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The tonal patterns of Twelve, Seven, and Five as expressed the chromatic and diatonic scales are fundamental to the universal structure of things. This being true, it is to be expected that these same numerical patterns should appear again and again throughout all nature. And so they do, as common observation readily verifies.
On the musical keyboard five dark keys and seven white keys make up the octave. Corresponding to this are the seven "globes" upon which evolution is carried forward during each of the seven creative days and the five "globes" over which it proceeds during each of the intervening cosmic nights. It is also in keeping with this evolutionary pattern that the spectrum shows seven colors which are seen with ordinary sight as clear as "day," but with five more colors discernible only to etheric vision, or the sight that sees even in the dark of night.
Occultism reveals a similar correspondence in humanity’s relation to the twelve creative Hierarchies. Seven are active in helping man to progress upon his path, whereas five have completed their work with humanity and withdrawn to higher planes of being.
The forces of the Twelve are cosmic; they are basic and all-inclusive. In the present stage of evolution mankind can but sense the nature of their operations. Only the Illuminati are able to comprehend and interpret the full workings of the twelve-fold force. The Seven, however, reduce and re-channel the forces of the Twelve to the point of physical concretion in which material form becomes visible and audible to human perception.
The Five operate during the mystic intervals between the Days and work with the process by which the vibrational rhythms of objective activity are lowered so as to be made suitable for the subjective activity of assimilation which proceeds during the cosmic nights.
From this fact we may discover by analogy that the world work of the Five is to bring forth into active manifestation the forces that gestate in silence and darkness during the night time, even as the seed when buried in the ground puts forth latent powers in the form of new life. The mystic intervals of rest and assimilation between the days of objective activity are spoken of as nights because they are without the light that accompanies outer manifestation. This is why black symbolizes spiritual power in latency as white represents the same power in manifestation.
Major tones create objectively and minor tones build subjectively. As man works consciously in the outer world under the impulses of the major notes, so also does he work subjectively on the inner planes in developing and expanding his faculties under the influence of the minor tones.
The major keys (scales) are outpouring, productive, expand ing; the minor keys (scales) are secretive, sustaining, enfolding. In the annual cycle of seasons, the earth alternates periodically between two rhythmic moods, a major and a minor. At the Autumn Equinox it changes from the major tones that have dominated during spring and summer to the minors that prevail during autumn and winter.
It is through a blending of positive and negative forces in nature, or a combination of the masculine and feminine potencies, that the hidden energies become externalized in visible form. In musical scales we may observe such a blend between the feminine flats and the masculine sharps. In that blend there are always seven tones involved. To illustrate: The forces projected through one flat bear the feminine modulation that occurs in a masculine pitch in six sharps. Two flats concur with five sharps, three flats with four sharps, four flats with three sharps, five flats with two sharps, and six flats with one sharp. Thus we see that the musical gamut audible to the physical ear is measured by seven.
The keyboard of the piano is composed of eighty-eight keys, which number reduces numeralogically to seven. It is also significant to note that the number seven is composed of the numerals three and four, three being masculine and representative of the powers of spirit and four being feminine and representative of the potencies of matter, the supreme purpose of the sevenfold evolutionary era is the transmutation of matter into spirit.
Every sound emanates a certain color and takes on a definite orm. Conversely, every form gives forth a sound; that sound is its keynote. Every created thing, from molecule to man and from plant to solar system, possesses a keynote of its own. The sum total of all these notes makes up the music of the spheres.
"The musical character of the universe is sensed by the clairvoyant," writes C. Jinarajadasa in First Principles of Theosophy. Amplifying the statement he continues: “As rhythm in structure and movement means music, the universe makes music as it works at its tasks. The electrons make waves as they rush through the aether, but their notes are scarcely within the audibility of the average clairaudient ear. But the note which the earth makes as it circles the sun, pushing its way thorugh the aether, and the harmonies of that note can be heard. Each visible and invisible planet has its note, and the music of the spheres is not a fantasy but a most sober verity.”
A few years ago there was perfected in Germany a delicate instrument by which it was possible to hear the sound of growing grass. To those whose hearing has been raised to the etheric octave, this sound may be heard without the aid of a physical mechanism. To the clairaudient person nature in all her manifold forms is literally heard performing a symphony of divine sublimity. Flowers, trees, and grasses — every growing thing — come into being and maintain their existence in harmony with symphonic patterns of sound that are indescribably beautiful. The winds are tuned to certain rhythms, as is also the beat of the waves. The tides also have their rhythm, coming in on majors and going out in minors. The combined sounds of everything on earth compose a harmonic chord which is the keynote of our planet. It is in the key of F whose tone becomes visible as green, and is, therefore, earth’s basic color note.
Every organ of man’s body-temple has been fashioned by the creative rhythms of the starry Hierarchies. The beating of the eart, the flow of the blood, the play of the muscles, the pulsations of the breath are all a part of this great body-symphony, and echo, faintly though it be, the sublime music of the spheres.
Max Heindel, a Rosicrucian Inititate, in his instructions to students of astro-diagnosis states that in health the vital body emits a sound which is continuous and very like the hum of a bumblebee. Blended with this sound there is also to be heard the swift motion of the vital fluid which flows through the body and emanates an auric radiance.
In health the keynote of the vital body is always in harmony with the keynote of the archetype. As a result of a generally in creasing refinement of perception, due to the growing influence of the Aquarian and Uranian rays in the new zodiacal cycle now opening, material science is corroborating these occult truths by laboratory experimentation. The report in the Canadian Theosophist of a lecture delivered by Dr. Yngve Zotterman, a Swedish physiologist at the University of Toronto, is in point. According to this savant, nerve sensations could be recorded on a gramaphone record, broadcast, and even projected on the screen. “A recording of the ordinary impulses of a nerve in the hand,” reads the report, “sounded like wireless atmospherics, but more regular.” Cotton being drawn across the hand produced a noise like hail-stones falling on a tin roof. Much the same effect was heard when a stick of wood was used, and, in addition, a noise like the slow roll of a kettledrum which continued for a little time afterwards and which the doctor said was the effect of pain, explaining that “pain and certain emotions are carried by the thinner fibres and the impulses continue after the first sharp pain is over.” A regular rattling noise and sounds as of sharp pistol-shots were the result of cold water being placed upon the tongue, while the throbbing pain of a burn sounded as if “all the percussion instrument players in a large orchestra had suddenly gone berserk.”
Since every object has its own keynote, naturally there is concord between some and discord between others. This often accounts for the incompatibility of certain individuals and for the preference that everyone has for certain seasons, places, colors, and music. Where keynotes harmonize there is pleasurable association; where they do not, the sensibilities are jarred Then we say quite rightly that this or that "gets on our nerves."
Not knowing the cause for the dissonant condition and circumstances in which we may find ourselves, we go on struggling with the handicap, often quite needlessly. Here again "knowledge becomes the wings whereon we fly to heaven."
When humanity shall have developed clairaudience together with the ability to determine the keynote of any person or thing, then friends, places and poisitons will be selected in accordance with basic tonal compatibility.
Every musical genius, for instance, realizes his greatest achieve ments in composition in the key which governs his life. Again, a conductor can best interpret the works of the composer whose compositions are concordant with his own keynote. Where there is perfect inner rapport between the composer, the interpreter, and the thing interpreted, naturally there is the sympathetic understanding which makes for exceptional skill in rendition.
Let us consider further the inner significance of the number five and the important part it plays in esoteric musical interpretation. The chord is formed by the first, third, and fifth notes of the scale. These three tones represent musically the powers of the Trinity, namely, the Father, Son and Holy Ghost, or the Will, Wisdom, and Activity principles as embodied in human expression. The first tone represents the Will or Power aspect by which all things are brought into being. The second tone represents the Love-Wisdom aspect of the Christ by which all things are interpreted into a unified whole. The third tone represents the Activity principle which works either constructively or destructively, in the one instance building for health, harmony and plenty, in the other manifesting disease, limitation and lack.
Frequent repetition of the chord of one’s own keynote produces a soothing, harmonious effect on strained nerves or a tired body. The playing of this chord is a splendid way in which to lift the consciousness above the vicissitudes of personal living and into the realms of inner knowing where all is permanent harmony, peace and love.
The utterance of musical harmonies depends upon the tonal concord of the planets making them. As previously stated, the twelve semitones of the octave are a perfect replica of the twelve-powered cosmic scheme. The five zodiacal Hierarchies that have passed beyond the environs of our solar system are as follows:
Aries — Keynote D-flat major, which has five flats: B, E, A,
D and G.
Taurus — Keynote E-flat major, which has three flats: B, E
and A.
Gemini — Keynote F-sharp major, which has six sharps: F, C,
G, D, A and E.
Cancer — Keynote G-sharp major, which has six sharps: C, G,
D, A, E and B, and F doublesharp.
(The signature used by musicians is A-flat major, which has four flats, B, E, A, and D.)
Leo — Keynote A-sharp major, which has four sharps; D, A, E
and B, and three double sharps, F, C and G.
(The signature used by musicians is B-flat major, which has two flats, namely, B and E.)
The following Hierarchies are still actively engaged in forwarding our planetary evolution:
Virgo — Keynote C-major, which has no sharps or flats.
Libra — Keynote D-major, which has two sharps: F and C.
Scorpio — Keynote E-major,which has four sharps: F, C, G
and D.
Sagittarius — Keynote F-major, which has one flat: B.
Capricorn — Keynote G-major, has onesharp: F.
Aquarius — Keynote A-major, has three sharps: F, C and G.
Pisces — Keynote B-major, has five sharps: F, C, G, D and A.
Each of the twelve signs exercises rulership over a certain center in the human body, wherein its forces are focussed and its influence is particularly effective. Every organ of the body is formed of an aggregate of countless minute atoms, all of which are in continuous motion. Thus every organ in the body bears the asterial signature or the impress of the zodiacal sign governing it. Since the keynotes of both are identical, an organ is particularly amenable to the vibratory rhythm of the sign that rules it.
Everything on earth is a manifestation of the four principles, Fire, Air, Water and Earth. This “Immortal Four” constitutes the Magic Word by which everything was made that is made. These mighty emanations are rayed upon the earth through the tones of the twelve zodiacal Hierarchies which are stepped down to man as the twelve notes of the chromatic scale.
The cosmic chord is also composed of three notes, namely, first, third, and fifth of the octave. The number one is God; the number three is His threefold power, namely, Will, Wisdom, and Activity, or the attributes of the Father, the Son, and the Holy Ghost, respectively. The number five is man in whom these qualities are to be evolved, since the purpose of earth life is to furnish the disciplines by which man may become, ultimately, even as the gods.
On the first Creative Day, the celestial beings of Leo, through the tone of A-sharp major, fashioned the matrix of man’s physical body with its gerhiinal sense organs and awakened the slumbering divinity within.
The chord that played upon the earth on the first Creative Day was sounded by Aries (1), Gemini (3), and Leo (5), thus conforming to the one, three and five that make up the musical chord. Aries through the scale of D-flat major (which is also C-sharp) gave the first impulse of life; Gemini through the scale of F-sharp major set into motion the masculine and feminine polarities, or the positive and negative forces in nature. Leo through the scale of A-sharp major formed the divine pattern of the potential god-man.
Similarly, each of the seven Creative Days strikes its own in dividual keynote through the cosmic chords of its gleaming zo diacal Arbiters.
The cosmic minor chords work correspondingly during the assimilative periods of the cosmic nights when the earth and all that it contains are reunited in the arms of Infinity (Chaos), and » en every unit of life both gives to and receives from every other unit the essence of its accumulated experiences. This process of universal interchange is effected by means of the intoning harmonies of the cosmic minor chords. Thus heaven and earth and all that lives therein, are built in harmony with the music of the spheres.
The cosmic matrix in which exists the divine pattern for the evolution of the entire human race is fashioned by the music of the twelve celestial Hierarchies. In a corresponding manner the matrix or divine image upon which an incoming Ego is to build its body is also attuned to the harmonies of the stellar chords during the prenatal period when the embryo takes form. This image, or archetype, is a vortex of creative color and sound, and is attuned in the heaven world to the keynote of the Ego that is to inhabit it.
Each of the seven planets sounds its own keynote, which is identical with one of the seven tones of the musical scale. Each Ego vibrates in harmony with one of the seven planets. The notes of all the planets are necessary to build the archetype of the Ego, but each planetary tone is adapted to harmonize with the particular planet which sounds the soul-key of the individual. This note is centered in the medulla oblongata, the large nerve center located in the back of the head, and may be distinctly heard by anyone possessing the gift of clairaudience.
The sevenfold body of man vibrates primarily to this same key in ascending rhythms. When the work assigned to one octave is finished, that of the next higher octave is taken up, with each succeeding scale vibrating at twice the rate of the one preceding it. Thus humanity intones in miniature the music of the spheres.
— Corinne Heline
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