A=432Hz & C=256Hz, 1st Published in Grailzines 2003 — Re-Published for the English Speaking World. For the NU A=432 Hz Music Revolution

By Ananda M.J. Bosman


Copyright © 2003, © 2004, ATONVASE DA® & Ananda® M.J. Bosman


A 432Hz music revolution is here, the symbiosis of the ancient ethnocultural and RaVe culture is now beginning to utilise the harmonic secrets of the Sound of Creation, harmonics in harmony with the:

  1. 1.Human Heart (cardio-rhythms),

  2. 2.DNA double helix (replication frequency),

  3. 3.Maximum brain function (bi-hemisphere entrainment

  4. 4.Planets fundamental heart beat, and the

  5. 5.Musical geometry of creation.

Calculated by using the geometrical temporal rhythm's of

  1. 1.72 BPM (beats per minute),

  2. 2.108 BPM

  3. 3.144 BPM

Primarily focussing on 144 and 72 BPM. In combination with instrumental tuning into the true EQUAL TEMPERING range, with

  1. 1.A=432 Hz (cycles per second),

  2. 2.C=256 Hz

Thereby, following the golden symmetry (PHI, Ø) of the human bodies architecture, and the cosmos. Keplar’s laws introduced the fact that our solar system planetary arrangement follows the C=256Hz tuning scale.


256 Hz is also one octave within the Sierpinski triangle fractal, which is the self-organising ‘random’ pattern used as the grid of all gas molecules in one mole of air (1000 molecules re- actions) — enabling the harmonic resonance phenomenon of “sound” to emerge and the coherence of “music” to resonate, by this harmonic fractal symmetry.

This is due to the nature of the C-256 tuning cascade following the perfect golden spiral of music, as the universal true equal tempering system (the path of least resistance, superconductivity being zero-electrical resistance).

This musical PHI spiral is chartering the cascade between respective octaval additions of each respective scale (i.e. 8, 16, 32, 64...), holographically embedded within the C-256 Hz microcosm of recursion (mirror-into-mirror), comprised from its contained C cascade scale additions from the initial inaugurating 8 Hz.


In other words, an electronic amplification or recording that is being amplified, and is accurately composed and precisely tuned to A=432Hz, is holographically complete on each scale, within its microcosmic embedded coherent and recursive symmetry...

In plain terms, each level, of the music, including the portion between the electronic gaps (even more evident in CD recordings), embodies the ratio of the entire myriad 12 octaval holographic information golden spiral (Tree of Life musical cone), including all of the over- tones and undertones, the infrasonics and ultrasonics, and through each respective octave of the forces of the universe...

In the golden proportion, the scale changes, but the ratio remains the same... This means that there is zero information loss, per scale cascade.

-- the momentum has begun: DJ's, musicians, shaman's, artists, scientists, movie makers, spiritual, hermetic, and cultural leaders are joining together to integrate Intelligent Learning into the Congruence of the Omega Generation 2012. Beginning with Universal Dances in Berlin.

Our planet beats at 8 cycles per second (8 Hz, fundamental Schumann resonance), as the fundamental heart beat

8 Hz is the alpha brain wave rhythm in which our parallel processors, or brain bi- hemispheres, are synchronised to spin together equally.

The neo-cortex of the brain, 90% unassigned becomes awakened in this synchronisation, and one then operates in all brain cell dendrites with the maximum information flow possible on that scale.

"Ordinary" awareness brain waves ranges from 14-40 Hz. Here one is operating only in some brain cell dendrites, and predominantly with the left brain as the centre of activity, where in- formation flow is billions of times slighter (like using an old PC 386 compared to a parallel process Pentium 4, or an old Mac Performa, compared to a Parallel processing G5).

In other words at 8 Hz one is an operating supercomputer, or congressing towards Superconsciousness.

A musical revolution that would induce 8 Hz in its beholders and party dancers, could propel mankind into an Omega Revolution, if coordinated correctly with compassionate coherence. This is precisely what the Omega Generation is about. And it is here.




See the Revolution behind the present poplar top UK 10 dance floor song "Omega" FEEL FREE TO MAKE A LINK TO THIS SITE






Within this Universal Dances Open Air Live, our live performances, will also be semi- compositions on site. The 2 whole nights of music will utilise three forms of songs, defined as COMPOSITIONS... Composite Remixes, and Remix Compositions. The last form being the standard art of the Trance DJ.... We herein, clarify and define these denominations, in order to appreciate and understand each of their respective contributions, and synthesising potentials of species sound alchemy.

As is often usual with our intense recursive looping of self-reflection, some of these descriptions will go to some remarkable depths, that will give a glimpse of the profound implications that are emerging from the Omega Generation.

For some, there will be parts that will be too challenging in the density of parallel cooperative logics, together with the language barrier, simply skip over to the next part then.

Several parts may require an 8 Hz meditative brain rhythm, in order to follow the holographic logistics to its full effect. Others will find such parts far easier than the more linear and more veiled holographic semantic logic.







Are entirely composed by myself. We have a predominantly increasing series of these, and they have a unique quality and signature. The melodies have always been, within.

Compositions have no sample loops from any other song, this itself is a rarity in the trance music culture... The samplers used, are recordings of symphonic instruments, which we then arrange, through an octaval note matrix, into the composition of the melodies that are always within. The same is applied to the various synthesisers and other related instruments.

In such compositions, the drums, in a sense are often sampled for the redrum machine and other drum machines, but not necessarily from any particular song. And their tempo is stretched to the 144 beats per minute, in a manner whereby the original instrumental quality is not lost. Many of these drum samples are recorded in music studios played by professional musicians, spanning the range of the various music fields, in their type, form, style and quality.

Ananda Bosman Vocal Trance et, at the Lyon 432 Hz Concert, May 2008


Are compositions that also use various samples taken from existing music, say a 28 second sample from a classical song, or a synthesiser sequence of 28 seconds from a New Age song of the 1980s, or other, which are tuned in their tempo to 144 BPM, and to the 432 Hz harmonics, or one of its octaves.

These then comprise aspects of a composition, which also uses the synthesisers, orchestral samples which we arrange into the notes, strings and tones of the compositional re-mix, a synergize into permutational variations with the polyphase and graintable synthesisers mentioned above, making an entirely unique song.

[NOTE: Ananda Bosman, went to composition mode only in 2003. There are LOTS of hurdles in the way if one is taking in existing 440Hz samples, and other problems. Better to go onto co-creating, and compose]


Utilises melodies and arrangements from existing songs, and re-arranges these from selections of parts, highlights, or chorus, of these. Then arranged into a new song, with similarity to the parts of the former, but with additional synthesisers, instruments, drums etc... And in the new arranged order it shares with its additional instrumental partners.

Also the tempo is, naturally, recalibrated to 144 BPM and the tuning is re-pitched to 432 Hz, or one of its harmonic octaves. To which the added instruments, synthesiser generated sounds, and drums comprise the 432 Hz foundation.

The latter is the usual form of DJ music.


The predominant form of DJ music utilises solely REMIXES: which simply are an existing song that is given the DJ’s flavour by synchronising the tempo of the song to the DJ’s set, add- ing perhaps other drum machine loops. But mainly making alterations through the equalisers and panning, and other sound effects, as well as synchronising two or more songs, into one single melody (this is usually done with a DJ mixing board and related equipment).





The 432 Hz tuning significantly contributes to one of the harmonic elements in Omega Dance music by filling in the gaps that an electronicalisation of sound, chops up, preventing the entire range of overtones to be carried over... Be it a recording in a studio of a shamanic drum, a cello, or a guitar, or from a sampler – the same gaps are evident.

When the industry standard A=440Hz is used, then only some of the complete octave scale (8 rather than the complete 12 and its manifolded myriad of over- tone and undertones), is resonated through the air molecular flow.

Thus, the universality of the sonic hologram, and its coherent cascade, is not fully conveyed to the human bio-sensorial system -- some of the holographic information is missing.

Since, the C=256Hz tuning follows the golden proportion spiral (Tree of Life), in whose range the A-tone in that tuning is A=432Hz, so the arrangement of the music between the electronic gaps is holographically organised on each scale of its embedded order, through the golden proportion.

In other words there is zero information loss, per cascade (however, science colleagues are also developing concurrent natural ambient song technology along similar lines of coherent logic, which will inevitably become introduced into the ontological progression of Universal Dances towards 2012/2013 and Beyond.

Thus, when the composed song, tuned in the accurate precision of 432 Hz, is transmitted from the electronic media (be it CD, a synthesiser, tape recorder, or computer), through the cables to the loud speaker amplifier, then this music’s holographic information is conveyed. Its cybernetic information transmission has effectively conveyed its wholeness (we should also note here, that yet an- other group of scientists have developed an effective harmonic sound amplify- cation system that must coat all of the wires, and speakers, to convey a 3 dimensional holographic form of the sound)...

How can this be, many a musician will ask (for this has been a long standing complaint for quite some time, a complaint that has largely been ignored nor reconciled)?

This is due to the nature of the C=256Hz tuning cascade following the perfect golden spiral of music, as the universal true equal tempering system (the path of least resistance, superconductivity being zero-electrical resistance).

This musical PHI spiral is chartering the cascade between respective octaval additions of each respective scale (i.e. 8, 16, 32, 64...), holographically embedded within the C=256 Hz microcosm of recursion (mirror-into-mirror), com- prised from its contained C cascade scale additions from the initial inaugurating 8 Hz.

In other words, an electronic amplification or recording that is being amplified, and is accurately composed and precisely tuned to A=432 Hz, is holographically complete on each scale, within its microcosmic embedded coherent and

recursive symmetry...

In plain terms, each level, of the music, including the portion between the electronic gaps (even more evident in CD recordings), embodies the ratio of the entire myriad 12 octaval holographic information golden spiral (Tree of Life musical cone), including all of the overtones and undertones, the infrasonics and ultrasonics, and through each respective octave of the forces of the uni- verse...

In the golden proportion, the scale changes, but the ratio remains the same... This means that there is zero information loss, per scale cascade.

One embedded level of this coherent ratio, autocorrects itself instantaneously, when coming into contact with a living coherent media such as air from the electronic amplifier, re-realising instantly the entirety of all of its cascades, in recursive coherency...

8 Hz is of special interest in this function, and we shall explore this deeper, at least to iconography this a little further in clarity, a little onwards...

To oversimplify, in an icon naked description, how the coherent tuning of the Omega Dance music conveys the complete holographic information, due to the nature of its holographic embedded information, recursively embedding the complete 12 octaval sound myriad range of overtones and undertones, like a coherent hologram – we have to introduce another element.

That of the element of the oxygen that we breathe. And that is the conveyance system, whose positioning of air molecules carries the waves that transduce through our ears (in holographic synergy with THE SOUND THAT OUR EARS TRANSMIT), and the ears transduction apparatus, into the electronic messengers that transmit the wave length, the Herz or cycle per second, through the 10th cranial nerve to the sonic sensorial producing centres of the brain, where we then “hear” that which is conveyed....

The harmonic tuned holographic embedded music, “decompresses” or cascades through the paramagnetic (i.e. attracting to magnetic fields like 8 Hz) gas of the air.

Thereby, as it leaves the amplifier (and amplifiers and their wires can simply be constructed to transmit a golden ratio of information throughout all the apparatus, but that is another story, to be utilised in another year of Universal Dances 432Hz), it instantly is drawn, paramagnetically, to the oxygen molecules (which themselves have a natural Fibonacci and golden proportion set of morphologies within themselves, and in their respective interactive spacing to one- another.

Hence, the coherent embedded recursion, that is infinite in its coherent golden cascade, is instantly established, as it resonates and encounters the paramagnetic gas, of element 8, or oxygen. Whereby its full holographic overtonal and undertonal (naturally beyond as well), coherent holographic information cascade, becomes instantly active, instantly realised.

The golden ratio’s within the morphological geometry of oxygen furthermore, reaffirm this invariant nature, of its full holographic information...

The instant resonation of the air, is an engagement that involves the phononic resonation (phonon = particle of sound), of the maximum bilateral symmetry comprising the nuclear heart of element-8, or oxygen, taking the form of the 8- cornered cube (itself embodying a PHI-1 and Fibonacci symbiosis in its sym- metrical relationship within the metamorphology of the myriad of anumate scales of our biology.

Furthermore, the cube is itself comprised from the simpler half-square triangle along with its gnomon, being half the golden rectangle divided diagonally, with two sides in the golden proportion, and its diagonal equal to the side of the pentagon of the fifth-pentagon triangle, amidst other golden relationships.

Phonons are solely nuclear phenomenon, being nuclear lattice resonations -- the orchestra nuclear.

Hereby, the oxygen cubic nuclear resonation is the central geometrical conveyer for our sense of sound, music, song, sacred sound, DNA music Syntaxis, and the Logos Speech.


Within the Kepler geometrical music scale system (in his macrocosm solar system morphological studies), he utilised each of the 5 platonic solids, in their respective order of complexity, to define the cascade of the musical equal tempering system, based on the golden proportioned C=256 Hz (which the human voice is tuned to, supported by the golden proportion underlying our macro- morphology of the body).

With the tetrahedron as C-4Hz, the cube as C-8Hz, the octahedron as C-16 Hz, the icosahedron as C-32Hz, the dodecahedron as C-64Hz.

Taking the next five elemental step cascades of C, using the 5 Platonic solids with our 5 senses, or five fingers, we notice a pattern of significance, indeed. The first solid, the tetrahedron, now becomes the next C=128Hz, and the cube C=256Hz etc.....

Since, the entire universe and musical scale system is derived from the golden mean via C, and especially C=256 Hz, it is significant to note that the cube is both element 8, the 8-cornered cube nucleus of oxygen, where 8 Hz is paramagnetically drawn, and C=256 Hz is the next cube of this Kepler coherent scale.

We shall soon be returning to some remarkable detailed evidence on this science, and demonstrate the objective harmonically tuned organised structure of our solar system, following the 12 musical octave cone and golden spiral, that brings the Universal Dances implications to perhaps a new level of significance in mankind’s emerging unearthing of the Primordial Logos Song Speech of co-creatorship...

These kindergarden building blocks will be essential in understanding the significance of the DNA Yoga thesis of the SAMANU that follows further on in these pages.

The harmonic tuned music holographic information flow disperses its resonance cascade through the air molecular flow, to convey the “as above so be- low,” golden cascaded nature of its complete sound holography and the adjacent overtones and undertone myriad, enabled in synergy via the phonon (sound particle) resonation, through the cubic lattice of the oxygen nucleus cube symmetry, in concert with cubic extensions of this principle.

It is of some significance that this planetary musical orb has chosen the element-8 of air flow to convey the information to our translation apparatus into the ambient senses that we call sound.

Since, the sound particle phonon is a nuclear lattice resonation only, and the nuclear symmetry of the carrying media for the music is the perfect cube of the oxygen 8 nuclear particles arranged at the 8 cubic corners, it is then hardly surprising, and of some significance that the coherent golden PHI spirals have one of their geometrical basis from a golden rectangle plan of golden ratio “whirling squares.”

It is the waves that are conveyed by the flow of air molecules (except in the phonon nuclear lattice resonation), the music information flow through the air molecules is not sound, as we know it. This requires that the waves are trans- lated through our hearing apparatus into their equivalents of sound, within the sonic sensorial processors of our brain.

A great deal of the music should naturally inspire and convey undertones of 8 Hz coherency...

Since 8 Hz phase-conjugation engages the coherent golden cascade of waves in all that it encounters, here is another mechanism through which the entire music information holographic is conveyed to its beholder, when song compositions utilise 8Hz resonance through their arrangements.

8 Hz and related coherent waves, convey themselves on such nuclear particles as protons, including those protons within the oxygen cube...

The coherent phase-conjugate encounter with the bilateral oxygen core symmetry, in that sense, sets up a golden rectangle plan that is a golden cascade result from the encounter of the 8 Hz phase-conjugation, being carried within the Nuclear Magnetic Resonance of the oxygen protons.

The highly persuasive ordering of the bilateral cube symmetry of that nuclear core, in a sense, conveys its ordering nature as a vehicle for the golden ratio waves, through its exteriorisation via whirling cubes founded on the golden rectangle plan. With 6 whirling cubes modelling and conveying a golden ratio sinus wave (holographically embedded information).

This ontological congruence of whirling cubes from the oxygen cube centre to the neighbouring flowing air molecular cubic nucleus’, is indicated with a complexity of overlapping forms to articulate polarity within rotation within polarity, as the hierarchies, or myriad cascades of spiral forms.

The golden proportion progression occurs in the increase or decrease in size of units – the golden proportion relations in dimensions of vertical turn, horizontal turn and radius.

Each axis relationship of the 3D x,y, z, spin dynamics resulting in the golden ratio, as defined in this formula:

        Vertical X = Y                         -- -- = Ø

        YZ Horizontal AB = BC             -- -- = Ø BC CD

        Radius Of Turns OA = OB        -- -- = Ø OB OC

This scale of golden cascades inaugurates at C-8 Hz, and then multiplicates upon itself, C-16Hz upwards to C-256 (which is precisely 32 x 8 Hz).

8 Hz as the harmonic wedding frequency of our binary bi-lobal bi-ped system, acting as a Trinary component engaging a coherent alchemical marriage as the reconciliation of the poles of a binary semantic information system, and into the golden synergy of phase-conjugating heterodyning of coherent waves.

Whose symbiosis, very recent science studies indicate, exhibits an “overunity” nature, and non-linear chaos Attractor Field properties. These are of immense importance in their implication, as the main thesis of this document will relay, and when re-reading this section convey another multi-level of information content...

Buried in the pages ahead are further iconographically detailed explanations of the above, and its practical significance and implications.

This holographically preserving principle of coherent embedded holography, on every scale, to convey the complete 12 octave based information hologram (including the complete overtone and undertones), upon coming into contact with a paramagnetic conveying medium, such as the oxygen in the air, by the precise and accurate tuning of the musical song within the coherent equal tempering range of C=256 Hz (A=432 Hz) -- is an extraordinary discovery, with a wide array of implications. And it enables the reconciliation of the electronic musical universe with the “natural” musical universe...

This is another essential component of Omega Dance music.

We should also note that the classical music method uses its music sheets, which is in no-uncertain terms, the predecessor of the sequencer, now at the heart of the music industry standard composing and arranging machinery....

This musical scale of the metamorphology of creation (C-8, 16, 32, 64, 128, 256...) is placed on a cone and a logo-rhythmic golden spiral is then placed onto that cone. For every 360° of rotation, one has passed up one octave of the above listed C octave Scala.

At each C scale level the relation of the notes therein, to one another, follow the golden proportion.

This is simply evident by marking on a linear scale designation frequency, the positions corresponding to any C, the E-flat, and the G above this C, the octave of this C, then the E, F-sharp, and the G above that octave.

The length of the line segments between the points just marked, are proportional to the difference in frequencies of the corresponding tones, and all form a series in the golden proportion ratio:

x:y= y:z.

We should clearly highlight here another preliminary essential fact, which will bear out great significance in our discourse on the DNA Yoga Song Speech semantics coming in the next pages (please keep the following, and the above in mind, within that presentation, this material will not be repeated therein)....

Only in the tuning of C=256Hz does the human voice characteristic soprano register shift fall between the F and F-sharp of the scale, which in the macrocosm is precisely the region of the asteroid belt, which is where the register shift of the solar system actually occurs -- the division between the outer gas giant ringed planets with many moons, and the inner hard, solid planets, with a scarcity of Moons and no ring systems.

Thus, we can now appreciate how the new conspirational tuning of the modern A=440Hz has broken our harmonic relationship of our music with the solar system geometric morphology, and has prevented the human voice from expressing its true natural path of least resistance, into an artificial straining popular plastic imitation, that stretches the coherency of the vocal morphology beyond the golden proportioned registry shift of our vocal amplifiers.

Hence, music has become incoherent and irrational. And we had stepped into the dark ages removed from the harmonic tuning of the Logos Musical Language of creation.

The Omega Generation has now gradually been emerging us out of this musical fall from the primordial language, over the last few years (the Omega Generation amidst Universal Dances, and concurrently in other fields and upwellings within our species).

Furthermore, the note C=256Hz has a major significant relationship within the musical orb that renders our environment of life, the Earth, that is the planetary composer backdrop music to which our life is synchronised and chiming.

Indeed. For, C=256 Hz is derived via the division by two from the second, and this is precisely the lawful division of one of the oldest astronomical cycles we know in history – the rotation of our planet Earth...

To obtain one second of Earth time, one divides the rotation of Earth, first by 24 (24 hours 360°), then by 60, and then again by 60.

We should note here that these division numbers are directly related to the geometry of the diatonic musical scale, practically and objectively, and not metaphorically or in isolated principle.

These 3 polygonal fundamental geometries in dividing the circle, provide the precise frequency ratios of the principle musical consonant intervals.

24 Cell Animation Copyright © 2012, by Ananda MJ Bosman

And are themselves furthermore derived from the elementary regular polygons, the equilateral triangle (3:2 musical fifth), square (4:3, musical fourth), and pentagon (5:4, or musical major third): 24 = 2 x 3 x 4, 60 = 3 x 4 x 5.

[2013: 4x3x2 = 24, which has specific scientific value, as we show elsewhere]

They are, therefore, coherent with the fundamental consonant intervals of the musical scale of creation, first rediscovered by Kepler. Then compare to this the fundamental base resonance frequency of the planet, or Schumann resonance – our musical orb base string is tuned to the note C=8Hz, which is inaudible to humans, but in the hearing range of dolphins.

C-8Hz being central to the Vortexijah Diamond Body practice and DNA replication, as well as the phase-conjugation of both brain hemispheres entrained into one coherency of maximum creativity and cognitive capacity.

Suddenly we can start to appreciate that C=8 Hz is a sacred musical tuning language, at the fundament of life. 8 Hz induces the coherent golden cascade.

C=8Hz is at the Kepler position of the cube. And the 8th element of oxygen is cubic, the very medium through which music is carried, in the phonon resonance of its cubic nucleus, and other factors we shall briefly explore, to our audial translation apparatus.

When we then realise that the planet’s rotation is derived into seconds through a division of two from the second, also being the precise means by which C=256 Hz is derived, and then remembering that C=256 is the next cube in the Kepler scale (32 x 8 Hz) -- things start to become evidently very musically clarifying.

It is precisely this science of the Musical Language of the Logos that Universal Dances is about.

Especially when you will remember these points in reading our presentation in the pages to follow -- this is merely a kindergarden crash course on the back- garden background of the Logos Song Language of Creation, and the building blocks that are standard components of the architecture of that presentation.

The musical polygonal division of the circle and music is all fine on paper, but how can this be applied practically, to the musical instruments in our hands?

Apply the division of the circle by these three polygons to the strings of an instrument, then the triangle divides the strings into 3 parts, and when one plucks the string at the two-thirds point, one produces the musical interval of the fifth (hence, 3:2). The square divides the strings into four parts and is plucked at the three-quarters (3/4) point, producing the musical fourth (4:3). When the string is plucked by a pentagonal-5 at the four-fifths (4/5) point this produces the musical third (5:4). Not theory, but practice, geometrical practicality in the Syntaxis of Creation.

Kepler further pointed out that the dissonant musical intervals, such as 7:6, were dissonant because they could not be represented by a regular polyhedron inscribed in a circle. In other words, it did not follow the geometrical alphabet- ics of the Musical Language of creation.

Towards the end of his life, Kepler using his musical geometrical mathematics conjectured that there should be an additional orbital region between Mars and Jupiter, which we shall return to in a moment.

Remember we are viewing at the planets the same coherent musical tuning as that which our voice is tuned, our body macro proportions, and the planet is composing in concert with the solar system song.

Kepler’s demonstration that the planets are lawfully ordered by the harmonic proportions derived from the five platonic solids (pointing out that not all elliptical positions around the sun are possible, rather only a discrete set of orbital regions can be, and these are precisely filled by the planets -- orbits which are determined by the polyhedral [5 platonic solids, in concert], geometry of space), is largely ignored when taught to students of “science.”

Whilst the education system still teaches the Newtonian dynamics which have now been scientifically disputed and even abandoned altogether, for quite some time...

Kepler’s coherent science was uncovered long before Newton.

Kepler demonstrated that the orbital radii of the first six planets from the sun: Mercury, Venus, Earth, Mars, Jupiter, and Saturn, are actually proportioned according to a series of concentric spheres in which the five regular platonic solids are alternatively inscribed AND circumscribed.

His final work, The Harmonies of the World, enabled Kepler to traverse several levels further as he demonstrated that the elliptical deviations of the planetary orbits from exact circles are proportioned in such a manner that their angular velocities around the sun, taken at their closest and farthest distances, precisely forms the same numerical ratios as our now infamous notes of the diatonic musical scale, described above, and hence the harmonic tuning of universal coherence.

Kepler then explained the coherence of these results in showing that the diatonic musical scale itself derives from the geometry of the circle and the 5 Platonic solids (coherent symmetry).

The higher 2 of the 5 solids, being perfect embodiments of the golden proportion. And the icosahedron being comprised from 3 golden rectangles, x, y, z, or the axis of spin that is best called the 3D golden proportioned embodiment.

The coherent magnetic field grid of planet Earth follows an approximate icosahedron, through the planetary gravity anomalies. And the only true magnetisable element, iron, has an icosahedral nucleus. We are describing the music of creation.

To connect the diatonic music scale (tuned at C=256 Hz), to the 5 elemental platonic solids, or symmetries – the frequency ratios of the principal consonant intervals described in the polyhedral provided divisions of the circle above, are then constituting the faces of the 5 Platonic symmetries.

The triangle of the musical 5th, comprise the 20 triangular faces of the icosahedron.

Hence, the icosahedron magnetic field grid is a Philosophers Stone of 20 musical fifth triangles (in the C=256 Hz tuning).

The square of the musical fourth, comprises the 6 faces of the cube. The pentagon of the musical third, comprises the 12 pentagon faces of the dodecahedron.

Since, the 12 tectonic plate sections of the planet, follow the morphology of a dodecahedron, via the planetary gravity anomalies, the foundations stone of our orchestral home, is comprised of 12 pentagonal faces resounding in musical thirds (from the planetary C=256’s, and linking to the fundamental base note of C=8Hz).

The tetrahedron is thus comprised from 4 faces of triangles of musicale 5ths. And the octahedron is also composed from 8 triangles of the musical fifth.

Animation copyright ©2012 Ananda MJ Bosman

Hence, we can musical see here that the tetrahedron, followed by the octahedron, are the first and simplest steps of 3D coherent symmetry, being both comprised of musical 5ths. Whilst the cube acts as the intermediary between the higher 2 platonic solids, tuned to the musical 4th (midway), whilst the icosahedron is resounding to the same musical fifth as the tetrahedron and the octahedron, but with 12 more faces than the octahedron, and 16 more singing faces than the tetrahedron.

Kepler did not, however, have the well-tempered tuning that was necessary for musical development on the process of modulation.

This resulting science, is a central component without our Omega Dance composites.

Lastly Kepler, using these objective musical syntax alphabetics, was able to predict the discovery of the asteroid belt, between Mars and Jupiter.

He stated that according to the principles that he unearthed, within this register shift region it was not permitted in the diatonic orbital series that are deter- mined by the Platonic (musical embodiment) solids for a planetary orb. He advised that it must have a singular character.

Based on this advice of Kepler astronomers searched for some 200 years, when in 1801 Giuseppe Piazzi finally discovered the asteroid Ceres.

From this data Karl Gauss succeeded in calculating the orbit of Ceres, and the results absolutely verified the accurate parameters that were described by Kepler...

More than 1,080 of an estimation of 100,800 small bodies orbiting the sun between Mars and Jupiter, have been uncovered. And the vast majority have only confirmed Kepler further – they occupy a sharply bounded band-like region between 2.2 and 3.2 astronomical units from the sun (an astronomical unit is about 149 million kilometres, the distance from the Earth to the sun. And, as Kepler had pre-calculated, this region is truly “singular” in the solar system.

The logic of musical geometry, through its universal coherent holography, is largely not confined to the sequencial temporal mechanistic reality tunnel logic, that dampens the Living Fount of the Creative Spirit of man.

On this note, we will complete the musical composer and compositional qualities of the symphonic “orchestry” of the macrocosm within which our life song is in concert.

Now in examining the direct correspondence between the geometrical structure of the solar system and the same geometry of the equal tempered system in music, let as focus in on the precision of the instruments that compose our solar system orchestral symphony, with which the Global Song is to consciously synthesise and synergize towards the Crescendo of the Coherent At- tractor. Clearly one should look at the central mediator, the planetary registration shift occurring at the asteroid belt, and the registration shift point of the human voice, located amidst F and F-sharp, within the C=256Hz tuning system.

Where then precisely is the asteroid belt registration shift localised in context to the whole of the solar system?

The orbits of the musical orbs of the planets are comprised between 0.39 astronomical units for the mean orbital radius of Mercury, and 39.5 astronomical units for the mean orbital radius of Pluto. Thus, the geometrical mean of these two distances is 3.9 astronomical units, marginally larger than the upper boundary of the asteroid belt.

Thereby, when we think in the musical equal tempering perspective, with the interval between Mercury and Pluto as the equivalent to the musical octave of C to C, another logical confirmation confirms that the upper limit of the asteroid belt does in fact correspond to F-sharp, which is the geometrical mean ofthe octave and the true natural register-shift note of the soprano voice, in a C=256Hz tuning.

This by now should not be surprising, but it is one other logical confirmation of the universal Logos Musical Song Speech.

Applying the equal-tempering golden spiral conical geometry to the entire solar system morphology, a final, utterly, simple and elegant confirmation of the musical systematical parallel tuning of the solar system and the conical equal tempering scale is derived.

For the entire system of elliptical orbits in the solar system perfectly match the model of being obtained by projection from a set of slightly inclined cuts of a single conic sectional geometry, whose axis lies on the line that is perpendicular to the ecliptic plane with its summit being the sun.

Then examining the self-similar golden ratio spiral on that cone, it elegantly makes precisely ONE full 360° cycle in passing the height corresponding to the perihelion of Mercury, to the height that corresponds to the nearly circular orbit of Neptune (and Neptune constitutes the last of the “second registry” planets that begin from Jupiter (following the asteroid belt F, registry shift). Pluto, at times probably is parts of a completely new register, a new virgin field in present astronomy, through its elliptical highly eccentric orbit.

If this was not elegant enough a confirmation of the music-geometrical alphabetics of the Speech of creation, re-discovered by Kepler – the ratio between the Mercury perihelion starting-point, and the Neptune orbital end point, is almost exactly 1:100. The midway point of the golden spiral having reached 180° in its rotation, corresponds not far from near precision to the upper limit of the asteroid belt, the registry shift point predicted b Kepler, and the note F.

Following the twelve octaval foundation of the true universal musical scale, when one then divides into twelve steps the full 360° rotation of the spiral, one is utterly delighted by this Living Language of music demonstrating that the planetary orbital positions make a remarkably precise fit to their respect corresponding steps on the equal-tempered musical scale....

Herein, Universal Dance harmonics in Omega Dance music, has at least been demonstrated to be planetary and now interplanetary dances.... This is part of the Omega Revolution of which we are a part to re-engage consciously, and apply as an alchemical science of the Sound Alchemy of coherence.

In this manner the perihelion of Mercury is again confirmed, even more solidly to precisely correspond to note C, and Mercury’s aphelion to C-sharp; then the nearly circular orbit of the planet of love, Venus, a perfect fit on the note D, the Earth precisely fits at the E-flat position, and Mars at the note E; naturally the

lower boundary of the asteroid belt is exactly at F, with the upper boundary at F-sharp, matching immaculately the register shift in the equal tempered music scale, with great remarkability.

The other side of the register of the gas giants has Jupiter perfectly upon the position of the note G, followed with yet another perfect match as Saturn is positioned at the musical note of A (AKA 432 Hz. Saturn, the 6th N-space dimensional transducer with its superconducting rings, is the solar system tuning of A=432 Hz... And it is the lightest planet.

Uranus does not deviate from this perfect alignment of musical matches, being at the B note orbital position, and naturally Neptune at the octaval C=512 Hz (the shift from 256 Hz to 512 Hz, will feature centrally in our main presentation, whose pages are now not too far off... Please note this frequency, it is of central importance in body regeneration and Pranic nutrition).

Is there now some more clarity on Pluto? Surprisingly even the oddball eccentric Planet-moon double orbital system has an elegant match. Within its eccentric orbit, it just cuts through the Neptune orbit at its perihelion corresponding the note C (hence, Pluto has short phases of resonation at the C=512 Hz temper- ing tuning), and at the other end of its eccentric orbit reaching a hair beyond the corresponding C-sharp point within the solar system musical orchestra tuned in the equal tempering harmonics of least resistance.

The significance of the above cannot be over estimated, and it brings home the prosperity of Coherent Universal Syntaxis, that was utilised by Kepler, and more than 300 years later utterly and meticulously verified...

The principles are the coherent invariance geometrical musical semantics, that also comprise our form, voice, and mind. Omega Dance music thus uses a similar open-ended non-confined principle, in music and in dynamics. Coherent orbits, or melodies are there, spaced in their harmonic geometrical orbital positions, but they can be engages at any time, without being confined to a path of resistance of repetitive automative mechanisms, but maximise creative choice in the semantic tuning of the equal tempering pathway of universal least resistance.

Herein, then it is demonstrated (and repeatably so, already from the description in this writing), that the two solar system planets that have the most eccentric orbits, those of Mercury and Pluto, both span the musical intervals that correspond exactly with precision to the half-tone from C to C-sharp!

The asteroid belt perfectly filling the musical interval from F to F-sharp, being the precise locus of the musical register shift. This planetary system and the musical system are in the most immaculate imaginable agreement.

The only difference between the two being that one is proportioned geometrically according to a spiral with a ratio of 1:100, and the other is derived from the ratio of 1:2, as the frequency ratio of the musical octave, which was also inherent in the Earth time equation...

This now identified musically organised (hence, intelligent) solar system arrangement, now clearly would indicate that more important features will appear in the remaining other octaves to be navigated through by man.

When we continue the golden spiral towards the centre of the Sun, in one full rotation starting from Mercury, we reach nothing less than the surface of the sun. And as detailed calculation and direct geometrical construction has demonstrated, the surface of the sun corresponds exactly to C-sharp, as the climactical musical crescendo of this symphonic kindergarden back-garden exploration, that is one octave below the aphelion of Mercury, and two octaves below the aphelion of Pluto.

Then the Low-C gives us yet another significant locality, no less than the region of the heart of the sun, at about seven-tenths of the solar radius from the centre. This is the region reported to have strong hydrodynamic turbulence, or convection, and begins in the process of transmitting the, so called, fusion energy from the sun’s “core,” outwards towards the surface (this is one way of interpreting the data, which has paradoxical anomalies that also argue well against this as being the entire story).

This 7/10ths region within the sun, is very likely to be a domain of superconducting ring currents and plasma vortex’s, as the toroidal twister and spinor fields emerging from the tensor virtual vacuum core of the sun (see our book The Unity Keys Of Emmanuel for more on this).

The significance of the latter, is especially born out with the recent 8-fold lotus patterns appearing over the entire solar chromospherical surface, in a phase- conjugation golden proportioned series of rippling Vesica-Piscis, that exhibit Klein bottle (4D, or ANU) signatures, during Time Gate 2003 (see our new book VAJHRATHA: Diamond Body manual, for more on this, with NASA photographs, together with the above top secret MAJI lotus documents that have been following these new signals that are communicating extremely low frequency Herzian signals, in a New DNA base code). In fact the significance of this does not become any lesser, even if the former nuclear fusion were to be partially correct.

It is therefore of great interest that this superconducting zone, which releases sonic vortex’s in triangular arrangements (musical 5ths), is the position of the low-C, in the equal tempering musical tuning system...

We C...

Regardless, we have two very clearly distinguished octaves of the solar system: one from the turbulent layers (superconducting ring currents, convection), of the sun and the surface of the sun going to Mercury, and the second extending from Mercury to Neptune and Pluto.

These comprise the hydrogen (8Hz) winds of the solar system through the 11.5 year Heliospherical in-breath’s and out- breath’s of our solar system Symphonic Tree.

This coherent music system has thus received extraordinary confirmation, and adds yet another weight for an international outcry to reset the Scandalous Mafia A=440 Hz tuning of the musical scale into relinquishment, and resurrect the former classical C=256 Hz universal coherent standard.

We end this particular kindergarden course, by mentioning that the same golden spiral of the musical cone also is implicated in its actions underlying the exponential growth of living organisms, and is always expressing itself in visual space in the golden mean and derived morphological proportions.

This must inevitably be the case because of the characteristic boundedness of visual space expressed in the uniqueness of the five platonic symmetrical sol- ids.

Luca Pacioli, the teacher of Leonardo da Vinci, demonstrated that all the five Platonic solids are immediately derivable from just one of them, that of the do- decahedron, whose characteristic proportion is the golden mean ratio...

It thus follows from this musical solar system construction ordering, that this interplanetary system must thus clearly be proportioned according to the golden mean.

Yes, Kepler had already managed to prove this implicitly over 300 years ago, but now one can simply prove it directly, by inscribing a regular pentagon within the musical orbit of Neptune, filling in the diagonal lines within this pentagon, comprising a pentagram, the next resulting pentagon (whose head is 36°, or PHI-2 tilted from the first), has the proportion to the first pentagon that is the square of the golden mean. And since this square of the golden mean second pentagon directly falls on the musical 432 Hz orbit of Saturn, the theoretical significance, immediately has macroscopic objective implications, thanks to astronomical and space probe science.

As the 2nd pentagon diagonal lines are filled within it to form its pentagram, the next square of the golden mean pentagon that is contained within the next scale in its midst, exactly circumscribes the boundary of the asteroid ring of the music register shift, or F-zone. Continuing filling the pentagram within this smallest third pentagon, the resulting cascaded next square of the golden mean pentagon EXACTLY circumscribes the musical E-flat orbit of our Earth. Hence, an objective golden mean musical scaled morphology from C-A-F-E (the solar system café of sorts).

The fifth square of the golden mean pentagon cascade in fits very neatly be- tween the aphelion and the perihelion of Mercury. Such morphological analysis clearly demonstrates that our solar system, like a living organism, is proportioned according to the golden mean (which is self recursive, and thus self- reflective, which is synonymous to modelling awareness, cognisance. Intelligence is the capacity to have a complexity of self reflective loops, maximally enabled when applied with coherent phase-conjugate (8Hz) application, which engages the golden proportion propagation cascade, in resonance with the musical gold proportioned tuning of our metamorphology.


Omega Dance, as it arises into the greater conscious realisation and application in its congruent congregation pulled by the coherence of the Attractor Field of the global song (aim 2012/2013), will start to see an emergence of more and more natural instruments joining in symbiosis with the electronic, as the epitome of the Global Song is in sight.

Our compositions mark the beginnings of a unique new style, that is a foundation hallmark of Omega Dance, metamorphosing out of dance cultures daring novelty of independence from the music machine corporate hierarchy.

Yet there are other clear Omega Dance hallmarks apart from the OMEGA Generation signatures of the standard 144 beats per minute, for DNA and 8 Hz multiple geometrical reasons, and a tuning of A=432 Hz, within the nature golden spiral tuning range of C=256 Hz, or 32 x 8 Hz.

256 Hz is something that 8 Hz instigates naturally within the water of our body, to produce laser infrared biophotons from the water tetrahedron.

And to sum the harmonics of the tuning is at 432 Hz, 54 x 8 Hz, but also al- lowing the multiplication of 9, and the tuning of the ratio of Earth to the asteroid belt, Saturn, and Neptune, as C=256 Hz.... Saturn being amidst the A=432 Hz musical equal tempering position.

Dr. Puharich found that when 72 hours of 8 Hz electrolysis of water was en- gaged, the 8 Hz set up aN equal tempering multiplication system, as





C=64 Hz,

C=128 Hz,

C=256 Hz (which is the golden spiral arrangement for the musical scales), and then

C=512 Hz.

Something interesting then occurs at C=512 Hz, which is also 64 x 8 Hz (the DNA codon and universal gameboard reconciled by the phase-conjugate 8, in terms of information content principally speaking, in the holographic jargon style of the MANU semantics used in the Rg Veda song Manu-Script (although this is but an echoed notion of that sublime holography, the same holographic information coherent assortion/assortation, like attracts like, that the DNA intelligence utilises continuously.

When C=512 Hz arises within the resonation of the hydrogen bounds of the water tetrahedron being electrolysed at 8 Hz, a whole octave of new tones emerge, from 360 Hz, to 720 Hz (90 x 8 Hz, and the amount of angles in degrees in the tetrahedron, 12 x 60... 60 being the number of the ANU, an Annual Anu).

512 Hz being amidst the mid of this....

This octave, which occurred simply by the multiplication of the 8 Hz C tone cascade golden spiral, through water electrolysis, then stimulates the resonation of the water tetrahedron (naturally through its hydrogen bounds, which gives its tetrahedron form), the bonds which have the standard 8Hz phase velocity difference of 8Hz -- Dr. Puharich noticed something extraordinary, this resonation caused the water tetrahedron to produce infrared laser, that is self created bio-photonic heat.

That is SOUND or phonon, in the nuclear lattice resonation, and LIGHT, or photon, as a coherent laser outside the nucleus...

This combination of 8Hz and infrared coherent laster heat, then proceeded to literally produce the amino acids and primitive proteins, which were nowhere in any form within the water medium being electrolysed...

By 8Hz for 72 hours, proteins were made from no-thing, or ANU-thing... Furthermore, these proteins had fractal symmetry self similar to the Mandelbrot fractal pattern. Chaos complexity Theory par excellence.... 72 hours, or 3 days, produces the food of life, in a coherent protein structure....

Since the DNA replicates 15,000 times in a minute, and 60,000 (ANU) in 4 minutes, a replication instilled solely by 8Hz, and the DNA emits laser light at approximately 100 units per second (a still existing light body laser holography), the 8 Hz entrained brain hemispheres thus synchronise on a macro-level with the DNA's 250 x replication per second. DNA replication taking place in a majority of our 6.4 trillion cells.

Universal Dances and Omega Dance is one of the dynamic movements to- wards the Attractor Field of this Re-realisation of the 2012 Omega Generation, dancing the coherence of the Golden Via Media of Being All Is God In Com- passion Action.

—Ananda, July 2003


Saturday, 1 April 2017

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