & signs,
the essentials for understanding who the Gods are, and
how they behave in our zodiac--the real source of myth,
and the true composition of our psyche for we are Gods.
See Chapter 7 for continuation...
Daniel Joseph Min
-----BEGIN PGP SIGNATURE-----
iQA/AwUBPqRTxJljD7YrHM/nEQLQ2QCdEtw1p4k4/u94W1V2Zy1CqC57QqsAoO1W
QAZ9utlk7gx5NZIhaw93/dT2
=vVJG
-----END PGP SIGNATURE-----