astrology tones

http://in5d.com/astrology-and-music/

If one were to think in terms of musical frequencies emitted by each planet in a specific sign, a person’s horoscope would make a specific kind of harmony or music. Then, when brought together with others (people or even planets that continue to move through time), the music would be either enhanced or become cacophonic. In fact, the music is constantly encouraged to adapt and rearrange itself to fit the stronger pattern.

Johannes Kepler (1561-1630) spoke convincingly of the harmony that permeates the universe, extending the work of Pythagoras and the theme of “music of the spheres“.

Pythagoras defined music as the perfect union of contrary things, as unity in multiplicity, oraccord in discord. Indeed, music does not only coordinate rhythm and modulation, but imposes order on the whole system. Pythagoras discovered that the pitch of a musical note changed if the length of a piece of string was stopped half way along. This created an octave that produced the same quality of sound as the note produced by the unstopped string, but it vibrated at twice the frequency.

The Pythagoreans used music to heal the body and elevate the soul.

In ancient cosmology, the planetary spheres ascended from Earth to Heaven like the rungs of a ladder, with each sphere said to correspond to a different note on a grand musical scale.

Traditional astrology recognizes five significant relationships based on the twelve-fold division of the zodiac signs, their significance being derived by analogy with the ratios of the musical scale. Thus the conjunction is equal to two notes played in unison, dividing the circle into the ratio 1:2.

Not confining himself to zodiac signs alone, Kepler looked into the theory of harmonics and extended the analogy of the musical scale. He alerted astrologers to several new aspects, such as the highly creative quintile and biquintile series, as well as the sesqui-quadrate.

Three laws of planetary motion

Kepler is most famous for formulating his three laws of planetary motion, which made a fundamental break with astronomical tradition and superseded the ancient Ptolemaic concept of a spherical universe with an epicyclical motion (around the Earth at the center).

In 1609, in The Composition of Kepler’s Astronomia Nova. (“New Astronomy”), Kepler announced in his first law that the orbits of planets were elliptical, not circular.

In his second law he stated that the speed of a planet varied at different stages of its orbit.

His third law was published in 1618 in Harmonice Mundi (“Harmony of the Worlds” – adding to Pythagoras’ theme of the music of the spheres). The third law established that there was relationship between a planet’s distance from the Sun and the time it takes to complete an orbit.

via Secrets of the Ancient Skies

Here’s a song from my 432hz and ‘music of the sphere’ sound healing CD :

Click here to learn and hear more from it 

How to easily convert any music to 432hz and why   –   Recreating Balance Blog

http://recreatingbalance1.blogspot.com/2014/09/how-to-easily-convert-any-music-to.html

 “If you want to understand the secrets of the universe, think in terms of energy, frequency and vibration”
Nikola Tesla
What do these words mean ?
A vibration is a movement up and down :
A frequency is the number of movements up and down per second, called hertz.
Energy is the ability to move, it is what fuels the movement up and down.

Sound is created by this motion up and down, when our vocal strings vibrate or when the wings of an insect go up and down, it creates a sound.  A guitar tuned to 432hz means that when one of its string is plucked it will go up and down 432 times per second. Since frequencies spread in their environment, the body of the guitar will start to vibrate along with this frequency, and so will the surroundings of the guitar, including people.

This is a powerful force, see how a voice can shatter glass.
Many studies have proven the effects of music on our physical, mental and emotional health.
There are several aspects in music : the emotional and mental energy in it, the intention behind it, and the physics of it : its frequency, geometry, etc.
Positive intentions, emotions and thoughts in music can provide healing regardless of its physics, but proper physics can take the healing to a whole other level.
The 432hz tuning means that the middle A note will have that frequency. Then all the other notes will tune accordingly on different frequencies along the scale. So 432hz is just a reference point.
 If you watch any orchestra or band, they will always tune together to the exact same reference point frequency. If even just one instrument is out of tune with the others, the whole thing will sound off.
 Jamie Burtuff explains that European music before the early 50s, ancient Egyptian music, traditionally made Tibetan bowls and digeridoos, sitar Indian music, and many others, have been tuned to 432hz. I have also measured sounds of Wolves, Whales and Dolphins singing and some Amazonian shamans and they were all using these frequencies.

Around the second world war, the cabal studied which tuning would be the most harmful for humans, and as a result imposed the 440hz tuning via Goebbels (who thought it was the best for war marches), and JC Deagan. Musicians at the time protested against it but it was pushed through anyway. Almost all music has been tuned to that since then.

Since the new age movement, there has also been another tuning circulating called solfeggio, based on a middle C note of 528hz. This corresponds to a middle A of 444hz.

Although the numbers used for these frequencies do correspond to geometrical patterns found in nature, it appears they do not correspond to frequencies : as you can see in this video at the 6min6 mark, these frequencies are not harmonious between themselves, which means that it is not possible to play any music with them. So when you listen to music made with these frequencies, there can only be one note that will be part of this solfeggio frequency scale, and the rest of the music will not be part of it, which raises questions about its validity.
John Stuart Reid has shown the shape created by 432hz with cymatics (the science of making sound visible by vibrating water or other types of particles) :

It encompasses the shape in the center of a tri Vescia Pisces :
This is the basis of so much universal geometry, if not all. This is where the flower of life pattern is born, from which all platonic solids can be derived among other things :

This means that, as the cymatics show, 432hz will create this geometry in physical matter, which include our own bodies.

A very professional 28 pages scientific study has been published showing clear reducing of inflammation, stress levels and other symptoms by listening to 432hz music in Pythagorean tuning only three times, for 35min each time, in a period of 7 days. You can read the whole study here :

 http://fr.scribd.com/doc/202351974/Spiritual-Results-

(Note : The Pythagorean tuning (also called just intonation), is a separate, independant and complementary aspect than the 432hz aspect. The 432hz is the reference point, and the Pythagorean aspect is the space between the different notes in the scale. Click here to learn about it)

Scott Onstott in Secrets in Plain Sight has shown how our measurement systems such as miles and meters are not random but correspond to natural distances found in nature. Therefore they resonate with sacred geometry.

In music, the same note on higher and lower octaves is found by dividing or multiplying the frequency by two.
Scott Onstott also showed that the number 432 and its octaves are found frequently in measurements of space and time throughout our galaxy, for example in the dimensions of our Sun (432 000 x 2 = 864 000 miles diameter) and Moon (4320 ÷ 2 = 2160 miles diameter), and in the 25920 years of the galactic cyle/procession of the equinox : 432 x 60, 60 being at the basis of how we measure time. This seems to me to be the basis for the music of the sphere. Additionally the speed of light is 432 x 432 miles per second, there is 43200 x 2 seconds in a day, and our solar system is travelling inside the galaxy 43200 miles per hour. (More info about this here)
Everything in creation, all matter is in a state of vibration. 432hz is in tune with the frequency of nature throughout the cosmos. If humans are out of tune with it, it creates discomfort. Listening to music in 432hz helps us realign with our environment and the natural geometric patterns of the universe, promoting well-being physically, mentally and emotionally.
Now, here is how to convert any music from 440hz to 432hz

(Note : This protocol is to convert music from 440hz to 432hz. If the music was originally made in 432hz then using this protocol will make it out of tune. Almost all music nowadays is in 440hz, except a lot (but not all) of Indian traditional music which is still made in 432hz, as well as some traditional Tibetan or didgeridoo music, and a few other isolated cases.)

Download the free software Audacity here

Then download this little plug-in here in order to be able to save files in mp3

First we need to create a protocol, and then you will be able to apply it quickly and easily to any file or group of files.
Open Audacity, click on the ‘File’ tab on the top left corner, then ‘Edit chains’, and then ‘Add’ on the bottom left corner.
Enter the name you want for the protocol, for example 432, then click on insert. Then double click on ‘TimeScale’, and then edit parameters.
Then type -1.818 in both (%) boxes and click Ok :

Then click ok again, then click on insert, and double click on ‘Exportmp3’, and click Ok.

That’s it ! Click ok to leave this box, and now anytime you want to convert a file, click on ‘File’, ‘Apply chain’, select the 432 protocol, and click on ‘Apply to files’, select the music files you want to convert and it will be done automatically. You can select as many files as you want and the converted files will be placed in a new folder named ‘cleaned’, inside the folder where the original file was.

Music And The Mind

March 25, 2015

University of California Television (UCTV)

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In this edition of “Grey Matters,” Aniruddh Patel, of the Neurosciences Institute, discusses what music can teach us about the brain, and what brain science, in turn, can reveal about music. Series: “Grey Matters” [4/2006] [Science] [Show ID: 11189]

 

gioiellidellamusica

Notturno in G sharp minor for piano
by Alfredo Catalani
Riccardo Caramella, piano

TheCosmiCInterlude

Basicallybenign

Soloist Janine Jansen plays her 1727 Stradivari “Barrere” violin, in this popular Vaughan Williams masterpiece. From the BBC Proms 2003.

CAME FROM THIS PIECE BY VIVALDI

MultiPianoIsrael

 

some oane

 

Lasse Zäll

At TED, Boston, Benjamin Zander conducts Beethovens 5th Symphony

Wolfgang Amadé Mozart

Wikipedia   –  Etudes – Tableaux

Rachmaninoff composed the Op. 33 Études-Tableaux at the Ivanovka estate between August and September 1911, the year after completing his second set of preludes, Op. 32. While the Op. 33 Études-Tableaux share some stylistic points with the preludes, they are actually very unlike them. Rachmaninoff concentrates in the preludes on establishing well-defined moods and developing musical themes. There is also an academic facet to the preludes, as he wrote 24 of them, one in each of the 24 major and minor keys. Rachmaninoff biographer Max Harrison calls the Études-Tableaux “studies in [musical] composition”; while they explore a variety of themes, they “investigate the transformation of rather specific climates of feeling via piano textures and sonorities. They are thus less predictable than the preludes and compositionally mark an advance” in technique.[4] Like the piano études of Claude Debussy, Alexander Scriabin, Olivier Messiaen and György Ligeti, the Études-Tableaux “summarize their composers’ discoveries about the piano and how music for it should be written.”[4] Rachmaninoff initially wrote nine pieces for Op. 33 but published only six in 1914. One étude was subsequently revised and used in the Op. 39 set; the other two appeared posthumously and are now usually played with the other six. Performing these eight études together could be considered to run against the composer’s intent, as the six originally published are unified through “melodic-cellular connections” in much the same way as in Robert Schumann‘s Études Symphoniques.[2]

The Op. 39 set of Études-Tableaux, written between 1916 and 1917 and published in 1917, was the last substantial composition written by Rachmaninoff while still in Russia, and it shows a marked departure from his previous work. Rachmaninoff had been listening keenly to his contemporaries Scriabin and Sergei Prokofiev, and had studied Scriabin’s works to prepare a memorial recital in which Rachmaninoff himself played in Scriabin’s honor. Though he was roundly criticized for his overly-analytical approach in his playing and overall lack of capturing the free-flying spirit that Scriabin had summoned so well in his own pianism, the compositional seeds resulting from his studying Scriabin’s work had been planted. A melodic angularity and harmonic pungency appeared in these études as well as in his Op. 38 songs, which were written concurrently. The Op. 39 set is considered much more demanding technically than the Op. 33 set, and has been described as extremely virtuosic in its approach to keyboard writing, calling for unconventional hand positions, wide leaps for the fingers and considerable technical strength from the performer.[2] Also, “the individual mood and passionate character of each piece” pose musical problems that preclude performance from those not possessing a tremendous physical technique.[2]

Michel Camille

Franz Schubert: Das Forellen Quintett/Trout Quintet D.667 Opus 114 A Major Juhani Lagerspetz, Sini Simonen, Steven Dann, Franz Ortner, Michael Seifried at the 15th Esbjerg International Chamber Music Festival 2013. 25th August at South Denmark’s Music Academy, SMKS, Esbjerg http://www.eicmf.dk EICMF is unique in Denmark as it invites artists to collaborate in new constellations, form new relationships, establish a foundation for exchange and annually act as a host for an international community of artists.

AmbreLIVE concert pianist

“…the jewel in the crown of Sydney Symphony’s 2007 Kaleidoscope program.” — Sydney Morning Herald

Legendary film music composer Lalo Schifrin’s Double Concerto for Piano, Jazz Trumpet and Orchestra, dedicated to internationally-acclaimed classical concert pianist Ambre.

Performed on 7 July 2007 at the Sydney Opera House in Sydney, New South Wales, Australia.

In Schifrin’s words: “The piece was inspired by the virtuosity of Ambre (piano) and James Morrison (trumpet) and the combined talents of the Sydney Symphony, which I can definitely say is the best orchestra I’ve ever worked with.”

This video highlights the conclusion of the performance, including commentary by Ambre after experiencing the reactions from those who had the privilege of hearing and watching this magical landmark musical experience.

Please see Ambre’s website at http://www.AmbreLIVE.com for more information about this phenomenal pianist and person.

Ambre graciously shares her many talents with passion on the global stage, leveraging music as “the universal language” for maximum beneficial social impact.

NOTE:  These concertos are so beautiful!  Plese open up your Heart and give in to feel the emotions. They were both written in his early 20s.

Chopin Piano Concerto No. 1 Op.11 Evgeny Kissin

Chopin – Pianoconcert nr. 2 – Pianist Rosalía Gómez Lasheras

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Wikipedia   –   Chopin Concertos

The Piano Concerto No. 1 in E minor, Op. 11, is a piano concerto written by Frédéric Chopin in 1830. It was first performed on 11 October of that year, in Warsaw, with the composer as soloist, during one of his “farewell” concerts before leaving Poland.

It was the first of Chopin’s two piano concerti to be published, and was therefore given the designation of Piano Concerto “No. 1” at the time of publication, even though it was actually written immediately after what was later published as Piano Concerto No. 2. It is dedicated to Friedrich Kalkbrenner.

The concerto is scored for solo piano, pairs of flutes, oboes, clarinets, and bassoons, 4 horns, 2 trumpets, tenor trombone, timpani and strings.

Structure

It contains the three movements typical of instrumental concertos of the period:

  1. Allegro maestoso
  2. Romanze – Larghetto in E major
  3. Rondo – Vivace in E major

Classical critics usually fall into one of two schools of thought concerning the piece. The first of these says that, given that Chopin was a composer for the piano first and foremost, the orchestral part of this piece acts more as a vehicle for the pianist, with the individual instrumental parts being uninteresting to perform. The second suggests that the orchestral backing is carefully and deliberately written to fit in with the sound of the piano, and that the simplicity of arrangement is in deliberate contrast to the complexity of the harmony.

Both the first and second movements feature unusual modulations; in the opening Allegro, the exposition modulates to the parallel major, i-I, instead of the expected i-III. This tonal relation (i-III) between the second and the third theme finally occurs in the recapitulation, where an actual i-I modulation would have been expected, producing a different effect. The Romanze, although not strictly in sonata form, has its second theme of the exposition ascribe to the classical model of modulating to the dominant (I-V), and, when it returns, it modulates to the mediant (III).

Mily Balakirev re-orchestrated the concerto (using the same orchestral forces as Chopin employed), and also wrote arrangements for violin and orchestra as well as for piano solo of the second movement.

First movement

Chopin followed the structural example of concertos in the style of Jan Ladislav Dussek and Johann Nepomuk Hummel, with which he was familiar. He was interested in neither the Beethoven-style dialogue between orchestra and soloist, nor in a Weber-style interweaving of voices.

The first movement of the E minor concerto has three themes, which are introduced by the orchestra. The piano then plays the first theme (bar 139), followed by the lyric second theme (bar 155), accompanied by the main motif of the first theme in bass counterpoint. The third theme is in E major, introduced in the exposition by the orchestra and taken over by the piano (bar 222). The development begins in bar 385, with the piano opening with the second theme; the orchestra then develops the first theme. The recapitulation begins in bar 486 again with the orchestra playing its opening theme. The coda, whose bass trill paints a gloomy backdrop, requires utmost care by the pianist. Typical performances of the first movement last from 18 to 23 minutes.

 

maiko Jazz Violin