Sacred Geometry is not only a study of mathematical forms, but is a path of the soul. We come from deep space, a spiritual dimension, and have a pre-figured set of archetypal forms that our soul resonates to. The form of our bodies slowly accretes matter to fulfill the archetypal forms of our soul’s desire. Our soul/consciousness matrix precipitates our subtle bodies working down through to the physical body. Our “bodies” (causal, mental, emotional, physical) serve the longing of our souls to return to the Source—to All That Is—God.
Sacred Geometry resides in all forms on Earth and the Universe—from atoms and molecules, plants, animals to galaxies. All beings are part of the resonant matrix in which we live. We are all relatives and our inner and outer life is connected through form and function. The spirals and waves of sea creatures are part of our digestive organs. The pentagonal and circular forms of flowers resonates to our blood and bones. The radial form of stars is resonant with our eyes. The branching form of plants and trees is one with out nervous system,. There is truth to some of the old myths that tell of an archetypal being whose organs and parts are the sea, rivers, mountains, trees and creatures.
We are here on Earth to spiritualize matter through ourselves, one with all of life. Sacred Geometry reveals how chaos becomes cosmos through eros and logos, that is, how the subtle and potent energy in the void emerges through desire and cosmic law to become universes with consciousness. It is through harmonics that form takes place.
Sacred Geometry, including musical harmonics, interfaces the visible and invisible realms, matter and spirit. Sacred Geometry provides aligned resonance between subtle energy and matter. The Earth, Solar System and Galaxy are linked through a radially distributed longitudinal (scalar) gravity field. Cosmic energy from the Galaxy resonates with the Sun, the Sun with the Planets, and the planet Earth with our bioenergy systems through our spinal column and brain. The Sacred Geometry of the Cosmos runs through us all.
The relationship of the Earth’s axis and the ecliptic, which in turn relate to the orientation of the Galaxy, creates astronomical angular harmonics similar to musical intervals. As a specific angle, correlating to the main musical harmonics described below in this article, is approached, there is a phase compression wave which is felt in biological and consciousness systems, as pressure. This pressure is an intensity of energy preceding a breakthrough both in healing and in consciousness. Healing crises can recode cellular and genetic patterns and allow a clearing for the Soul to descend down through the causal, mental, emotional and physical “bodies” of the Self.
It is through Sacred Geometry that this descent occurs until we receive the grace of our Light Bodies—whence we can learn to navigate through harmonics directly. In healing and in preparation for this dimensional shift into our Light Bodies, using Sacred Geometry and harmonics can help restore unity through diversity toward a integral harmonization of Soul and Self.
To break through to healing all our “bodies”, liberating the whole of our Souls and wedding Soul to our Self (Divine I AM Presence) is the ultimate function of Sacred Geometry.
Symbols have universal harmonics that the subconscious can recognize and use creatively. Symbols are keys, that, when repeated, mirrored, rotated and inverted, can open our psyche to the cosmic energies. Hereby we can learn to navigate, using symbols and harmonic codes. Mandalas of Sacred Geometry interface archetypes, cosmic energy, the astro-grids, and our biodynamic selves. Mandalas are orchestrations of symbols resonating to the rhythms and harmonics of the innate order of the universe on both microcosmic and macrocosmic levels
Symbols constructed from Sacred Geometry such as the crop circles, the symbols of the Gaia Matrix Oracle, Vibrational Medicine Cards, the Co-Creation Code Deck and the Shri Yantra, Seal of Solomon and other Yantra, are interdimensional doorways. They bring the resonance of the Soul purpose in alignment with our bodies and environment. We need different harmonics and forms of different purposes, to receive diverse resonances into our multiple bodies.
Nature’s forms are constructed from Sacred Geometry, using the same alphabet of forms—such as the branch, spiral, wave, circle, as we use in art, architecture and design to harmonize our culture with the cosmic energies.
(relationship of music to astrology and geometry)
The harmonics of music relate directly to Sacred Geometry for musical intervals are a sound correlation to proportions in form and ratios in mathematics.
A circle in two dimensions and a sphere in three dimensions is the most perfect form. Why? because it is uniform, all surfaces are equidistant from the center. It is the most expanded form while being the most economical (minimum space for maximum volume). If we take a circle as equivalent to a musical tone with 360 degrees, then a string stretched across the circle’s diameter is its octave—which is the ratio of 2:1 = 180 degrees. The octave is named after eight, the oct, because the seven-tone scale gives the eighth note as being the same tone as the fundamental, but vibrating twice or half as fast.
Each musical interval has a relationship to the twelve-tone scale, which is an approximation to the harmonic overtone series. In a twelve-tone scale there are seven octaves to complete the scale, using Fourths of Fifths. This is a total piano keyboard! On the contrary, certain musical intervals fit several times within one octave. For example, the whole-tone has six notes within the twelve-tone scale, the minor third has four notes and the major third has three notes within the twelve-tone scale.
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I call the octave the DIVINE WORD VIBRATES IN THE VOID because the octave is the first interval, and the Void is like the circle and silence. The void is a plenum of harmonics (just as the “vacuum” of space is a plenum of zero-point energy), but appears empty and quiet. I use the number 1 and its doubles for the fundamental and its octaves (1, 2, 4, 8, 16...) for it is the first interval. The octave correlates to the opposition in astrology, just as the fundamental correlates to the conjunction—based on the following geometric diagram: This correlation to astrology works through the principle of resonance—which suggests that the sounding of a tone, or the vibration of a form, sets up a standing wave to which all similar tones vibrate. An opposition is, in a sense, a potentiating (halving or doubling the frequency of the opposite sign) of the sign or planet it is opposite to. A conjunction is amplifying the quality of a given sign or planet. In a similar way a fundamental tone simply sets up a resonant standing wave, and its octave, raises the same tone to double the frequency. |
When we divide the circle into thirds, we have sections of the circle consisting of three 120 degree sections. The ratio of 3:2 defines the musical interval of the Perfect Fifth—which is the second harmonic beyond the octave. I call the Fifth THE CELESTIAL ZODIAC, for the cycle of Fifths is very harmonious (celestial) and is made up of twelve tones (a zodiac). In a twelve-tone scale the circle of Fifths runs from C to G, D, A, E,B, F #, C #, G#, D#, A# F back to C. The Fifth correlates to the trine in astrology—which is the most harmonious aspect. |
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Dividing the circle into five parts, we have five 72 degree sections. The ratio of 5:4 is the Major Third in music, which I call TRIPLE FLAMES: SPINE-VISION-WEAVE. Taking the keynote of C as the fundamental, correlating to the zodiacal sign of Aries, the Third to C is E, correlating to the zodiacal sign of Leo; and the major Third to E is G# (correlating to Sagittarius). Aries, Leo and Sagittarius are the three fire signs of the zodiac—hence I call them the TRIPLE FLAMES. The Major Third interval from C to E (Aries to Leo) I call Sacrifice; from E to G# (Leo to Sagittarius) I call Involution; and from G# to C (Sagittarius to Aries) I call Evolution. This implies that the Major Third is the harmonic interval used for the cyclic phases of initiating, infolding, and unfolding. It may seem strange that the cut of the circle for the Major Third, which correlates to Trines in astrology, is in five sections instead of three. This is because, when taking a zodiac of twelve sections, it is represented by the skipping of four and results in the trine; but as a musical interval the Major Third is defined by the ratio of 5:4—revealing its relationship to the pentagram. 1/5 is the Quintile in astrology. |
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The next harmonic of the overtone series is the minor seventh with a ratio of 16/9 (A# or B flat when the tonic is C). I call the minor seventh interval DIVINE SPARKS OF THE UNEXPECTED—for it is an interval that, at once, sounds dissonant with the fundmanetal and longs to return to it. C to A# is almost a complete octave (16/8 = octave; 16/9 - minor seventh). With this interval, we divide the circle into sixteen parts, and take seven sections of the sixteen. In astrology, the Minor Seventh correlates to the 7/16 aspect of 157.5 degrees. The irregular harmonics in relation to the zodiac (which is based on 30 degree intervals) occur with the Thirds, Major Sixth, Whole-tones, Minor Sixths, Semi-Tone, Minor Seventh, Major Seventh and Tritone. It is only the Octave, the Fiifth, Fourth, and Minor Third that completely harmonize with the zodiac as 180, 120, 90 and 60 degrees respectively. |
After the Minor Seventh, the next overtone is the Whole-Tone (correlating with the number 9). I call the Whole Tone PLANETARY STEPS TOWARD DESTINY since it moves in a stepwise fashion of every other note on the piano (C to D, D to E, E to F#, F# to G#, G# to A#, A# to C). There are two sets of whole tones in the whole twelve-tone scale. The second set begins with C# to D#, D# to F, F to G, G to A, A to B, B to C#), |
| The next overtone corresponds to number eleven, which in the twelve-tone scale, falls between the Perfect Fourth and the Tritone. It is in between 90 degrees (fourth) and 104 degrees (tritone) which puts it at 97 degrees. I suspect this dissonant harmonic is a key to transcendence, but more on that later. In astrology, this 97 degree aspect is 97/360 or 12.1/45 or 8.8/32. It is close to 9/32. |
The tone correlating to the number thirteen is the Major Sixth (A of key of C) with a ratio of 5/3. I call it ELEMENTAL SEPARATION. This interval belongs to the family of the Major Third where the circle is divided into five. It correlates to the astrological aspect of 2/4 = 144 degrees (BiQuintile). |
Then we come to the Major Seventh with a ratio of 15/8. I call this interval PRECESSIONAL AGES: DEEP LONGING for here we have the far-reaching interval that almost reaches the octave of 16/8 or 2/1. (C to B) We can compare it to the twelve ages correlating to the prefession of the equinoxes—a 2500 year cycle multiplied by twelve—all longing to return to the Golden Age. I start the cycle with C, but the Golden Age is likely E as Leo. Now, just entering the age of Aquarius we are emergin into the light half of the Precession of 13,000 years—after the descending "dark" cycle from the Age of Leo through the ages of Cancer, Gemini, Taurus, Aries and Pisces. The ratio of 15/8 is a 7/15 harmonic aspect in astrology = 168 degrees. |
After the Major Seventh we come to the Semi-Tone with a ratio of 16/15—which is the 1/16 aspect in astrology, belonging to the octave and square family. This is 22.5 degrees. I call the Semit-Tone EVOLUTIONARY PROGRESSION OF TIME—for like the Sevenths, there is a sequential unfoldment in twelve steps, but here it is forward in the sequence of the zodiac, unlike the precession. The Semi-Tone is the smallest interval of the whole overtone series. |
Next is the Minor Third of the raio of 6/5 (D# in relation to C). Here we divide the circle into six. The next cut of the circle is in six parts, creating six 60 degree sections. This proportion is found as 6:5, correlating to the Minor Third, which I call LOTUS LITURGY: ELEMENTS. C to D# to F# to A creates a pattern of four within one octave of the twelve-tone scale given above. Relating to astrology, these four are C as Aries (fire; D# as Cancer (water); F# as Libra (air) and A as Capricorn (earth). All four elements are revealed through the four cardinal zodiacal signs. It is a sixfold cut of the circle because the harmonic is keyed to the ratio of 6:5.. The Minor third correlates to the Sextile in astrology and the hexagon in Sacred Geometry. |
Then we discover the Fourth with a ratio of 4/3, which makes it 1/4 of the circle or 90 degrees in astrology (the square). When we divide our circle into quarters, we have four 90 degree sections. This is the ratio of 4:3 correlating to the Fourth in musical intervals. I call the interval of the Fourth the EVOLUTIONARY ZODIAC for it spirals in a step by step unfoldment in reverse order of the perfect Fifths: C, F, A#, D#, G#, C#, F#, B, E, A, D, G, back to C. The Fifths are overtones and the Fourths are undertones. (See article on p. 8 for the relation of overtones and undertones to future and past). The Fourths relate to squares in astrology. The squares are hard, but constructive angles. It is through the 90 degree right angle that dimensional shifts occur. |
The Tritone (F# in relation to the key of C) has the most complex ratio of 45/32 pr 64/45. This makes it 13/45 pr 19/64 in astrology as 104 or 107 degrees. I call it ANDROGYNE; TRANSTIME, for it represents a fusion of the fundamental with the tritone. It sounds very dissonant with the fundamental. It falls short of being 1/3 which is the beautiful musical Fifth. Yet the Tritone is very powerful as a pivot point between the intervals that are less that 104 degrees (Fundamental = 0 degrees, Semitone = 22.5 degrees, Whole Tone = 40 degrees, Minor Third = 60 degrees, Major Third = 72 degrees, Fourth = 90 degrees) and the intervals that are more than 104 degrees (Fifth = 120 degrees, Minor Sixth = 135 degrees, Major Sixth = 144 degrees, Minor Seventh = 157.5 degrees, Major Seventh = 168 degrees and OOctave = 180 degrees.) The Tritone divides the twelve tone scale in half. |
The last overtone is the Minor Sixth, which I call COMPASSION: GIVING LIGHT. Its ratio of 8:5 reveals it to be in the Octave-Fourth family—which correlates with the 3/8 aspect of astrology (135 degrees). This ratio of 8:5 is the closest ratio in all twelve tones to the phi proportion, which is 1.618. 8 divided by 5 = 1.6. 13:8 is a close approximation to Phi and 21: 13 even closer, but PHI being an irrational number, is never resolved in whole numbers. It is because of this correlation of the Minor Sixth to the Phi proportion that I see it as a compassionate outpouring of Light—since this ratio is the source pattern of almost all life forms—all of which long to drink Light. |
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