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Knights Templar Maze?

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  • Harvey D Norris
    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
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      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
      answer; only one answer is obvious.
      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
    • fleubis
      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 2 of 3 , Jan 8, 2008
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        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
      • Harvey D Norris
        ... 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 3 of 3 , Feb 10, 2008
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          --- 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
          >
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