Grid of the Gods - Farrell - de Hart

That is to say, they must be willing to submit to a slight mathematical adjustment to allow them to function with each other in a harmonious fashion.

The number twelve here is a key, for it points directly to Mesopotamia and to its “sexagesimal” numerical system, a system that as we shall see was taylormade to solve the tuning problem, and to a secret held by those cultures and passed down through the Pythagoreans. It points also to the twelve houses of the zodiac, and with that, the connection between music and astronomy comes a little closer into view.

B. Music, the Alchemical Medium, and Astronomy The Vedic tradition is full of allusions to the “luminous nature of sound”.

Indeed, the word for light (svar) is similar to the word for sound (svara).13 This, as I have observed elsewhere, is another clue that perhaps we are viewing a legacy of a lost sophistication in physics, for the idea of a “sound-light” can also be understood as “electro-acoustic,” i.e., as longitudinal electrical waves in the medium, recalling the “Sound-Eye” spoken of in the Egyptian Edfu texts.14 The regularity of that physical medium was, for the ancient mind, expressed in the regularity of the cyclic nature of the heavens, and the precession of the equinoxes through a long cycle through the twelve houses of the Zodiac. Twelve, then, became the number of choice for expressing the musical harmony of the spheres. We may illustrate this by again sitting at an acoustic piano, and playing through the circle of perfect fourths and fifths: Circle of Fourths (Asdending) 1) C 2) F 3) Bb 4) Eb 5) Ab 6) Db 7) Gb/F# 8) B 9)E 10) A 11) D