Sorry, an error occurred while loading the content.
Browse Groups

• Let us take the no.s 1-49 and form a horizontal uniform numbering array, repeating this for 7 rows of 7. Now let us equate each of these 7 no.s with a musical
Message 1 of 3 , Jan 7, 2008
View Source
Let us take the no.s 1-49 and form a horizontal uniform numbering
array, repeating this for 7 rows of 7. Now let us equate each of
these 7 no.s with a musical note from the first basic key of C for
simplicity, where this first basic key has no sharps or flats. Now
the entire chart will be a lateral sequence of the notes CDEFGAB in
lateral repetition. We may not have many music theory students here,
but some may recall that the musical staff contains 5 lines, and a
memorization for the notes associated with the five lines starting
from the bottom upwards is the sentence; Every Good Boy Does Fine,
where the capitals contain the notes associated with these staff
lines, and the notes placed between the staff lines read from the
bottom up FACE. If we now re-arrange these no.s into a magic square
arrangement where the no.s carry each associated musical note, the
no. 1 will start in the center of the first horizontal row and will
read vertically the C major scale CDEFGAB. The vertical column to the
left will be its relative A minor scale ABCDEFG. Every other
vertical column will be a different starting letter succession of
these notes. Viewed horizontally every letter will be a succession
of the staff lines EGBDF and the interposed notes FACE, where E & F
are used by both sequences. An octave is composed of eight notes but
not all the notes have a sharp or flat between them,(these are the
black keys between the white ones on a piano) if they do the note
progression is referred to as whole steps that have a sharp note in
between them, but between the notes B&C and E&F there is only a half
step, making an octave not 14 half steps but 12 instead. A major 3rd
is comprised of four half steps, a minor 3rd of three half steps, and
a major chord are these two different thirds placed together in that
order; where a minor chord reverses this order. As a result any
horizontal three notes appearing in succession on this ordered magic
transposition of the C major scale will be either a major or a minor
chord, and actually another method other then the three laws of
diagonal progression can be used to predict the location of other
no.s on the odd sided magic square: this again is the chess knight
movement. If we look at the horizontally ordered sequence of 1-49,
and move like a chess knight down to the next layer from the left
corner starting no. 1, we encounter the no. 10; and continuing this
sequence of moving a chess knight down each time one layer, the
sequence reads 1,10,19,28; which become the four numbers in
horizontal succession from the starting top center no. one of the
magic seven square arrangement.
Actually these things were found in retrospect as first I had
used the balanced eight square arrangement where a single row then
contained an entire octave where I used both the low and high notes
of the octaves as the beginning and ending of the rows, and then
picked two rows in random to form a musical duet, which didnt sound
to bad, but it seemed like I was getting a lot of duplicate notes on
each of the duets. But seeing the enormous amounts of different rows
and columns that might be combined to form duets, it seems like it
might be possible to form some kind of musical composition based on
balanced mathematics. It was only when I started using different
size squares to try this out that I found the organization inherent
in the seven square. I have barely scratched the surface here on the
idea but I would imagine it should be tried first with a 12 * 12 grid
where all the half steps can be included; and I also imagine that
this would show melodies formed in a totally haphazard manner, as
then we should find formations including many off scale notes.
Anyways nothing ventured, nothing gained.
I played an amusing trick on inmates while in jail. I tore a
deck of cards up into quarters and marked 64 of these into the no.s 1-
64. I then said watch closely and if you can repeat what I do, then
I will award you some food from my commissary. I then started from a
corner and placed no 1, then moved like a chess knight for move no. 2
ect on down the line till all 64 cards were placed on the board, then
I went backwards and starting picking up all the cards in reverse
order so that the next person could watch this and try to duplicate
it. As I have explained before this is a very unique solution to
this maze where there are probably millions of incorrect sequences
where they end up trapped by there own past movements, and can no
longer move to occupy all 64 squares. Of course it is nigh
impossible to memorize all these correct 64 moves, and seemingly one
wrong turn anywhere in the maze except for the the last four moves
will lead to entrapment which I didnt have to memorize this entire
sequence, instead yours truly, seven of nine, was able to discover
the secret code to the sequence! (this is also a clue!). When people
asked me how I solved this maze I simply dumbfounded them by saying
well look at all the numbers here on completion of the maze, all the
rows and columns add to the same no., so I merely added these numbers
up in my head as I laid them down! No way they exclaimed, that would
be impossible! So I made the puzzle a little easier for them by
first laying down half of the numbers and giving two clues to how the
code works; which I will try to repeat here. But first the following
is of interest as I also enjoyed the many clues gained from codes
found in the movie "The DaVinci
Code"...
http://www.msnbc.msn.com/id/18417877/
Melody Deciphered in DaVinci Code Chapel
ROSLIN, Scotland - Like a plot from "The Da Vinci Code," a team of
code breakers claims to have found music hidden for 500 years in
intricate carvings at the church where author Dan Brown set the
climax of the best-selling book.

The 15th-century chapel, 10 miles (16 kilometers) from Edinburgh, was
built by Sir Gilbert Haye and Sir William Sinclair and is steeped in
the traditions of the Knights Templar and Freemasonry.

Father and son team Thomas and Stuart Mitchell say they deciphered a
musical code hewn into stone cubes on the ribs supporting the ceiling
of Rosslyn Chapel in the village of Roslin, near Edinburgh.

"Breaking the code was a true eureka moment. It's like we have been
given a compact disc from the past," said Stuart Mitchell, 41, a
music teacher from Edinburgh. "But unlike the fiction of 'The Da
Vinci Code,' this is a tangible link to the past."

The Mitchells' research centered on the ribs of a ceiling in the Lady
Chapel. Rows of carved angels play instruments above the columns of
cubes.

The elder Mitchell, 75, who was a code breaker for the Royal Air
Force during the Korean War, said he spent 25 years working at the
puzzle.

"Many of the angels had musical instruments and some were arranged as
a choir, but there was one angel we couldn't work out," he
said. "Then we realized she was carrying a musical stave, the lined
blueprint for musical composition, and therefore we were looking at a
coded piece of music."

The five-line stave that Mitchell believes the angel is holding came
into general use in the 16th century in the West, music historians
say.

The science of sound
If the Mitchells are right about the meaning of the shapes, the
people who built Rosslyn Chapel between 1446 and 1486 knew something
about the science of sound that wasn't generally known in the West
until the 1700s.

The Mitchells believe the patterns on the cubes are Chladni patterns 
created by vibrations of musical pitches.

The patterns are named for Ernest Chladni (1756-1827), a German
musician who is also remembered as the inventor of the glass
harmonica.

Back to the subject at hand here which is the 64 move chess knight
code...

I began to wonder if the Knights Templar knew of this code to
initiate its members or some such far fetched thing because of the
numbers used to solve the code. In the Scottish? rite of
Freemasonry, there are 33 degrees in the order: It is on the no. 33
that the code for the entire square sequence begins to be used. And
the flag of the Knights Templar is a white flag with a lateral red
cross, is it just a coincidence that for the non quadratic even magic
squares this pattern is a segregation where numerical members on the
lateral red cross exchange positions only among the geometry of the
lateral red cross?

01-??-31-??-??-16-??-18
30-??-??-03-??-19-14-??
??-02-??-32-15-??-17-??
??-29-04-??-20-??-??-13
05-??-25-??-09-??-21-??
28-??-08-??-24-??-12-??
??-06-??-26-??-10-??-22
??-27-??-07-??-23-??-11

A code of movement exists whereby moving a chess knight 63 times, all
64 squares may be visited without becoming trapped in the maze. This
code when known shows the future location of every move by the
location of the first 32 moves.

Clue 1: 32 is the number of the difference of the squares that
establishes the code on one dimension; but having more then one
Clue 2: 33 shows the method of the code on a different dimension.

About 25 wrong moves can be made from this halfway point, and I dont
imagine any of those will lead to the end of the maze, except one of
them will, but then all the rows and columns would not add to the
same number.

Perhaps Marilyn Savant? might solve this one, as even if the maze was
completed, the main clue might not be fathomed.

Sincerely HDN
• Harvey, Lots of music both old and new has been written using this type of magic square musical numerology. Around the year 925 the musical world had settled
Message 1 of 3 , Jan 8, 2008
View Source
Harvey,

Lots of music both old and new has been written using this type of
"magic square" musical numerology. Around the year 925 the musical
world had settled into a Staff of 4 lines and this was used for about
another 400 years before the the 5th line was introduced.

This type of musical thinking culminated eventually evolved into the
12 tone system of Schoenberg, Berg, Weber, and the recently deceased
Karlheinz Stockhausen. Numerology sequences were sometimes used by the
eclectic John Cage, (not to mention star charts).

J.S. Bach was famous for sneaking in his last name (h is b natural,
and b is b-flat in German) into his fugal compositions.

So could the Knights Templar have hidden messages in the music?
Surely! Just gotta pick the right tunes, I guess!

James
• ... 33 ... Remember seven of nine ? The code is based on those two numbers. ... all ... This ... The difference of the squares are squares of numbers, of
Message 1 of 3 , Feb 10, 2008
View Source
--- In teslafy@yahoogroups.com, "Harvey D Norris" <harvich@...> wrote:
>

> Back to the subject at hand here which is the 64 move chess knight
> code...
>
> I began to wonder if the Knights Templar knew of this code to
> initiate its members or some such far fetched thing because of the
> numbers used to solve the code. In the Scottish? rite of
> Freemasonry, there are 33 degrees in the order: It is on the no.
33
> that the code for the entire square sequence begins to be used;
Remember seven of nine ? The code is based on those two numbers.

> 01-??-31-??-??-16-??-18
> 30-??-??-03-??-19-14-??
> ??-02-??-32-15-??-17-??
> ??-29-04-??-20-??-??-13
> 05-??-25-??-09-??-21-??
> 28-??-08-??-24-??-12-??
> ??-06-??-26-??-10-??-22
> ??-27-??-07-??-23-??-11
>
> A code of movement exists whereby moving a chess knight 63 times,
all
> 64 squares may be visited without becoming trapped in the maze.
This
> code when known shows the future location of every move by the
> location of the first 32 moves.
>
> Clue 1: 32 is the number of the difference of the squares that
> establishes the code on one dimension; but having more then one
> answer; only one answer is obvious.
The difference of the squares are squares of numbers, of which the
difference is 32. The square of nine is 81, and the square of seven
is 49, and the difference between them is 32, which solves the puzzle
on a lateral basis. However two other pairs of numbers satisfy the
condition that their subtracted squares also equal 32. Those are six
and two or 36 -4 =32; quite irrevalent here as such a pairing scheme
would never work to solve the puzzle, thus it is obvious.
> Clue 2: 33 shows the method of the code on a different dimension.
The method of the code works both on a horizontal and vertical basis
as dual additions of sums from the outside edge inwards. On the
bottom half of the chart the the vertical sums add to 33. That is
part of the vertical code, but the horizontal is easier to follow as
a continuous rule. Every move after 32 will be matched to an outwards
formed sum adding to seven squared or 49. Those movements will be
exhausted when the pairings of numbers can no longer add to 49, but
must instead add to 81. The pairings in each case go up on one side
and down on the other, thus the pattern of future moves based on the
correct past moves as a following movement should be easily seen.
>
> About 25 wrong moves can be made from this halfway point, and I
dont
> imagine any of would not work to solve the puzzle; thus it is those
will lead to the end of the maze, except one of
> them will, but then all the rows and columns would not add to the
> same number.
With correct pairings they do. WHAT A GREAT THING IT WOULD BE IF
PEOPLE WERE LIKE THAT AND WE ONLY NEEDED TO BE PAIRED WITH OUR ANGEL
OR SOUL MATE?
>Sincerely HDN
>
Your message has been successfully submitted and would be delivered to recipients shortly.
• Changes have not been saved
Press OK to abandon changes or Cancel to continue editing
• Your browser is not supported
Kindly note that Groups does not support 7.0 or earlier versions of Internet Explorer. We recommend upgrading to the latest Internet Explorer, Google Chrome, or Firefox. If you are using IE 9 or later, make sure you turn off Compatibility View.