99.57.1 Tones of Creation- Hints of Light Mapping (Luigi) 

Page 57

Sections List- 99 Electrons and Mythologies
Impossible Correspondence Index

From: luigi.di-martino@ntlworld.com
To: MetPhys@aol.com
Subject: Tones of Creation- Hints of Light Mapping (Luigi) 
Date: 05/25/02

Ok! I hope you don't mind me explaining. I know I stand the chance of being seen as a bit odd but I am sincere in wanting to share in the search. Well for me what is happening at the moment is that Gary's work, amongst other work from here and there (Sitchin, Sympathetic Vibratory Physics, Russell and Keely etc), is helping me with my own search for the significance of the number 9. I have found a few tracks that it treads within the Major scale. The spirit inside me has always told me that the 9 is God of the material universe, the link or gateway that makes As Above so Below. It acts like God and defines two triangles of frequencies in the Major scale, one Major/Male and the other Minor/Female. The female triangle is made up of three Dorian Modes (scales), which is no different to saying 222. All this activity is 'hidden' and occurs the 4.5 position of a scale, between the 4th and 5th interval. Then because these triangles are also born at the 45 degree angle they can be interlocked and form the Star of David.

I hate the thought of pursuing publishers etc and if anyone is interested I just want to offer my bit of work in the HERE and NOW.

<< Hi Gary and friends!

Thank you for the link Gary. And also for your alphanumerics. The one that struck me first was the 222 reference to male and female.

This obviously isn't the place to waft on about things but this 222 for me refers to the Dorian Mode. I say this because of your statement:


It is in the Dorian Mode that a 'hidden' system of things is at work. As you know Gary , from a vibrational sense, the Dorian is where Light and Dark meet and become balanced. It is a gateway in fact for the 'marriage' of the male/female. The Dorian is the 2nd Mode of a Major scale. There is a Triangle of Frequencies found in the Major scale when it is 'mirrored'(the formula is reversed starting from the same root note). This triangle includes the three Dorian Modes -222.

I am not making wild claims I hope! I have researched into the mirror side of scales for twelve years and this system can be verified. The duality springs forth like a fountain in male/female pairs from the perfectly symmetrical Dorian Mode.

Also Gary I am over half way to finishing your book. The word GREK.5 hit me straight away. I am always on the lookout for a 4.5 connection because it is at the 4.5 position in the scales and in the nine numbers sequences of the Vedic Square that a hidden symmetrical system is exposed.

So instead of breaking the word GREK down I just noticed that it was four letters!! Yet another 4.5! Is it a coincidence that one talks about building their own inner Merkaba and the Major scale having an inbuilt Triangular frequency that is like an 'extra' bit that emerges when scales are seen as the Duality that they are, that is, their formula can be applied left to right and also right to left.

Anyway I hope all have a beautiful day!

Luigi >>


99.57.2 Tones of Creation- Hints of Light Mapping (MetPhys) 

From: MetPhys@aol.com
To: luigi.di-martino@ntlworld.com
Subject: Tones of Creation (MetPhys) 
Date: 05/25/02


I like the direction your work is moving toward. I am also trying to bring this sacred geometry to a place where it can be described as music, musical ratio and musical scales. I especially like your discovery of the Dorian mode.

You have extensive knowledge that I have not heard of yet and I will be asking you questions about your knowledge of music and where it fits in sacred geometry. I'm especially interested in what you call the "mirror side of scales" for this mirroring has much to do with gravity, I believe.



99.57.3 Mrs. Dorian is pregnant- Hints of Double Light Mapping (luigi) 

From: luigi.di-martino@ntlworld.com
To: MetPhys@aol.com
Subject: Mrs. Dorian is pregnant- Hints of Double Light Mapping (luigi) 
Date: 05/25/02

Also that discrepancy of a Comma after 12 Major scales is yet another doorway in disguise. It leads to the 144 Major scales! This opens up a vibrational grid that can be broken down to base 10 numbers . If there is such a thing as a birthplace where numbers and vibrations are born I would put this grid forward as a contender. It shows the 144 Major scales with the nine number sequences (called the Vedic Square) running at the 45 degree angle, in perfect correspondence with each other.

The mistake we may have made is to close the circle at 12. After all does Nature swap over a sharp for a flat in order to make reading of scales easier? I doubt it! If we don't disturb the flow of sharps(expansion) and flats (contraction) they go on for a lot longer than 12 Keys. Yet each circle of 12 is a unit of sorts and is governed by the Dorian...The number 9 has sex with it maybe!!! The result of the Dorian's pregnancy is to create a symmetrical picture that relates to all 12 Major keys. Imagine a system that generates a sharp one side of the mirror and a flat the other side simultaneously. And the sharp and flat created corresponds perfectly with the creation of the Major Key Signatures. It is too Perfect to be a coincidence and I hope you don't mind me sending you this attachment.


99.57.4 Explanation on mirroring and the Triangles (luigi) 

From: luigi.di-martino@ntlworld.com
To: MetPhys@aol.com
Subject: Explanation on mirroring and the Triangles (luigi) 
Date: 05/25/02
Note: Edited 6/14/02


I have triad in vain to get diagrams to appear in my web pages so I decided to send you some info on mirroring scales through e-mail. If you find this sort of stuff of interest I will be happy to send you a few diagrams that put it into visual context more.

In the bible it states that things were created with the the seed of regeneration within themselves. Four years after thinking I had discovered that scales could be mirrored someone informed me that it had already been done. I should have known it was a bit too obvious and I bought the book I was advised to buy and read it ( the book is Vincent Persichetti's 20th century Harmony). I found no real reference to the things I was uncovering in it, except for the first step in mirroring a scale and logging its resulting partner.

Yet when it first occurred to me to reverse the scale formula of the Major scale it didn't seem natural to just stop at this first step. Firstly here is a way of writing a scale formula down:


The T stands for 'Tone' and the 'S' stands for semi-tone. These are standard units of movement required to build scales within the equal tempered system. Yet which way is this scale formula read? It is traditional to read it left to right. One chooses a root note and applies this formula:

C (T) D
Then D (T) E
Then E (S) F

That is how all formulas in music are applied. One simply chooses a starting point (a root note) and then chooses a formula as movement from that root.

When the above formula is complete one hears the familiar Major scale sound (in it's doh reh meh fah soh lah teh doh form):


Yet if I were an Arabian used to reading right to left I would be forgiven if I produced a different scale to the above:

C (S) Db
then Db (T) Eb) etc

A different scale is emerging because of it.

C Db Eb F G Ab Bb C

Well that looks different, even if I have spelled it from left to right again! It shows that a scale formula can be read both ways. This right to left way just produced a Mode known nowadays as the Phrygian mode.

This was not the first way I found out how to mirror yet it shows that the formula is Major/Male one way and Minor/Female the other way.

In order to apply the regeneration principle to the Major scale we need to know how the Modes flow through it. There may be 12 Major keys known but the Modes always flow in the same order through all 12. Two of them are shown above, the Major scale (known as the Ionian Mode) and the Phrygian Mode. Here is how all seven possible modes evolve through the scales:

1 Ionian
2 Dorian
3 Phrygian
4 Lydian
5 Mixolydian
6 Aeolian
7 Locrian

Now here they are in the scale of C Major:


To mirror any scale simply move by equal distances away from the root note axis point:

Bb (T) C (T) D

With C as axis there has been an equal movement of a Tone (9:8) to the left and the right.Bb and D become symmetry partners. Then the next part of the formula is applied in its dual form, one movement to the right and mirrored by one movement to the left.

Ab Bb C D E

This shows that Ab/E are symmetry pairs. The formula thus produces a dual tonal strip of vibrational information:

(Phrygian Mode) C Db Eb F G Ab Bb (C) D E F G A B C (IONIAN)

The red (C) in the centre is axis point (mirror point). The Ionian Mode is generated using the formula in an ascending manner, and the Phrygian mode is generated using the same formula in a descending manner. The pairs are as follows:


There are more 'invisible' partnerships but these were enough for me for a few years!

The C Ionian has mirrored into a scale with four flats. The Major scale that possesses four flats is that of Ab Major - Ab Bb C Db Eb F G Ab. This Major scale is achieved in the same way as that of C Major, except that the beginning note is Ab. Yet it is the same formula applied from there. That is why 12 Major scales are possible.

The above mirror scale however is not commenced from the Ab note. It commences from the C note which is the 3rd note . We can see from above that the 3rd Mode generates what is known as the Phrygian Mode. Therefore the 3rd Mode of the Ab Major scale is known as C PHRYGIAN.

(Note: Here I asked Luigi, Question 1- Is this 3rd note displacement, the same as the 3rd / 6th ratios of Keely?).

So how did the mirror of the C Major scale known as IONIAN come to be that of C PHRYGIAN? It is done by creating an Axis point and then traveling equal distances in either direction. In the end you will see that things move in all four directions at once, left and right, up and down.

(Note: Here I asked Luigi, Question 2- Can this left and right, up and down movement be considered as an expanding and/or contracting sphere, moving from the center (4.5) or is it more like a figure-8 mobius strip?).

This way of mirroring equal proportions I came to find out last year was no different to the Lambdoma where the mirror of 3:4 4:3, for example.

The diagram of the Mode Box (99.57.9) will show that every Major scale can be cycled a total of seven times. The above Modes show these seven cycles. Each cycle can be individually mirrored and the results stacked on top of each other. Doing this opens up another system. The Mode Box is a collection of relationships. A Major mode always mirrors to a Minor mode and vice versa. Only the Dorian Mode is perfectly symmetrical and has no partner (boo hoo!). There are far more hidden traits exposed when scales are represented in their dual formats than this. The other thing to observe for now is that one group of seven modes are flowing clockwise and the other group of seven modes are moving anti-clockwise to that.

(Note: Here I asked Luigi, Question 3- Can the Dorian/Dorian be rearranged as the middle 4th scale, in the Mode box, with 3 scales to each side totaling 7, just like the Mayan Tzolkin 7th column has 6 on each side totaling 13?).

The beginning statement in this post was about things being created with the seed of regeneration within themselves. If one applies this rule to the Major scale formula they will find that the Major scale mirrors not once but three times in one unbroken thread. This continual mirroring defines a Triangle of Frequencies. Two such triangles are flowing on the mirror side of the Mode Box. So, the Major scale itself mirrors three times, whereas each Major scale and its family of Modes (cycles) generates the same triangle and an extra one too. The two triangles in the mode box can be focused on later. Firstly here is how these triangle frequencies emerge when only the Major scale formula is dealt with, and not all seven Mode formulas.

1 - C Major mirrors to C Phrygian. So Major mirrors to Minor.
2 - Question " From which Major Key is C Phrygian a member?"
3 - Answer, from the key of Ab Major.

Yes Ab Major houses the Mode of C Phrygian. The Major scale formula was cast into the mirror and became another Major scale in another key and commencing from its 3rd cycle and not the 1st (look at line 1 of the Mode Box). This establishes a 3/1 relationship. Yet the Major scale formula is still in there, above the note Ab is where it will commence from ( the new number 1). Ab is the regenerated axis from which one can mirror again. So, one makes Ab a root and applies the Major scale formula:

(PHR) G# A B C# D# E F# G#/Ab Bb C Db Eb F G Ab (ION)

The mirror side has been replaced with sharps only for ease of reading. So Ab Ionian will mirror to Ab Phrygian. Yet another 3/1 Phr/Ion relationship. This whole dual 'strip' of info again can be turned into a Mode Box. Every single ratio will be similar to those found in the C Major Mode Box, except that the names of the notes will be different (and the vibrations per second will differ too). The same question can be asked here, to which Major key does Ab Phrygian belong? Well it would be that of Fb Major. Yet not many people think in terms of that Key (yet it exists). It is easier to think of the mirror result above as G# Phrygian , which is the 3rd Mode of E Major (the new number 1).

E Major then becomes the new regenerated axis.

(PHR) E F G A B C D E F# G# A B C# D# E (ION)

What has happened here is that we have gone back to the C Major scale through its 3rd Mode. So there is another Phr/Ion relationship here. And now the cycle has stopped. A Triangle of keys has been established. The Keys are C E Ab. That makes them an Augmented Triangle, being larger in interval than the usual 1 3 5 triad (C E G). So this is a 1 3 #5 relationship.

Two of these triangles live within the Mode Box above, along the 45 degree angle. There is also another axis point in between each triangle. this other hidden axis point is hidden catalyst for a movement of these triangles that can be likened to the letter 'X'. There would be seven Modes so there would be seven X's:


Each triangle travels across one of the 45 degree angles, first up, from bottom left to top right, then down (2nd X) from top left to bottom right etc. That is the route for the Male triangle. The female follows the other possible root. They always meet at the 4.5 position at all seven stages (cycles).

I realize this is missing a lot of in between info as to why one triangle is male and the other female but this post would become a perfect remedy for insomnia if one went on any longer! If you have not found this sort of info too eye crossing then I will be happy to share with you some more diagrams based on the Mode Box and how to dissect it further.

Thank you, Luigi


99.57.5 Explanation on mirroring and the Triangles- Neutral Centre (MetPhys) 

From: MetPhys@aol.com
To: luigi.di-martino@ntlworld.com
Subject: Explanation on mirroring and the Triangles- Neutral Centre (MetPhys) 
Date: 05/25/02

In a message dated 5/25/2 9:02:39 PM, you wrote:

<< If you have not found this sort of info too eye crossing then I will be happy to share with you some more diagrams based on the Mode Box and how to dissect it further. >>


You see what I see. Bring on more of your information and Diagrams. I understand it ...I noticed in your mirroring that you thoroughly understand the +0- neutrality that I found some time ago. Zero-neutrality is an amazing concept. Your mirroring only confirms my balance of the center neutrality. Nature erupts from the center (0) and flows into the (+) and (-), major/minor, male/female scale-pairs. Nature flows in triangular angles namely 45 degree left and right over the surface of the 1/2 twist mobius-musical-Dorian-torus, by mirrored 4th and mirrored 5th, crossing each other at the prescribed 90 degree angle or dimensional change.

This musical torus should be the root of every pre-atomic, atomic, biologic and astrologic entity known.

Torus = Torah



99.57.6 Explanation on mirroring and the Triangles- Neutral Centre (luigi) 

From: luigi.di-martino@ntlworld.com
To: MetPhys@aol.com
Subject: Explanation on mirroring and the Triangles- Neutral Centre (luigi) 
Date: 05/25/02


The reason that it may be important that the 4.5 position replicates the results of the root position is that it would allow full convergence again before the injection of change. That change can be from clockwise to anti-clockwise. Full convergence in my imagination is about being as close as possible in physical terms to a Neutral Centre.

----- Original Message -----

From: lui
To: MetPhys@aol.com
Sent: Sunday, May 26, 2002 1:32 AM
Subject: Re: Explanation on mirroring and the Triangles

My friend I have waited about ten years to hear a reply like that! I am sure that is exactly what is going on. What you say about Nature erupting from the centre (0) is how it must be. I am also sure that 9 and 0 are the same. 9 never becomes involved and neither does the 0. Yet when put together the 0 wins because 90 is broken down to 9, and the 0 stays uninvolved in the total. Take the number 189. The 9 can remain uninvolved. And it stays this way until the 9 comes to the 0.

The thing is I haven't been sending any diagrams in gif or jpeg format. The last post was all typed. Perhaps the different operating systems don't like each other's fonts! Should I use Courier? Also are you able to view this attachment?

I sometimes wonder if the 90 degrees angle splits into 2x45 degrees in order for Nature to behold both sides of a formula simultaneously. One can come to the same 'mirror' results by asking many well known musical questions. Chords can be taken through a circle of 5ths as male/female pairs. This experiment especially shows how the 4.5 position literally flips over the dual relationships. At this 4.5 position are displayed exactly the same results one would obtain at the root position axis. These two axis points (the root and the 4.5) are really caused by the dual circles (clockwise and anti-clockwise forming), pitstopping at the two semi-circle mark, which creates one full circle. A grid will emerge if one simply takes the triad of C - C E G, and mirrors it through the Major Keys in a circle of 5ths. The Major keys, however, must come attached with their mirror partners. The grid will show that the triad C equals the triad Fminor within the Key of C Major (and its mirror), and it equals the same Fminor triad within the Key of F# Major. And only the two triangles are ever defined for the overall triadic flow. All the experiments I have done lead to the triangles!! Sorry that sounds cuckoo!

The experiment that follows on naturally after this is to split the whole Mode Box at the 4.5 position each side of the mirror. There we see a third system which I call Inner and Outer scales. The Inner scales open up the Melodic Minor Modes. See, for example, how between the two F# points (the 4.5 positions in C Major) there is the Melodic Minor scale sitting half in/half out of the mirror point ( I am assuming you will be able to see this):

C Db Eb F (F#) G Ab Bb C D E F (F#) G A B C

The inner scale is G Ab Bb C D E F

This is the scale of F Melodic Minor beginning at its second mode (its second cycle).

When the whole Mode Box is dissected this way they will see that the original Mode pairs are still unbroken in symmetry. Yet the biggest surprise is that if all the 4.5 positions of the Modes are laid out as a scale they become the scale of F# Major itself. This means that if we were to mirror the scale of F# Major then all the 4.5 positions within its modes would equal the scale of C Major, perfect Tri-tone Substitution....who said that Jazz musicians are lazy good for nuffins?!!



99.57.7 Alternate Explanation of the Keys- Mirror Symmetry (luigi) 

From: luigi.di-martino@ntlworld.com
To: MetPhys@aol.com
Subject: Alternate Explanation of the Keys (luigi) 
Date: 05/25/02

Alternative Explanation of the Keys

The Dorian Mode is perfectly symmetrical within it's make-up and may be a link between one dimension and another. It proves this musically by holding the whole system of Major Keys up. How many Keys are there? 12. All twelve have a special link with the Dorian Mode. Nature is so subtle that it holds in place a seed for future dispersion in one private little area of the so called Major scale. In other words, the Dorian is the female that becomes pregnant with sharps and flats for the other Keys to exist.

F.J Hughes, in her book 'Harmonies of Tones and Color' talks about the two poles Gb and F#. One is holder of the six flats and the other holder of the six sharps (at full expansion and contraction). At each increase of a flat and a sharp in parallel, the Dorian arrangement of symmetrically reflected notes agrees to this exchange. It happens nowhere else but the Dorian Mode.

The Dorian Mode that belongs to the scale of C Major possess no sharps or flats, in other words, it's all the white notes of the piano beginning at D and ending on D an octave up or down from that point.


The intervals that make up this Mode can be 'mirrored'. The note D is set as an Axis point and the notes are written as mirror partners around this axis.


The red D is the axis point. Mirror partners are D/D E/C F/B G/A A/G B/F C/E which are visible mirror pairs, and D#/Db F#/Bb G#/Ab A#/Gb C#/Eb which are the 'in between' mirror pairs. Now we focus on each increase of sharp or flat in Key signature that is connected to one of the two poles. This is like the beginning of a double loop one venturing clockwise and the other anti-clockwise and evolving in the opposite direction. They will need to find the two poles at F#/Gb in order to return home.

G Major has one sharp and F Major has one flat:

G A B C D E F# G

F G A Bb C D E F

The alterations are at the F and the B. These two notes are mirror partners around the Dorian Mode. You can add the sharp and the flat and see that they mirror perfectly around the D axis point.

The Key of D has two sharps and the Key of Bb has two flats:

D E F# G A B C# D

Bb C D Eb F G A Bb

The altered notes are F and C for the sharps and B and E for the flats. We know that F and B are mirror partners . So are C and E. You can check this again with the mirror dorian modes above. You will see that C is the mirror partner of E. This is the pattern as we add more sharps and more flats. The altered notes are always mirror partners in the perfectly symmetrical Dorian Mode. The Major scale of A has three sharps and the scale of Eb has three flats.

A B C# D E F# G# A

Eb F G Ab Bb C D Eb

The new altered notes are Ab and G#. This is halfway point. This is also the center of the Dorian Mode which is like an axis point too. G#/Ab equals the same in the mirror. They are pairs at this point.

E Major has four sharps and Ab major has four flats:

E F# G# A B C# D# E

Ab Bb C Db Eb F G Ab

The new altered notes are Db and D#. This is again the result within the Dorian mode too. It seems we have ventured into the invisible in between realm after the half way point. Two more sharps and flats and we will arrive at the poles of F# and Gb. B Major has five sharps and Db major five flats:

B C# D# E F# G# A# B

Db Eb F Gb Ab Bb C Db

The new altered notes are the Gb and the A#. These two notes are mirror pairs around the D Dorian Mode.

Lastly F# Major has six sharps and Gb Major has six flats:

F# G# A# B C# D# E# F

Gb Ab Bb Cb Db Eb F Gb

The new altered notes are E# and Cb. This last result too is similar to that within the D Dorian Mode.

These are the way the sharps and flats progress. The note C is the beginning of the journey but has no sharps or flats within it's Key signature. There follows a progression of sharps and flats which are related to the mirror pairs within a perfectly symmetrical mode. Perfectly symmetrical in order to accommodate both poles perhaps? To verify the growth of sharps and flats there is then a second witness, the Major scale of C itself. This is the home key which gives rise to the D Dorian Mode. First here are the Keys as they develop sharps and flats:

0 1 2 3 4 5 6

C - G D A E B F#

C - F Bb Eb Ab Db Gb

So, G has one sharp, D has two sharps and so on. F has one flat , Bb has two flats and so on. Now look at the C Major scale and it's mirror note pairs. The red C is axis (mirror point) and the same formula is then seen ascending and descending at the same time, creating pairs:

C Db Eb F G Ab Bb C D E F G A B C

Mirror partners - C/C D/Bb E/Ab F/G A/Eb B/Db. The center of both scales being F#/Gb means that this is another Axis point. It is interesting that the two poles live at the center of this natural of Major scales.

Can you see how this too is a representation of the sharps and flats as they develop from each opposite pole. D/Bb are mirror pairs in C Major but they are also the keys that have two sharps and two flats each. There is perfect correspondence here too. One side of the mirror represents more flats than sharps and the other side is opposite in character. The whole picture is that of the C Major scale and it's mirror, the C Phrygian Mode, display key signatures in perfect symmetry. Ab/E is another example. Ab Major has four flats and E major has four sharps, and those sharps and flats born in perfect symmetry around the D Dorian axis.

What should be apparent about the secret function of the Dorian Mode is that this secret is not manifest until the scale is Mirrored.


Presenting the Dorian Mode like this without it's 'mirror' partner simply doesn't convey the structure. As stated it is the symmetry which the Mode possesses that gives the insight into how Keys are developed.


It is when the Mode (scale) is mirrored that the system is seen at work.



99.57.8 Explanation on mirroring and the Triangles (MetPhys) 

From: MetPhys@aol.com
To: luigi.di-martino@ntlworld.com
Subject: Explanation on mirroring and the Triangles- Mirror Symmetry (MetPhys) 
Date: 05/26/02

I'm getting the black background again.

Yes the 9 and 0 are the same....its Buckminster Fullers "Bowtie 9...a figure 8 infinity symbol with 4 positives around one side (+) and 4 negatives around the other side (-), flipping at 9/0 in the center of the 8. Its also called, a mobius strip.

<< Should I use Courier? Also are you able to view this attachment? >>

No and if you mean, can I see the type, yes but change the background again. I haven't been seeing any Diagrams or pictures yet.

<< This experiment especially shows how the 4.5 position literally flips over the dual relationships. >>

Rodin's Sunflower Map shows how the forward and backward moving music works on a torus, plus the third component, middle neutral (+0-). It should be the last (correction: middle) diagram on the page.



99.57.9 Mode Box in C Major (gif) (luigi) 

From: luigi.di-martino@ntlworld.com
To: MetPhys@aol.com
Subject: Mode Box in C Major (gif) (luigi) 
Date: 05/26/02

Just sending you a picture of a Mode Box in C Major. Hopefully this one will open!

Mode Box in C Major (GIF)


99.57.10 Dorian Modes- Light to Dark (gif) (luigi) 

From: luigi.di-martino@ntlworld.com
To: MetPhys@aol.com
Subject: Dorian Modes- Light to Dark (gif) (luigi) 
Date: 05/26/02


Thank you very much for this attention whoever you are! It is the first time really in my life I have been in this position of being able to offer some musical insights. One can feel this increasing momentum all around where pieces of puzzles are just slipping in place. Just by reading a few pages on this site is enough indication that Nature is producing much new insight through its creation process. Here's to the beautiful NOW we can all Create!

The Dorian Mode- Dark to Light (GIF)

The Dorian Mode- Dark to Light (gif) has always been a fascination for me. Not only was it a most prolific mode that expressed perfectly the moods of the monks chanting but it was also adopted effortlessly by many jazz musicians who made it sound totally different. The most striking feature of the Dorian (that I know of) is that in terms of musical darkness or musical light it is the place where the two forces meet and balance. You can see this if you have a look at the attachment.

The modes are known for their light or dark qualities. The more flats a scale is given the darker it becomes, and likewise, the more sharps are added the brighter the scale becomes. This can be highlighted by showing the shades of colour as would occur if C was the root of every mode:

C D E F# G A B C -C Lydian - brightest
C D E F G A B C - C Ionian - one shade darker
C D E F G A Bb C - C Mixolydian - one shade darker
C D Eb F G A Bb C - C Dorian - darker
C D Eb F G Ab Bb C - C Aeolian - darker
C Db Eb F G Ab Bb C - C Phrygian - darker
C Db Eb F Gb Ab Bb C - C Locrian - darkest

The attachment will show you that the light/dark meet in the centre of the Dorian Mode (the 4.5 position). No wonder the monks liked the scale!! Anyone for a bong?!

So the 4.5 yet again is involved as a place where male/female and light/dark or convergence/replication/transference occurs.



99.57.11 Magic Square Mirroring/Fibonacci numbers (gif) (luigi) 

From: luigi.di-martino@ntlworld.com
To: MetPhys@aol.com
Subject: Magic squares/Fibonacci mirroring (gifs) (luigi) 
Date: 05/26/02

Fibonnacci Numbers and number sequences (GIF)

Hi again

I went and read the very first post in this thread, (99A Electrons and Mythologies), and there was reference there to the electron and the number 27. If it is ok I want to let go of some stuff concerning this number. This requires a quick detour into the number sequences first and how to swap one number for its mirror partner.

The 4.5 corresponds not only within music scales but also in the Vedic Square. I really shouldn't know anything about one of them , and I don't know anymore about it except that it is no different to the nine number sequences I discovered one night whilst laying on the bed and doodling on a bit of paper. I found that only nine number sequences existed when any number was cycled like this:

37 = 3 + 7 = 10 = 1 + 0 = 1
74 = 7 + 4 = 11 = 1 + 1 = 2
111 = 1 + 1 + 1 = 3
148 = 1 + 4 + 8 = 13 = 1 + 3 = 4
185 = 1 + 8 + 5 = 14 = 1 + 4 = 5
222 = 2 + 2 + 2 = 6
259 = 2 + 5 + 9 = 16 = 1 + 6 = 7
296 = 2 + 9 + 6 = 17 = 1 + 7 = 8
333 = 3 + 3 + 3 = 9
370 = 3 + 7 = 10 = 1 +0 = 1 etc.

As you can see the number sequence that has emerged here is - 1 2 3 4 5 6 7 8 9. It is obtained by cycling the number 37. Other numbers that share this sequence are 1, 10, 19, 28, 46, 55 etc.

It is the first nine numbers that house all the possible sequences. The number 10 would obviously represent the number sequence 1; the number 11 would represent the sequence 2 and so on.

Here is the number two cycled.

2 = 2
4 = 4
6 = 6
8 = 8
10 = 1 + 0 = 1
12 = 1 + 2 = 3
14 = 1 + 4 = 5
16 = 1 + 6 = 7
18 = 1 + 8 = 9
20 = 2 + 0 = 2 etc.

sequence = 2 4 6 8 1 3 5 7 9

Other numbers that share this sequence will be - 11 20 29 38 etc. If we follow this procedure with the number three we uncover another sequence:

3 = 3
6 = 6
9 = 9
12 =1 + 2 = 3
15 = 1 + 5 = 6
18 = 1 + 8 = 9 etc.

When this is done with the first nine numbers we will uncover all the sequences. Instead of listing each number in the above manner I will only give the sequence that number uncovers.

1 2 3 4 5 6 7 8 9
2 4 6 8 1 3 5 7 9
3 6 9
4 8 3 7 2 6 1 5 9
5 1 6 2 7 3 8 4 9
6 3 9
7 5 3 1 8 6 4 2 9
8 7 6 5 4 3 2 1 9
9 9 9 9 9 9 9 9 9

So, any number in infinity can become one of the above number sequences. Four of the above number sequences mirror the flow of another four - 1/8 2/7 3/6 4/5 . One flow is constant and you can see that it is the 9 seq. Our first suspicion that this result ties in with the results in the C Major Mode Box comes from this tendency in the number 9 to replicate itself and so remain a CONSTANT. This happens in the Mode Box at the D Dorian Mode position and in uncanny coincidence the number 9 falls on the Dorian ,position within a Major scale:

1 2 3 4 5 6 7 8 9

Or is it a coincidence?

Observe how the number sequence 1 mirrors the sequence 8 (flow in opposite directions to each other).

- - - - - - ->
1 2 3 4 5 6 7 8 9
8 7 6 5 4 3 2 1 9
< - - - - - - -

One sequence flows left to right whilst the other sequence is in contrary flow. As you can see the numbers are mirrors of each other both vertically and horizontally. I and 8, for example, are mirrors of each other up/down and left/right. This is true when all number sequence partners are displayed as above. What this means to me is that the number sequences are a program within a program. Numbers like 776567 can be related to a number like 47 just because of their hidden number sequence. In this case they both belong to the 2 4 6 8 1 3 5 7 9 sequence.

These number sequences also correspond to the indig numbers +/- 1 +/-2 +/-3+/-4, as used by Walter Russell in his book 'The Universal One' and other scientists and numerologists. It is reckoned that every number can be made up of these indig numbers. It will be seen that at the 4.5 point there is a transference. This is what Buckminster Fuller has to say about these four possible plus/minus integers:

one produces a plus oneness
two produces a plus twoness
three produces a plus threeness
Four produces a plus fourness

Where after we reverse:

Five produces a minus fourness
Six produces a minus threeness
Seven produces a minus twoness
Eight produces a minus oneness

One can see straight away that the cross over point was at the 4.5, between the fourth and fifth number. Also the plus/minus signs refer to the dual flows as seen in the number sequences. Every number can then be associated with one of these two flows when in direct proportion to another thing. For example, the oneness is plus at the number one and minus at the number eight. 1 and 8 are number sequence partners and flow in opposite direction to each other. This is true for the 2/7 3/6 and 4/5.

Since finding these number sequences I became interested in using them in a musical way. Silly little ideas like reharmonizing scales according to the flow of one of the number sequencing. It then occurred that the 3 6 9 sequence was like a Fibonnacci type thing - 3+6 =9. So I ran this as if it were a Fibonnacci sequence and broke the totals down to base 10:

FN - 3 6 9 15 24 39 63 102 165 267 432 699 1131 1830 2961 4791

NS - 3 6 9 6 6 3 9 3 3 6 9 6 6 3 9 3

The overall sequence is - 3 6 9 6 6 3 9 3. When added together this sequence equals 45:

3 + 6 + 9 + 6 + 6 + 3 + 9 + 3 = 45

An odd thing happens when we show the mirror partners of each number sequence. For example, when the number 8 is represented then the number 1 one will be shown below it as its mirror number sequence partner. To remind you again the other number partners are - 1/8 2/7 3/6 4/5 5/4 6/3 7/2 8/1. At the end the new dual number sequences that emerge swap places when each cycle is complete. I have sent this as an attachment. Both the above sequence and the same technique used on the Fibonnacci numbers themselves is ,shown.

This swapping over effect happens all the way through the mirroring process. It begins with F and G swapping over in the mirror when C Major is mirrored. It is as if the note F# were literally swiveling a mini formula across some hidden axis point. The next swapping over effect is then usually from Minor to Major tonality or vice versa, or from sharp to flat. The triangle frequencies swap over too and create that X effect. This is found by commencing the Mode Box at each individual Mode. The first Mode Box commences at C Ionian and the 45 degree angle shows two sets of triangular 1 3 #5 frequencies. The Mode Box is then commenced from the Dorian and the 45 degree angle produces two more sets of Triangles. This is like a journey and the end result is that, if one were traveling along with the triangle, they would be in the mirror one moment and out of the mirror the next. This swapping over is all caused by the number 9.

(Note: I believe Luigi could extend this as an analogy, alluding to a unit of matter, within one cycle, appearing on "This Side" for a half cycle and disappearing into the "Other Side" for the other half cycle. This can be further associated with the difference between atomic angular momentum (This Side) and intrinsic spin (Other Side)- MetPhys.)

So even a scale can't keep quite about the Creator's promise that His Live always pulls in the sea. It pulls it back to the 4.5.

The 27 connotations are in the triangles too.

(Note: This should be 3 levels of existence governed by 9 notes each - MetPhys.)

A triangle of frequencies is 3x9 in disguise. All one does is put the 9 numbers over the notes of the C Major scale:

1 2 3 4 5 6 7 8 9

Then repeat the first step. We have to start from E , and we use the Major scale formula again:

1 2 3 4 5 6 7 8 9
E F# G# A B C# D# E F#

And then do it once more. We gotta start at the next note G# but let's call it Ab instead, because it will read easier:

1 2 3 4 5 6 7 8 9
Ab Bb C D Eb F G Ab Bb

Now if we do it again we have to start from C, and that means we have completed the triangle! The result is the major keys of C E Ab.

So each triangle is a 27. The two triangles that go on to make the 'circle of tones' is 2 x 27 = 54. The second triangle is D F# Bb and can be combined with the first to make up a scale:

(Notes: When we double the triangle (27) we get the scale that governs this doubling, which is the 53 tone Mercator Scale, 54 being the first note of the next octave beginning- MetPhys.)

(Notes: Just want to say thanks for helping me. And I finally know why the sine of 54 is exactly half of PHI.- Luigi.)

C D E F# Ab Bb = Whole Tone Scale or 'circle of tones'.

I can only send one attachment at a time or else I would send another. If it is ok I will send you tomorrow a number pyramid together with its mirror.

Thanks and Love, Luigi

Jump to 99.67.6 Fibonnacci / Alphabet (Luigi) 


99.57.12 Mirroring Magic Squares (gif) (luigi) 

Mirroring Magic Squares (GIF)


It's just gone midnight so technically it is 'tomorrow'! This is not the pyramid number attachment but the one after the next will be. This one shows how the flow of numbers and their mirror partners cross over a line into a reverse world of numbers. This dual flow can be applied to magic squares.

Again I know very little about the magic square thing, and that includes which magic square I actually mirrored! It was late one night whilst surfing on the web that I saw a magic square. I copied the mirror of it onto a bit of paper and forgot to download the original. Anyway it can always be re-mirrored to find out which one it is. I will send this immediately after this post.

The most obvious magic square to mirror is a 3 x 3:

8 1 6
3 5 7
4 9 2


1 8 3
6 4 2
5 0 7

One square adds up to 15 and the other 12. If one checks in the attachment sent they will see that 12 is the mirror of 15 in that table too.

17 10 15
12 14 16
13 18 11

This too is a representation of the first magic square above. Because the number sequences repeat every nine a magic square can be progressively built up, then mirrored. The last one equals 42. The mirror of this number is 39. The mirror magic square should equal this:

10 17 12
15 13 11
14 09 16

Anyway, its's better than reading romantic thrillers right?!!



99.57.13 Magic Square Mirror (gif) (luigi) 

Magic Square Mirror (GIF)

This is the mirror of a well known magic square.



99.57.14 Triangle and Anti-triangles (gif) (luigi) 

Triangle and anti-triangles (GIF)

This last attachment came about when it was noticed that the scale's note mirror partners were either visible or 'in between'. These two triangles were the result from following the logic of progressively dividing 100 by 1/1 1/2 1/3 etc. The the mirror numbers were applied and I was knocked back when I realized that the tips of the triangles added up to 27 when they met.

There are axis galore in this chart. There are visible axis points and 'in between' axis points, especially at the 45 degree angle.

I hope it comes in useful for somebody.

Thank you. Time to read up on all the great stuff on this web site now.


Addenda on the Triangles: I realize that some people with the potential of doing something beneficial with a chart like the mirror triangle numbers may not focus on it without a little explanation, so I typed one out and if you think it should be included I would be grateful that it is:

1.05 +15.94 equals 27!!

Things swap over here too, so that the 12.49, for example will travel across the axis point and is mirrored on the left. This is just a guess. After all, everything else is always swapping over across these axis points.

The red and black arrows show the two 45 degree angles where the results echo those of the top and bottom horizontal lines respectively. Again we have replication or assimilation at the 45 degree angle as in the Mode boxes.

The top horizontal line adds up to 282.87, which equals 27 when the digits are added together. The bottom horizontal line equals 283.9, which breaks down to 22. 22+27 = 49, and that is one of the mirror totals. Yet these totals are not absolutely exact. There will be minute differences because of some of the fractions used. Nevertheless the mirror triangle is based purely on the non-mirror one and one can see that they do agree with each other in some respects already.

At the point of a 4th and a 5th we see the totals as being 20 and 25.

These two totals add up to 45. The mirror triangle deals with the numbers a little differently and is due to the way numbers relate to their mirror partners. The flows between numbers (mirror and non mirror) meet in the middle and swap over:

9=9( or 0 )

Remember that these numbers are mirror partner to each other because one sequence flows in contrary motion to the other. The 1 sequence (1 2 3 4 5 6 7 8 9), for example, flows contrary to the 8 sequence (8 7 6 5 4 3 2 1 9)

As you can see 4/5 connotations are everywhere and always point to some kind of axis point. One could literally fold the above numbers at the 4.5 point and see that all the numbers correspond.

We can also start with the top right hand side of the black triangle and add the totals from the bottom left hand side, like this:

100 +107 = 207 = 2+0+7 = 9
50 + 49 = 99 = 9+9 = 18 = 1+8 = 9
33.33 +29.66 = 63 = 6+3 = 9
25 + 20 = 45 = 4+5 = 9
20 + 25 = 45 = 4+5 = 9
16.66 + 10.33 = 27 = 2+7 = 9
14.28 + 12.71 = 27 = 2+7 = 9
12.5 + 14.4 = 26.9 (although there is every chance it is really 27)
15.8 + 11.1 = 26.9

The shape of the letter Z would show the effect of the 45 degree angles reproducing the totals at the horizontal lines perfectly. In fact check carefully enough and you will see that everything really adds up to the number 9. Even the single points of the triangles on their own add up to 27, which breaks down to 9. This may be a fair indication that the procedure for finding the 'mirror' numbers is correct.

There are also axis points galore within the subtotals running along the 45 degree angle. There is one at the black triangle total .12 having .23 and .24 either side of it. This .12 is an axis point or close to an axis point. This is also true at the next line above where the .6 acts as axis or near axis to the totals running at 45 degrees. This is also true for the .72 in the line above, and this is a more obvious axis point. The other axis points from hereon are easier to spot. There is 1.66, which come in a pair and shows interesting symmetry. The whole line reads - 16.66, 3.33 ,1.66 ,1.66,.3.33 ,16.66. There is a x2 and a x5 leap from the center simultaneously. !.66 x 2 = 3.33 x 5 =16.66

There are many subtle interplays within these triangles. The 50/50 point in effect is another point where there is a x2 x3 x4 etc progression along the angle.

Love, Luigi


99.57.15 Mirror Flow of Fibonacci Numbers (jpg) (luigi) 

Mirror Flow of Fibonnacci Numbers (JPG)

Addenda: Pertaining to the word KEY (Tenuda) of the Mayan Tzolkin, when the 13 x 20 grid number repetitions are translated into numeric values.

Hi All

Gary I got to the Mayan 13 x 20 grid in your book last night, where you have highlighted the word KEY. No word of a lie but as soon as I saw that my eyes darted to the beginning and saw the key of 'A' minor! Just a coincidence..well there are ten octaves of it. After the note G the scale sidesteps to the next column and begins again.

If this in any way were true this makes my suspicions that the Key is the Circle of Tones that hides as two triangles within the Major scale and it's Mode Box. All one has to do then is to commence the Mode Box from the A note and not the C. The 45 degree angle defines the Triangles. It doesn't actually matter from what mode one starts because the 45 degree angle always defines two triangles of frequencies.

It is fitting that the Key would be that of the A Minor Mode, which is known as the Aeolian Mode. It would be right that it is if we entertain the fact that the Overtone series defines it's first scale as Mixolydian....C D E F G A Bb C = C Mixolydian. This Mode is mirror partner to the Aeolian Mode, the Mixolydian being Major/Male and the Aeolian being Minor/Female.

Just thought I'd share that with you in case it helps, and compliments on such a gripping book! Best of luck with it too and your forthcoming collaboration. Gosh it is all getting so exciting!



99.57.16 Dorian scale ^2/3 = The Real Mediator (MetPhys) 

From: MetPhys@aol.com
To: luigi.di-martino@ntlworld.com
Subject: Dorian scale ^2/3 = The Real Mediator (MetPhys)
Date: 05/28/02

Luigi, here is a 2/3 power exponent that may change your perception of the Dorian scale. Why do you feel it is raised to the 2/3 power? I haven't made any correct guesses yet.

From: 91 Notes

0.3 The Real Mediator

It is found that Newton's prism 'gap' experiment seems to represent the 'Mediator' between "This Side" and the "Other Side" of universe or the Dorian scale raised 2/3.



99.57.17 Dorian scale ^2/3 = The Real Mediator? (luigi) 

From: luigi.di-martino@ntlworld.com
To: MetPhys@aol.com
Subject: Dorian scale ^2/3 = The Real Mediator? (luigi) (luigi) 
Date: 05/28/02

Can't say for surety but I can offer you this image of it.

Lambdoma (GIF)

He may mean the G# in the Tri-tone position (4.5) of the D Dorian scale. Just like the F# replicates the results of C, then G# will replicate the results of D, and as it is the Dorian quality we is(are) contemplating, sparks are bound to fly! G#/Ab are the poles in the D Dorian scale. If you look at one of the posts I sent in it says that after the poles are reached (in building the Major scales) the symmetry note partners became 'invisible' or ' in 'between'. This is the quality of the 4.5 position. It is a 'swap' shop!

Of course most people will tell me that the 2/3 will take one to the note A from D, as this will be a movement of a 5th. And I agree with that normally, but it isn't the only way to see 2/3 is it? It could be seen as half of 2 again. Or even a formula that, when mirrored, produces the note pairs.

I found this Lambdoma diagram at this site:


It showed me that there was logic to mirroring notes equal distances from an axis point. This diagram shows that, from a C perspective, 3/2 is G and the, reverse 2/3 is F. This are the same mirror partners as around the Mode Box diagram. This will be true for all the ratios. I have attached this diagram taken from the site for your personal perusal.

Wonder if that has helped at all. It may be an 'out of the box' 2/3 relationship (D to G#) but there is no denying that at this point the note relationships go hidden from view!



How about this one

2:3 = 6:9

D E F G A B C D E = 9 notes of Dorian scale.

D to B is six ninths of the scale. We could loose half of the extra tone which would bring us to the Bb note. This note is the 7th harmonic of the C fundamental.

Or maybe every note of the Dorian is taken up by 2:3.

D = 9 +2:3 = 12.666
E = 10 + 2:3 = 14
F= 10.5 +2:3 = 14.666
G = 12 +2:3 = 16.666 (reminds me of the triangle and anti-triangle mirrornumbers)
A =

Well that is where my hopeless maths leaves me! In the 3 6 9 taken as a Fibonnacci number there is a 432 in the totals and I know that this is really A as far as nature is concerned.

If I am doing this correctly perhaps you know how to finish it off!



Still not sure if this is what raising the Dorian to the power of 2/3 means but I did it to share it so 'ere it is:

D = 18 + 2:3 = 30
E = 20 + 2:3 = 33.333 (triangle and anti-triangle mirror numbers)
F= 21 + 2:3 = 35
G = 24 + 2:3 = 40
A = 27 + 2:3 = 45
B = 30 +2:3 = 50
C = 32 +2:3 = 53.3

This way of thinking would turn the note D into the note B.

E would fall between C and C#
F would fall between C# and D
G would become E
A would fall between F# and G
B would fall between G and G#
C would fall between G# and A

Maybe one should think about the quarter tones?

Most of these modulations are by movements of a minor 6th or close to. That is 6666666. The inversion of this interval is the Major 3rd.

7 x 6 = 42
7 x 3 = 21

But The Dorian fulfills its role as is and that role looks quite symmetrically aligned on paper. It is endowed with the personality of the number 9 and performs its role of providing expansion / contraction to the keys as they are born.

If you wrote the modes down as just their number positions in a scale there is symmetry at the Dorian that way too:

3/1 2/2 1/3 7/4 6/5 5/6 4/7 - 3/1 2/2 1/3 7/4 6/5 5/6 4/7 -

Two axis points define this list of numbers, a visible one and an 'in between' one. The visible one is at the 2/2, which is at the D/Bb Modal pair. If you start there you well see the numbers correspond as they reach outwards on either side. The other axis point is in between the 5/6 and 6/5.

There too the numbers correspond as they branch out either side of this invisible axis. This second axis point is of course the G# position, at Tri-tone relationship to the 2/2 (D).

(Note: Can you sense that this expansion / contraction of numbers is speaking of an expanding / contracting sphere? - MetPhys)



99.57.18 Confirmations: MirrorFibonacciNumbers (MetPhys) 

From: luigi.di-martino@ntlworld.com
To: MetPhys@aol.com
Subject: Confirmations: Mirror Fibonacci Numbers (luigi/MetPhys) 
Date: 05/30/02

From Luigi:

<< Hi Robert

Just found this quote under section 106 My File 106 Primes/Gematria/Fibonacci and 137.

" 6/12/01 (Note: Using Trinary Logic here, we see the possible reason for "the doubling" that I speak of. This is the 1/2 spin of the electron. This is the "Other Side" and "This Side". What it tells us, is to mirror-reverse-image the Fibonacci series against itself to create the matrix that generates from its own center (0-point). Of course there is no symmetry in irrational constants such as Phi, pi, e, Fibonacci or any constant!!! We may be looking at only 1/2 of it!!! " - MetPhys

Is this the same as the diagram I drew for the mirror Fibonnacci numbers? He is certainly describing it in a similar fashion!

Luigi >>


Yes it is, and that is my note that I put in there on 6/12/01. So my conclusion agrees with your conclusion; i.e, from two different people, at two different times, in two different ways, in two different studies. Congratulations for being intuitive. As of today, 5/30/02, I'm adding my Notes: to your data here on Page 57, 99EEEelectrons.html, that are basically in agreement to give a little more weight, that the conclusions are real and factual.



99.57.19 Confirmations: MirrorFibonacciNumbers (luigi) 

From: luigi.di-martino@ntlworld.com
To: MetPhys@aol.com
Subject: Confirmations: Mirror Fibonacci Numbers (MetPhys) (luigi) 
Date: 05/30/02

Yes I see now that you added that note in! Very cool. It popped out at me like a playtex that's pleased to see someone! It sure is comforting to know we are on the right path. Maybe a faction of nice 'people' on that incoming planet are whispering things in our ears!

Your question on the Dorian the other day has led to something concerning that G# point in the scale and I hope to send you an explanation on it soon.

This experience of practically stumbling into your newsgroup is a very synchronistic event for me. It has something to do with a sci-fi book of all things. This book is about the understanding of the 'Both Sides' Theory. Basically a group of aliens had learnt to marry their formulas and so be able to travel in time. They go back 5000 years in time to the Greek era and implant a 'bad luck' gene into our DNA! The Professor in the book has to decipher the both sides theory and go back to the original time the gene was altered. There he finds a cave full of colored laser type crystals. One of the color combinations have been altered. With this knowledge he was able to create any history he wished for! Goodbye to salesman and road tax!

A little later down the page at thread 106 (My File 106 Primes/Gematria/Fibonacci and 137) there is talk of reversing the Fibonacci Series by reading the order of numbers from right to left. I think this is similar to what musicians call Retrograde Inversion. This is very valid as an approach but it is not quite the same as mirroring equal distances either side of an axis point. Also in mirroring the sequence one is replacing the mirror note equivalent (for the other side) to what lies This Side. It is the swapping over of flows Male/Female that is happening because the formula is being reversed and not the sequence. Dougald Carmicheal Ramsey proved that the Minor is born from descending the number ratios of the Major. The Minors evolve anti-clockwise to the Major's and he has drawn some beautiful diagrams of this in his book "Scientific Basis and Build of Music". I found a copy of this at the SVP site owned by Dale Pond.

If one takes a piece of manuscript paper and places the music in front of a mirror there will be a mirror image of the music. Yet this is not the result from mirroring the Formula of the scale in question that produced the piece of music in the first place. The first way will produce a mirror of the music but it will still be relative to the same Key it was written in. To mirror the formula will produce a version of that music in a Key that is a Minor 6th interval away. So anything written in C Major will be mirrored to Ab Major, for example. There is always a distance of four flats or four sharps. Doing this exercise helps one focus on how the flats reach their maximum before crossing over to the flats. Any melody rising will be falling in the mirror. Any Major chord will be Minor. An Augmented Triad and a Diminished triad are the only perfectly symmetrical three note chords. A triad can be repeatedly mirrored six times and produces the same two triangles as in the mode box. Also the flow of six movements is in and out of the mirror!


Page 57

Sections List- 99 Electrons and Mythologies
Impossible Correspondence Index

Copyright. Robert Grace. 2002