Planetary Harmonics | Larry Berg

 

 

» The heavenly motions are nothing but a continuous song for several voices, to be perceived by the intellect, not by the ear; a music which, through discordant tensions, through syncopations and cadenzas as it were, progresses toward certain predesigned six-voiced cadences, and thereby sets landmarks in the immeasureable flow of time. « 

— Johannes Kepler, 1619, The Harmony of the Universe, Book V, Chapter 7. 

 

Reference:
Jeffrey H. Horovitz & Richard Tourtellott (1988) - Planetary Harmonics. An Exclusive Interview with Larry Berg. 

In: Cycles, January/February 1988, Foundation of the Study of Cycles.

 

See also:

Larry Berg (2024) - The Berg Timer™, its History and Calculation.

The Art of Forecasting Wheat Prices Using Harmonic Cycles | L.H. Weston

Numerous attempts have been made during the past century to find a fairly reliable method for determining, long in advance, the probable price of wheat and grain in general [...] We have a wheat record that runs back, upon unimpeachable authority, for several hundred years, the one given in this booklet beginning in the year 1270 and running up to present time, with years as the unit of time, and it would indeed be strange if, with such a record, we could not pick out the useful cycles in it, providing any such cycles really do exist [...] That there are recurring cycles of movement in nearly all, if not, indeed, absolutely all natural phenomena, there is now no longer any reasonable doubt. No scholar of the day, no scientist, no investigator of these times, would for a moment argue against this well established fact.

 

[...] In the following pages I give the recorded mean price of wheat for each year in England from the year 1270 to 1909, in both a table and a diagram. Also, in a diagram, the monthly mean price of wheat at Chicago and Cincinnati from 1844 to present date. Special charts are also given to illustrate the explanations regarding the method of forecasting by means of cycles. By means of these tables and charts I show in this work how a forecast of the wheat market can be made up for over 40 years. In fact, I chart the forecast in advance over 10 years, for the benefit of readers and students. It is done just as proposed above, namely, by first proving that the harmonic cycles really do exist in the records, and then carrying them on into future years. The calendar year is used as the unit of time (or the calendar month) and therefore the forecasting, as taught, is necessarily of the long swing movement. 

 

 

 

[...] On page 27 is given the table of composite and harmonic values in the 49-year cycle. That composite is, as before stated, the result of eleven cycles added together, while the harmonic values are merely the smoothed curve of this same composite, and both are charted together on page 26. 

 

[...] This result is given in the Composite Chart of the 49-year cycle and it is the one used as the basis of all forecasting. If we examine the composite chart with some attention we will find that there are just about eight places where tops come out and likewise there are eight bottoms. Eight into 49 goes 6.125 times, so it seems very much as though the famous 7-year cycle of the ancient Jews was in reality about six and one-eighth years instead of 7. It is the eighth harmonic that gives the best results in the 49-year cycle, instead of the seventh.

Quoted from:
L.H. Weston (1923) - The Art of Forecasting Wheat Prices by the Use of Harmonic Cycles.

 

See also:
Hans Hannula (1993) - Gann's Greatest Secret: L.H. Weston - Gann’s Professor.
L.H. Weston (1921 & 1923) - Being a Treatise on the Geometrical or Chart System of Forecasting in which is explained the principles of the art, and, in this lesson no. 1, giving demonstration with the price curve of potatoes in the U.S.  

Harmony of the Spheres | Dance of the Planets

James Ferguson’s (1710-1776) representation of the apparent motion of the Sun, Mercury, and Venus from the Earth, based on similar diagrams by Giovanni Cassini (1625-1712) and  Roger Long (1680-1770). Taken from the "Astronomy" article in the first edition of the Encyclopædia Britannica (1771; Volume 1, Fig. 2 of Plate XL facing page 449). This geocentric diagram shows, from the location of the Earth, the Sun's apparent annual orbit, the orbit of Mercury for 7 years, and the orbit of Venus for 8 years, after which Venus returns to almost the same apparent position in relation to the Earth and Sun. In Arabic, Venus is called “El Zahra” - the flower. See HERE + HERE + HERE + HERE

Earth - Mercury Cycle.
This and all following graphics by John Martineau.

Earth - Venus Cycle:
Earth = 8 years x 365.256 days/year = 2,922.05 days
Venus = 13 years x 224.701 days/year = 2,921.11 days (ie. 99.9%)

Earth - Mars Cycle.

Earth - Jupiter Cycle.

Saturn - Uranus Cycle.

Jupiter - Saturn Cycle.

Venus - Mars Cycle.

The radius of the Moon compared to the Earth's is 3:11

Radius of Moon = 1,080 miles = 3 x 360
Radius of Earth = 3,960 miles = 11 x 360 = 33 x 1 x 2 x 3 x 4 x 5
Radius of Earth plus Radius of Moon = 5,040 miles = 1 x 2 x 3 x 4 x 5 x 6 x 7 = 7 x 8 x 9 x 10
The ratio 3:11 is 27.3%, and the orbit of the Moon takes 27.3 days, which is also the average rotation period of a sunspot. The closest to farthest distance ratio that Venus and Mars each experiences in the Mars-Venus dance is also 3:11. The Earth orbits between them. The sizes of the Moon and the Earth is drawn to scale in the last illustration above, where the perimeters of the dotted square and the dotted circle are of the same length: The perimeter of the dotted red square is 4 x Earth’s diameter = 4 x 7,920 miles = 31,680 miles. The circumference of the dotted blue circle is 2 pi x radius = 2 x 3.142 x 5040 miles = 31,667 miles (ie. 99.9%).

The Measure of the Circle | Math for Mystics

Pi (π) is the ratio of the circumference of a circle to its diameter. 
As a fraction, its closest approximations are 22/7, 333/106 and 355/113.

Projection on the plane of the ecliptic of the parabolic
orbits of 72 comets, 1802. Engraving by Wilson Lowry after
Johann Elert Bode.

Circle of Fifths, and relationship of relative
minor keys to major key signatures.

 

"The circle is one of the noblest representations of Deity, in his noble works of human nature. It bounds, determines, governs, and dictates space, bounds latitude and longitude, refers to the Sun, Moon, and all the planets, in direction, brings to the mind thoughts of eternity, and concentrates the mind to imagine for itself the distance and space it comprehends. It rectifies all boundaries; it is the key to information of the knowledge of God; it points to each and every part of God's noble work."

John Davis (1845): The Measure of the Circle [p. 12].

The World Is Sound | Joachim-Ernst Berendt

Joachim-Ernst Berendt (1987) - According to the Law of the Octave the duration of a planet's rotation, that is, the time a celestial body takes to revolve around its own axis and/or the time it needs for one orbit around the Sun, can be transposed into tones and colors. The tones and colors are analogous to rotation and revolution. In order to arrive at the frequency in Hertz (vibrations per second) from an astronomic period, the reciprocal value has to be formed of the duration (expressed in seconds) [...] The Earth, for instance, has a rotation period of 24 hr, or to be more precise, of 23 hr. 56 min, and 4s, totaling 86,164s. If one takes the reciprocal value, that is, divides 1 by this number, a frequency of 0.00001160577 (an inaudible G) is obtained. Though this G is below the hearing range (which starts at about 16 Hz). transposing it by 24 octaves will create an audible G. 

[...] Tones exist, whether we hear them or not. Any music lover knows that a melody can resound within even when it is not being played. A composer hears the music within while notating it and before any sound has been made. For this reason, transposing by octaves is a legitimate process. Even scientists are using it (for instance, to transpose sound of deep sea fish and bats from the ultrasonic range into human audibility or to better understand signals of pulsars and other stars). The octave (1:2) is the most frequent relationship in the universe - not only in music, but anywhere in nature, from the micro- to the macro-cosmos. We use the same names for tones that are octaves apart [...] When a cell divides in mitosis, it chooses the "position" of the octave. The result is the "same cell" again. An octave may vibrate at twice or half the rate (or in powers of two or one-half) but it still is the same tone. It may split the one in two parts or double it, and the result is the same again. Its frequency may be completely different from the basic tone, many Hertz above or below it, but the result is still the same tone again. The octave is the most convincing symbol of unity that we can find in nature. And in nature, it is omnipresent.

[...] Because the Law of the Octave is universal, one can continue transposing by octaves to reach the electromagnetic vibrations of colors. From the tone of the Earth (194.71 Hz) another 36 octaves are required to reach 700.16 Nm (Nanometer), which is analogous to the color of orange-red (also analogous to the tone G and to the rotation of the Earth around the Sun). However, the range of human vision is limited to only one octave compared with the ten octaves of the hearing range [...] The tone of the Earth is the most important tone for all living beings on this planet, whether we leave it inaudible or make it audible by transposing it into higher octaves. It is with this tone that we rise in the morning and go to bed at night; to this tone we do our work, we get hungry, and we love. But other planetary vibrations and tones, especially those of the Sun, the Moon, Venus. Mars, and Jupiter, also vibrate directly into our earthly existence. This is why I call them primordial tones [...] For millions of years, longer and more steadily than any other comparable vibration, the Earth. Sun, Moon, and the planets have been vibrating in cosmic space. Our genes and those of all living beings have experienced these vibrations so often that the processes and mechanisms of genetic programming must have stored them long ago.

[...] The period from Full Moon to Full Moon (the "synodical month") lasts 29 days, 12 hr, 44 min and 2.8s; a total of 2,551,442.8s. In order to transpose the corresponding frequency into the average range of human hearing, we have to transpose it by 30 octaves. The result is a tone of 420.837 Hz (G sharp), a tone of no great importance to our Western music today, but during the Baroque and early Classical periods, it was of major importance. Mozart's tuning fork, for example, had 421.6 Hz. At its pinnacle, Western music was directly connected with the tone of the Moon. Concert pitch started to rise in the middle of the 19th century, striving for the superficial effect of making the music sound brighter. Thus Western music started to turn away from the moon's field of resonance, but the Moon, in all traditions, is responsible for the arts and the artists, being the planet of sensitivity and creativity. In the 20th century, major American symphony orchestras kept raising the concert pitch tone more and more. In doing this, they have banished Western music from its cosmic relationship to the celestial body of the arts and the artists.

[...] The tone of the Sun results from the tropical year lasting 365.242 days or 31,556,926s, and it is C sharp. We can hear it at 136.10 Hz. In Indian classical music, this C sharp is still the fundamental tone. It is called sa or sadja, the "Father of Tones." Bells (e.g., temple bells and gongs) are often tuned to this tone, not only in India but also in Tibet, Japan, and on Bali. The prime word OM, the holiest of mantras, has been chanted to the sa more often than to any other tone. Today classical Indian music remains in a relationship to the Sun, as Western music of the Baroque, Classical and Early Romantic periods was formerly in relationship to the Moon.

 

Quoted from:
Joachim-Ernst Berendt (1987) - Primordial Tones: Meditation on the Archetypal Energies of Celestial Bodies.

See also:
Joachim-Ernst Berendt (1991) - The World Is Sound: Nada Brahma.

 

Sound, Light, Color, Heat = Different Manifestations of Energy.

On Harmony And Beauty

The Pythagoreans averred that mathematics demonstrated the exact method by which the good established and maintained its universe. Number
therefore preceded harmony, since it was the immutable law that governs all harmonic proportions. Summarizing the relationship between the
human body and the theory of architecture, Marcus Vitruvius Pollio (80–15 BC) wrote in his De Architectura: "Since nature has designed the
human body so that its members are duly proportioned to the frame as a whole, it appears that the ancients had good reason for their rule,
that in perfect building the different members must be in exact symmetrical relations to the whole general scheme. Hence, while transmitting
to us the proper arrangements for buildings of all kinds, they were particularly careful to do so in the case of temples of the gods, buildings
in which merits and faults usually last forever. Therefore, if it is agreed that number was found out from the human fingers, and that there is
a symmetrical correspondent between the members separately and the entire form of the body, in accordance with a certain part selected as
standard, we can have nothing but respect for those who, in constructing temples of the immortal gods, have so arranged the members of the
works that both the separate parts and the whole design may harmonize in their proportions and symmetry." 

"Harmony is a state recognized by great philosophers as the immediate prerequisite of beauty. A compound is termed beautiful only when its parts are in harmonious combination. The world is called beautiful and its Creator is designated the Good because good perforce must act in conformity with its own nature; and good acting according to its own nature is harmony, because the good which it accomplishes is harmonious with the good which it is. Beauty, therefore, is harmony manifesting its own intrinsic nature in the world of form. The universe is made up of successive gradations of good, these gradations ascending from matter (which is the least degree of good) to spirit (which is the greatest degree of good). In man, his superior nature is the summum bonum. It therefore follows that his highest nature most readily cognizes good because the good external to him in the world is in harmonic ratio with the good present in his soul. What man terms evil is therefore, in common with matter, merely the least degree of its own opposite. The least degree of good presupposes likewise the least degree of harmony and beauty. Thus deformity (evil) is really the least harmonious combination of elements naturally harmonic as individual units. Deformity is unnatural, for, the sum of all things being the Good, it is natural that all things should partake of the Good and be arranged in combinations that are harmonious. Harmony is the manifesting expression of the Will of the eternal Good." Secret Teachings of All Ages - Manly P. Hall (1928)

Credits: Samuel Colman (1912): Nature's Harmonic Unity - A Treatise on Its Relation to Proportional Form