Michael Math & Music

>
> Phil: (Alice Bailey channeling [reversing the numerical sequence]
comes to
> mind)...

> Dave: Has her channeling been that consistent? In initial readings,
I've
> often found her channeling dense and esoteric.
>
> Phil: Her channeling is far from my favorite also, but her reversal
of the
> numerical sequence given in the Michael Teachings made sense with
statements
> even in the Michael Math chapter as I pointed out in my last post.
I
> vaguely remember (might be faulty) seeing on some web site a
numbering of
> the seven planes that also started at what we think of as the "top"
rather
> than at the "bottom" like we tend to picture it. So I think my
point is
> valid: you can start the numbering of the septenary from either end
of the
> spectrum. <<<

That actually sounds like a diatonic musical scale.

>
> Dave: On the other hand, your idea of a mirror image between levels
1-3 and
> 5-7 is fun to ponder. I'm sure some might agree that starting a
level with
> warrior, submission and perseverance makes sense. But the original
order
> doesn't seem troubling, either. If you're starting something new, it
> wouldn't be unheard of to "reevaluate" what has gone before and
show some
> initial "reserve" as you take those first steps. And don't forget,
Yarbro
> spent considerable time outlining the traits of these numbers. I
find it
> hard to believe that it was so far off.
>
> Phil: I repeat emphatically: this cardinal/ordinal mirroring in
the septenary is
> not just the goofy pet theory of a scatterbrained forgetful
Artisan. There
> is the MMFM p.189 text regarding the yin-yang symbol that "doubles
back on
> itself". <<<

Wouldn't the yin represent the three ordinal energies, and yang, the
three cardinal? The neutral energy, scholar, bridges them together?

The relationship between the king and server doesn't puzzle me that
much. If you think of music and a diatonic scale, the leading tone
(or 7th/King) is the most active note in the scale and it naturally
leads -- in a cardinal way, I might add -- to the tonic note, which
in this case would be the server. The pattern repeats itself as you
ascend the scale and you could say it even falls back on itself if
you consider that the same notes are being repeated: 1 2 3 4 5 6 7 :
1 2 3 4 5 6 7 : 1 2 3 4 5 6 7 and so on.

Ha! I know it's probably pure nonsense, but based on the above scale
you could assign a mode to each role. The Server (C) would be the
Ionian mode; the Artisan (D), the Dorian; the Warrior (E), the
Phrygian; the Scholar (F), the Lydian; the Sage (G), the Mixolydian;
the Priest (A), the Aeolian; and finally the King (B), the Locrian,
which is a favorite mode in jazz music. You can play those modes by
choosing any note in the C diatonic scale and going up the white keys
on a piano. To play the Dorian scale, for instance, start on the
second tone of the C scale and play: D E F G A B C D.

Ha! You could even think of the numbers or role energies as musical
intervals. I like this better! Play these intervals on the keyboard
or sing them aloud to hear their energetic flavor. If at the
keyboard, I'd play them one at a time (linear) and then play them
simultaneously (harmonically) for maximum comparison.

I know it's impossibly subjective, but I'm curious if anyone notices
ordinal and cardinal energies in these intervals.

C-C (1-1) is Server, or C to the octave above. In musical terms, the
Server (or tonic) is like home. It lays the foundation for the entire
scale. In our musical world, the Server is the energy that supports
the hierarchy of the other roles and it's the pitch or energy in
which the other tones or roles are centered. To sing the octave of
this interval, think of the first two notes of either "Over the
Rainbow," or "The Christmas Song."

C-D (1-2) is Artisan. Not a particularly dynamic interval. Though, if
you play the two notes together you create an interesting dissonance
which kind of reminds me of a colorful smudge on an artist's canvas.
Play these intervals in a cluster and you get a certain ambiguity
that's in keeping with the Artisan. To sing this interval out loud,
think of the first two notes from the children's song "Are You
Sleeping." But the best effect is to sound the two notes together on
a keyboard.

C-E (1-3) is Warrior. This is a foundation note in any triad/chord
and it feels solid. To sing this interval, think of the first two
notes from : "I Could Have Danced All Night, " or "If I Loved You."

C-F (1-4) is Scholar. This is the pivot note that creates a bridge
between our ordinal and cardinal roles. To sing this interval, think
of the first two notes from "Here Comes the Bride, " or "Amazing
Grace." Do you hear any neutrality in it?

C-G (1-5) is Sage. This is another foundation note in a triad and it
sounds very strong and cardinal. To sing this interval, think of the
first two notes of the "Star Wars" theme, or "Take the A Train." "The
Summer Knows - Theme from Summer of 42," is another song that begins
with this interval of the fifth.

C-A (1-6) is Priest. This is a sweeping interval that sounds cardinal
to me, yet not particularly forceful. It has more of a harmonious
quality. To sing this interval, think of the first two notes of "My
Bonnie Lies Over the Ocean," or "It Came Upon a Midnight Clear."

C-B (1-7) is King. This is a highly energized interval that's
somewhat dissonant, cardinal, and actively trying to resolve back to
the tonic. To sing this interval, think of the first two notes
of...this was a tough one. There was an old pop/rock song
called "Take On Me" that starts with the major seventh interval, or C-
B. You can also find the interval in the fourth note of "I Can't Get
Started."

Anyhow, I just thought it might be interesting to hear how these
universal numbers/energies sound in musical intervals. If you feel
inspired, convert your casting numbers into notes or a motif, or play
a cluster of all the numbers on your overleaf chart together, and
then create a tone row out of them for an extended composition. ;-)

Best,
Dave
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