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# Solar System

###### By James Paul Furia

Is our solar system naturally positioned at random? There are many coincidences in the placement of planets that imply a harmonic order. My suspicions began when noticing a few amazing anomalies of the moon. According to some scientists the moon should have been captured by the sun's gravity, yet it belongs to the Earth. The moon has an unusual revolution period which matches it's rotation period of 27.3 days, causing us to never see the so-called "dark side". Here are a few equations I've worked out using this suspicious number.

29.5 (the moon's synodic period) / 27.3 = 1.08 (half of diameter, statues at Buddhist temple)

27.3 X 2160(moon's diameter) = 58968 (72 x 819) (72, years in one degree of precession) (819,Mayan)

27.3 X 3168 (sacred gematrian #) = 864864 (sun's diameter 864,000,000 mi.)

27.3 X 30 (average days in a month, degrees in Furia's Music Wheel) = 819 (Mayan long count fractal)

The moon's diameter (2160 mi.) is exactly 1/400th of the sun's diameter (864,000,000), coupled with the moon's distance from the sun causes the rare total solar eclipse. If these numbers were different, this would not occur. Whether you believe in creationism or evolution we would not see the fabulous corona if this curious placement were not perfect.

The revolution period of Mars divided by the revolution period of Earth equals an interval in music called a major 7th. It is amazing to me that when dividing the two planets diameters I got the same interval.

The diameter of Mars divided by 19.5 (key latitude of major up welling in all planets) = 216 (moon)

The Earth's solar year X the Mars diameter = 1533168 (two highly important numbers in sacred geometry: 153 and 3168)

The Mars diameter divided by the Earth's diameter = exactly one half of 1.059(one half step in music)

These equations are analogous to the trademark of the ancient pyramid builders who incorporated such astronomical numbers as 25920 (years in the great cycle or precession of the equinoxes) in their monuments. Notice their trademark which is to have the half step represented as half 1.059 and to show this interval in multiple ways. It's very simple if you follow their logic; a half step in music IS the major 7th! Starting on any root note, going down one half step is the root note's major 7th. Example: Root note "C". Down one half step is "B". Up a major 7th is also "B"

Mars / Earth and Earth / Mars, show us the same interval with their diameters and rotation/revolution periods. Are these observations random? Or could it be revealing sciences of sympathetic vibratory physics that we yet to fully understand. The universe is made of the same vibrations it harmonically displays. The harmonics of our solar system reflect the cyclical nature of vibration and atoms, and music plays a leading role.

# ​

Egypt and Mexico

ORION TWINS

After viewing these overhead diagrams of the Giza and Teotihuacan complexes. I think all will agree that they are similar. I wondered how great it would be if the little pyramid just off set to the left at each location responded to the other; and if the middle pyramid spoke to the other middle one; and the same with the two bottom or first ones (Quetzalcoatl and the Great Pyramid itself) Of course, I opened my favorite books,"The Code 1-4"

In an overhead layout Mycerinus is the Moon Pyramid's twin. Chephren is the duplicate for the Sun Pyramid. The Great Pyramid is the match for the Citadel around Quetzalcoatl. WAS THERE ONCE A BIGGER PYRAMID ON THE CITADEL? It absolutely works mathematically!

The C.I.'s of the duplicate pyramids equal the exact heights of other pyramids and the two small ones equal the difference of two pyramid heights. Is this why they are smaller? Anyway, here's the proof, they match, they are twins.

The Great Pyramid C.I. 248.0502134 X Quetzalcoatl's C.I.

9.11890652 equals 2261.9466 (height of Mycerinus 226.19466)

The Chephren C.I. 5764.1660 divided by The Sun Pyramid's C.I. "12" equals 480.34717 (height of the Great Pyramid)

The Mycerinus C.I. 2261.9467 X The Moon Pyramid's C.I. 6.4892485 equals 14678.334 No match here until I divided it by 144 extracting the number 101.9328 The difference between the Great Pyramid height and Chephren's height, 471.23889 is 1.019328

3 sets of equations for 2 sets of pyramids that look similar from a helicopter view. I noticed the similarity in the 2 separate maps months ago but never did the math. Now we have 3 minor answers, lets see if indeed there is a major answer.

MYC. and Moon 14678.334 CHEPH. and SUN 480.34217 GP. and QUET. 226.19466

14678.334 / 480.34717 / 226.19466 = .135049

0n page 122 of "The Code 1995" Carl states that Mycerinus~ and the Great Pyramid are a model of double PI.

.135049 X 2pi = 1.33333333

Carl lists 1.3333333 as a tangent of the Chephren apex angle, I believe it is also the key between 2 gematrian systems.

864, 432, 216, 108, 54 .

576, 288, 144, 72, 36

Seek and we find, Peace, .James Furia

If you go to any library, for free you can obtain any of the Peter Thompkins books and see these over head pictures. Before the movie contact ever came out I thought like a Vegan (as in the star vega) and turned the diagram around in such a way as to see both sites in completly different parts of the world show the exact same pattern. I Consulted Carl P. Munck, archeocryptographer to find out the angel difference of the two sites to is 15.49193 degrees.

I went further and found more incredible proof of a grand design, The C.I.'s (center intersects) of each pyramid when multiplied and divided equal the heights of each of the pyramids. The smaller off-set Moon pyramid talks to the smaller off-set pyramid Mycerinus. The Sun Pyramid talks to Chepren, and the Great Pyramid talks to Quetzecoatl indentation, mathematically speaking.

The angel 15.49193 X the angel of the Sphinx 94.24777 = 1460 (the sothic cycle) or 4 years time.

The truth is not only out there, but in our face!

James Paul Furia

153

## ​

THE GEOMUSIC COLOR WHEEL

A SCIENTIFIC CONNECTION OF COLOR AND MUSIC

A SCIENTIFIC CONNECTION OF COLOR AND MUSIC

Throughout history many prominent people have experimented with a possible connection between color harmony and sound harmony: Aristotle (384-322 B.C.) Leonardo Da Vinci (1452-1519) Sir Isaac Newton (1601-1680) Unfortunately most of them adopted an arbitrary color scale. Even in our own century volumes have been written with no conclusive answers. The book "Colour-Music" by Adrian Bernard Klein, he states, "The note C is green." then he says, "The note C is red." The book gives several ideas of what the note C might be.

THEY ALL HAVE NO CASE UNTIL THEIR IDEAS BECOME FOUNDED IN NUMBERS.

According to the Encyclopedia Americana "Color and music should remain separate because there is NO real connection between the two." WRONG!

V = F x W

Velocity equals frequency multiplied by wavelength! Color is measured with a spectrophotometer and the answers are given in terms of wavelength. Frequency is measured in Hz. or cycles per second. Logic dictates that because of such a huge variance in these two spectrums, that it is illogical to believe that each note will result in a different color, and vice versa. More so, would be an idea of a bleed over, as if your ceiling were a color and you were a note standing in the middle of your room. The spectrum of color is much higher and covers more ground, so to speak. Because of a simple fact: The higher the frequency, the smaller the wavelength. It stands to reason that a lower light frequency, (red) will contain a larger wavelength. Thus, a pinpointed frequency will live under a blanket of color. In other words the color purple will cover all of the frequencies surrounding the note A. Remember, there is a lot of space in between two notes. (Or one half step in music)

The frequency of ultraviolet (466,560) will amaze all associated with Carl Munck's Earth grid system he calls "The Code" 466,560 divided by 216 equals 2160! How can this be U.V. / 108 is 432 also.

The following are the answers I've found

B = INFRARED

C = RED

C# = RED

D = RED

D# = BROWN AND ORANGE

E = YELLOW

F = GREEN

F# = ULTRAMARINE BLUE

G = COBALT BLUE

G# = INDIGO

A = PURPLE

A# = ULTRAVIOLET

A Quote from "The Keys Of Enoch"

"The keys to the future physics are given in the cross matching of geometries and color codes which will allow the structure of chromosomes to carry consciousness across light-time zones. There's is a color code in everything."

## ​

The Scale Of Time by James Paul Furia

An original new connection of geometry, astronomy and  sacred sites to music theory.

A 432 >1.0595123               A 216                 A 108                 A 54

G# 407.73128 >1.0610328   G# 203.86564    G# 101.93282     G# 50.96641

G 384.27772 >1.0618003     G 192.13886      G 96.06943         G 48.034717

F# 361.91146 >1.0555751    F# 180.95573     F# 90.477865    F# 45.238933

F 342.85714 >1.058201       F 171.42857       F 85.714285       F 42.857142

E 324 >1.0595212               E 162                 E 81                   E 40.5

D# 305.79848 >1.0618002   D# 152.89924    D# 76.44962       D# 38.22481

D 288 >1.0588235               D 144                 D 72                  D 36

C# 272 >1.0596642             C# 136              C# 68                 C# 34

C 256.68508 >1.0687481     C 128.34254       C 64.17127         C 32.085635

B 240.17358 >1.0479549     B 120.08679        B 60.043395       B 30.021697

A# 229.18312 >1.0610329   A# 114.59156     A# 57.29578       A# 28.64789

A 216                                  A 108                 A 54                   A 27

The Scale Of Time, invented by James Furia, based on the work of Carl Munck, his Gematrian expert.

The international standard of tuning is 440 Hz = the note "A". set in stone by J.S. Bach at a point in history where the remarkable discovery of "The Code" had not been discovered yet. "The Code"

The world of academia has not caught on yet because of the complexity of Munck's work. The truth remains that there any many standards of tuning created for different musical situations such as concert tuning; 445 = "A" Many esoteric schools of thought have believed that there is 3 parts to a perfect understanding of an unknown ancient lost technology; Mathematics, Astronomy and MUSIC.

432

Reasons to change the standard of tuning from 440 to 432

1.  Harmonically aligns to astronomical time count of Precession of the equinoxes, 432 X 60 = 25920

2.  The original Stradivarius violin was designed to be tuned to 432, it is the most precise instrument ever constructed by humans.

3.  432 is found at countless ancient sacred sites Furia's virtual tour of sacred sites  along with such key locations as the Great Pyramid in Egypt, 432 is found at the largest Buddhist temple in the world The borobudur - At the Borobudur the amount of statues at "The temple of countless Buddhas" is 432

4. over 2,000 signatures on a petition to the Italian government to change the standard to 432 due to the registers ripping many opera singers voices in 440 (it fell on deaf ears)

5. The most important of all is when the correction to 432 is made, the others notes of the entire octave display a multitude of Gematrian ancient sacred numbers that are astoundingly relative to astronomy, sacred geometry, The Bible and other mysterious literary works such as the Bhagavad-gita and exact longitude and latitudes and hundreds of pyramids and other sacred sites.

"The ancient monument builders did nothing by chance" says Graham Hancock , author of Fingerprints Of The Gods. As responsible free-thinkers we must determine the multi-purposes of these very curious tuning and ancient numbers systems.

Kepler, Pythagoras, Hawkins VS. Furia

The work of these men, Kepler, Pythagoras and Hawkins is pure genius. However their ratios for the intervals in the diatonic scale are non-symmetrical and slightly simplified. They have used the ratio 27/24 for the whole step which for one is incorrect. Following this logic, in the 880 octave and in others we have a full 1.76868 left over leaving the octave highly off its mark. These mathematical giants 4/3 ratio for the perfect 4th is also a full 1.009 hz off the mark as well. They have taken the symmetrical chromatic scale out of phase as to simplify to the ideal of whole numbers. This is still ok as I will also take our symmetrical chromatic scale out of phase to a degree of only  .0001 to .01hz . My main contention is not this but rather the fact that they are using only 7 notes, when any musician knows there are 12 notes in each octave. (in western music theory, some other cultures have more) What this author has done is to include these neglected sharps and flats which I will prove are astoundingly important to the conversion of geometry into music.

.

Furia's Scale of Time Explained

At the top of this page I have listed my proposed re-tuning of any octave bringing in full phase to the ancient number systems of "The Code" Here are what those numbers mean.

.

A=432 has been explained, lets go to the next note, A# aka B flat (sharps and flats have 2 names)

.

A# = 57.29578 Mathematicians will recognize this as The Radian. (180/pi) Great! perfect as the entire Earth grid is radian based . nuf said . With this as our A# we can interact on many geometric levels with frequency and with the other 11 notes.

.

B = 240.17358 exactly one half of the height of the Great Pyramid (one octave below)

Remember that any octave of a frequency can be extracted by multiplying or dividing by two.

.

C# = 272 decimal harmonic of the e/pi constant 2.72 enterprisemission.com

.

D = 288 diameter of the outer circle of Stonehenge, 144 Gematrian for light (also Bible) 72 one degree of precession. Pythagorean ratio 4/3 which also represents the Chephren Pyramids apex angle tangent. (also a ratio between 2 Gematrian systems)

.

D# = 152.89924 the augment 4th from its root "A" a once outlawed interval. Divide by pi = the radius of the inner circle of Stonehenge. Multiplied by pi = height of the Great Pyramid.

Also this note is extremely close to the number 153 an ancient Pythagorean story problem that we of "The Code" have solved. Found in The Bible , John Chap 21, Jesus returns from the dead and mentions this highly significant number to some of the apostles. What we discovered recently is that the entrance to the Great Pyramid is at the 17th course (level)

1+2+3+4+5+6+7+8+9+10+11+12+13+14+15+16+17 = 153

17 X 9 (total pyramids at the Giza complex) = 153

204 (total courses at the Great Pyramid) / 1.3333333(a 4th) = 153

360 feet up the Great Pyramid is the 153rd course

The length of the grand gallery inside the Great Pyramid is 153 feet

153 + 513 = 666           6 x 6 x 6 = 216(new standard)

315 + 351 = 666            2160 miles is the diameter of the moon

135 + 531 = 666            (not the devil but astronomy)

1 and 5 and 3 are the degrees in a scale used to make a chord

.

E = 324  octaves of the precession of the equinoxes 648, 1296, 2592

also X pi = many Code locations, including a nearby mineral spring

.

F = 42.85742            MUSICAL PI 4.2857142 degrees (mp)

Musical pi is an interval I came up with by measuring the amount of degrees between each note on the circle of 5 th's which mandates 84 notes            360 circle / 84 = 4.2857142

I find it very interesting that the amount of notes multiplied by the proposed tuning equals the nine factorial! (9!) 432 X 84 = 36288                                 (1 x 2 x 3 x 4 x 5 x 6 x 7 x 8 x 9 = 362880)

.

G = 48.034717 a decimal harmonic of the height of the Great Pyramid. (480.34717 feet) divide it by pi and you have my D# truely amazing!

.

G# = 101.93282  represents the difference in height of Chephren and the Great Pyramid  1.0193282 and also the distance in arc seconds between Cheph. and the G.P. when divided by all 12 notes.  Antenna heights?

.

"Scale Of Time " is still being worked and re-worked, adjusted and changed. Some notes are not included as to not divulge it's secrets to the public.

• All Life Is Vibrations

more of the future science by Furia
Ah, yet more mathematical proof that ancients knew our solar system well and did use the english mile for measurement although modern science insists the origins of this metrology is still unknown. the square root of 153 is the exact amount of full moons in one Earth year. And now another new one. the diameter of the Earth plus two diameters of the moon equal 12,240. another octave of the magic 153 number in the Furia re-tuned musical scale. The more I study this number and the sacred geometry aspects of the vesica pisces, the more I refference my own work from 15 years ago. ref: "evidence of a mathematically created solar system" by J. P. Furia1089 (mayan kemi) / 31.68 (gematrain,lord jesus Christ) = 34.375 (close to kings chamber dimensions, C.I. of warm mineral spirings) 34.377468

.

9 (total pyramids at giza complex) / 1.61803 (phi) / 1.61803 (phi) = 34.37711

.

8.5 pounds (a gallon) X 18 (mercury density, water) = 153 (see The Scale Of Time

.

2.52 (key # in the sound circles, 1 octaves below 504) square root it 4 itmes = 1.05946 (chromatic interval in music)

.

777 (holy) / 66 (sphinx height) = 11.7727(arc degree distance of the great Pyramid and Chephren)

.

15.491933 (azimuth of Teotihuacan) X 360 (sacred circle) = 5577.09 (C.I. of Giza)

.

226.19466 (height of the Mycerinus pyramid) X 206.2648 (kings chamber dimension) = 46656 (216 squared)

.

19.227783 (height of the kings chamber) / 1.530098 (153) = 4pi

.

pi X pi X pi X pi X pi = 306.01 (306,one octave above 153)

.

590.90515 (area of the K.C.) / 365.02 (solar year) = 1.618829 (phi variable)

.

666 (bible) / 4.2857142 (musical pi) = 155.4 (one octave above 777)

.

152.89924 (radius of stonehenge X pi) / 15.491933 (azimuth) = pi squared

.

1.019328 (height difference of Chepren and the Great pyramid) cubed = 1.059 (hunab)

.

76.44962 (one octave below 152.89924) / 57.29578 (radian) = 1.33429 (Furia 4th, non-Pythagorean)

.

19.5 (Hoagland) X 6 = 117 (mirror gematrian)

.

168 (total notes in all 4 music wheels) is also the amount of hours in 1 week

.

144 (most holy gematrian) X 22 (letters in hebrew alphabet) = 3168 (gematrain,lord Jesus Christ)

.

264 (half a mile) X 153 = 40392 (azimuth of the Sphinx X musical pi)

.

144 - 9 = 135

144 + 9 = 153

360 - 9 = 351

324 - 9 = 315

306 + 9 = 315

540 + 9 = 513

.

1+2+3+4+5+6+7+8+9+10+11+12+13+14+15+16+17+18+19+20+21+22+ 23+24+25+26+27+28+29+30+31+32+33+34+35+36 = 666

.

876.04797 (Tikal) / 57.29578 (radian) = 152.89924

.

204 (total courses at the GP) / 12.369316 (square root of 153) = 16.49 (16.5 is the length of Arron's rod and the amount of octaves in the solar system)

.

16.5 X height of the GP = the diameter of the Earth

.

108 / 101.9328 = 1.0595

97.338684 (diamter of Stonehenge) X 15 (inside stones) = 1460 (sothic cycle, 4 years)

97.338684 / 15 = 6.48924 (C.I. of the Moon pyramid)

.

34.377468 X 300 = 10313.24 (area of a circle)

.

the 5th root of 2pi is 1.059

.

the 5th root of the area of a circle is 1.3348(Furia 4th)

.

2012 mayan / 1.33333 (Pythagorean 4th) = 1509 ( GP height X pi)

.

168 (total notes in the 4 sound circles ) X mp = 720!

.

75 (total stones at Stonehenge) X 204 (GP courses) = 15300

.

Chephren = 77 mycerinus = 127 together = 204 , + cheops = 270!

.

Michael the archangel = 153

Quetzalcoatl = 153

James Paul Furia = 153

•

• Albert Einstein = 153

•

• Benjamin Franklin = 153

three sixty = 153

all of the apostles names combined = 459 (153x3)

.

1872 (gematrian, mayan) X 819 (mayan kemi) = 1533168 (153,3168)

1872 - 819 = 1053

.

19.5 X 216 = the diameter of Mars

.

the mass of Mars is .108 that of the Earth

.

Deimos (Mars moon) is 1460 (sothic cycle) miles from Mars

.

161800 (phi) / 7.8028549 (E.L.F. brain frequency) = 20736 (144 squared)

.

360 + 153 = 513 + 153 = 666 + 153 = 819 + 153 = 972 + 153 = 1125 (1.125 the whole step interval)

.

27.3 (moon syndonic period) X 30 = 819

.

324 (lattitude of the eye mound, encino spring) / 305.7985077 (circumference of stonehenge) = 1.059

.

432 (tuning system) / 100.8 (1 sec. of arc in feet at Tikal) = musical pi

.

56 (post holes at Stonehenge) X 15 (inner stones) X 60 (outer stones) = 50400 X mp = 216000

.

56 X 60 X mp = 14400

.

360 X 15 X 60 = 324000

.

360 X 15 X 60 X 56 = 18144000 / 365.2422 = 49.67 ( azimuth of Stonehenge is 49.65408

.

18144 up one octave is 36288 (key giza # and the 9 factorial (9!)

.

181440 / 7 = 25920 (years in the great cycle of precession)

.

432 X 50400 = 21772800 (sum of revelation chap 12)

.

555.5 height of the washington monument (obelisk) up 5 octaves 17776 / 365.2422 = 48.669 (radius of Stonehenge)

.

56 X mp = 240 (square of the azimuth at Teoti.)

.

48.6693411 (radius of Stonehenge) X 480.34717 height of the GP = 23378.18184 (lattitude of the Nazca bird, latt. of the Sun pyramid)

.

2pi / 1.3333333 (the perfect 4th interval in music) = 4.712389 ( height of Chephren decimal harmonic)

.

48.6693 (radius of Stonehenge) X 1.3333333 = 64.89245 (C.I. moon pyramid)

.

48.6693 / 1.3333333 = 36.502 (365)

.

pi X 1.3333333 X 108 = 452.3893 (144pi, Cydonia)

.

144 / pi / 1.3333333 = 34.377468 (kings chamber) WOW!

.

240 / pi / 1.3333333 = 57.29578 (the radian)

.

84 (notes in the circle of 5ths) + 60 (notes in the circle of 4ths) = 144

.

84 X 60 = 5040

.

324 X 1.333333 = 432

.

6 X 6 X 6 = 216

666 / 93 (crowley's thelemic school) = 3 octaves below the radian

.

432 + 234 = 666

.

342 + 324 = 666

.

423 + 243 = 666

• The Geomusic Secret Formula. Scale Of Time
The Scale Of Time by James Paul Furia

An original new connection of geometry, astronomy and sacred sites to music theory.

..

--------------------------------------------------------------------------------

A 432 >1.0595123 A 216 A 108 A 54
G# 407.73128 >1.0610328 G# 203.86564 G# 101.93282 G# 50.96641
G 384.27772 >1.0618003 G 192.13886 G 96.06943 G 48.034717
F 361.91146 >1.0555751 F 180.95573 F 90.477865 F 45.238933
F# 342.85714 >1.058201 F 171.42857 F 85.714285 F 42.857142
E 324 >1.0595212 E 162 E 81 E 40.5
D# 305.79848 >1.0618002 D 152.89924 D 76.44962 D 38.22481
D 288 >1.0588235 D 144 D 72 D 36
C# 272 >1.0596642 C 136 C 68 C 34
C 256.68508 >1.0687481 C 128.34254 C 64.17127 C 32.085635
B 240.17358 >1.0479549 B 120.08679 B 60.043395 B 30.021697
A# 229.18312 >1.0610329 A 114.59156 A 57.29578 A 28.64789
A 216 A 108 A 54 A 27

--------------------------------------------------------------------------------

The Scale Of Time, invented by James Furia, based on the work of Carl Munck, his Gematrian expert.

--------------------------------------------------------------------------------

The international standard of tuning is 440 Hz = the note "A". set in stone by J.S. Bach at a point in history where the remarkable discovery of "The Code" had not been discovered yet. "The Code"

The world of academia has not caught on yet because of the complexity of Munck's work. The truth remains that there any many standards of tuning created for different musical situations such as concert tuning; 445 = "A" Many esoteric schools of thought have believed that there is 3 parts to a perfect understanding of an unknown ancient lost technology; Mathematics, Astronomy and MUSIC.

--------------------------------------------------------------------------------

432

Reasons to change the standard of tuning from 440 to 432
1. Harmonically aligns to astronomical time count of Precession of the equinoxes, 432 X 60 = 25920
2. The original Stradivarius violin was designed to be tuned to 432, it is the most precise instrument ever constructed by humans.
3. 432 is found at countless ancient sacred sites Furia's virtual tour of sacred sites along with such key locations as the Great Pyramid in Egypt, 432 is found at the largest Buddhist temple in the world The borobudur - At the Borobudur the amount of statues at "The temple of countless Buddhas" is 432
4. over 2,000 signatures on a petition to the Italian government to change the standard to 432 due to the registers ripping many opera singers voices in 440 (it fell on deaf ears)

5. The most important of all is when the correction to 432 is made, the others notes of the entire octave display a multitude of Gematrian ancient sacred numbers that are astoundingly relative to astronomy, sacred geometry, The Bible and other mysterious literary works such as the Bhagavad-gita and exact longitude and latitudes and hundreds of pyramids and other sacred sites.

"The ancient monument builders did nothing by chance" says Graham Hancock , author of Fingerprints Of The Gods. As responsible free-thinkers we must determine the multi-purposes of these very curious tuning and ancient numbers systems.

--------------------------------------------------------------------------------

Kepler, Pythagoras, Hawkins VS. Furia

The work of these men, Kepler, Pythagoras and Hawkins is pure genius. However their ratios for the intervals in the diatonic scale are non-symmetrical and slightly simplified. They have used the ratio 27/24 for the whole step which for one is incorrect. Following this logic, in the 880 octave and in others we have a full 1.76868 left over leaving the octave highly off its mark. These mathematical giants 4/3 ratio for the perfect 4th is also a full 1.009 hz off the mark as well. They have taken the symmetrical chromatic scale out of phase as to simplify to the ideal of whole numbers. This is still ok as I will also take our symmetrical chromatic scale out of phase to a degree of only .0001 to .01hz . My main contention is not this but rather the fact that they are using only 7 notes, when any musician knows there are 12 notes in each octave. (in western music theory, some other cultures have more) What this author has done is to include these neglected sharps and flats which I will prove are astoundingly important to the conversion of geometry into music.

.

Furia's Scale of Time Explained

..

At the top of this page I have listed my proposed re-tuning of any octave bringing in full phase to the ancient number systems of "The Code" Here are what those numbers mean.

.

A=432 has been explained, lets go to the next note, A aka B flat (sharps and flats have 2 names)

.

A# aka Bb = 57.29578 Mathematicians will recognize this as The Radian. (180/pi) Great! perfect as the entire Earth grid is radian based . nuf said . With this as our A we can interact on many geometric levels with frequency and with the other 11 notes. (this is octaves below 432 but in the scale and part of Furia's "law of octaves"

.

B = 240.17358 exactly one half of the height of the Great Pyramid (one octave below)

Remember that any octave of a frequency can be extracted by multiplying or dividing by two.

.

C #= 272 decimal harmonic of the e/pi constant 2.72

.

D = 288 diameter of the outer circle of Stonehenge, 144 Gematrian for light (also Bible) 72 one degree of precession. Pythagorean ratio 4/3 which also represents the Chephren Pyramids apex angle tangent. (also a ratio between 2 Gematrian systems)

.

D# = 152.89924 the augment 4th from its root "A" a once outlawed interval. Divide by pi = the radius of the inner circle of Stonehenge. Multiplied by pi = height of the Great Pyramid.

Also this note is extremely close to the number 153 an ancient Pythagorean story problem that we of "The Code" have solved. Found in The Bible , John Chap 21, Jesus returns from the dead and mentions this highly significant number to some of the apostles. What we discovered recently is that the entrance to the Great Pyramid is at the 17th course (level)

1+2+3+4+5+6+7+8+9+10+11+12+13+14+15+16+17 = 153

17 X 9 (total pyramids at the Giza complex) = 153

204 (total courses at the Great Pyramid) / 1.3333333(a 4th) = 153

360 feet up the Great Pyramid is the 153rd course

The length of the grand gallery inside the Great Pyramid is 153 feet

153 + 513 = 666 6 x 6 x 6 = 216(new standard)

315 + 351 = 666 2160 miles is the diameter of the moon

135 + 531 = 666 (not the devil but astronomy)

1 and 5 and 3 are the degrees in a scale used to make a chord

.

E = 324 octaves of the precession of the equinoxes 648, 1296, 2592

also X pi = many Code locations, including a nearby mineral spring

.

F = 42.85742 MUSICAL PI 4.2857142 degrees (mp)

Musical pi is an interval I came up with by measuring the amount of degrees between each note on the circle of 5 th's which mandates 84 notes 360 circle / 84 = 4.2857142

I find it very interesting that the amount of notes multiplied by the proposed tuning equals the nine factorial! (9!) 432 X 84 = 36288 (1 x 2 x 3 x 4 x 5 x 6 x 7 x 8 x 9 = 362880)

.

G = 48.034717 a decimal harmonic of the height of the Great Pyramid. (480.34717 feet) divide it by pi and you have my D truely amazing!

.

G = 101.93282 represents the difference in height of Chephren and the Great Pyramid 1.0193282 and also the distance in arc seconds between Cheph. and the G.P. when divided by all 12 notes. Antenna heights?

.

..

"Scale Of Time " is still being worked and re-worked, adjusted and changed. Some notes are not included

The Golden Coffin

by James Furia

Nine Planets, nine Pyramids total at the Giza Complex . . . 9, the root of all Gematria.

The golden mean ratio, 1.618033 (Phi), found in nature and in the Pentagon.

9 / Phi / Phi = 3.4377

= The exact height of the so-called coffin.

Perhaps the coffin is really a resonate mass forged by the harmonic waves of the interior of the chamber.

And as more equations are revealed, we might suspect TIME as recorder of such Geometric anomalies. The surface area of the King's chamber is 590.90515 feet.

590.90515 / Phi = 365.20

= the solar year at a point in time somewhere in between the construction of these monuments and the present time. Carl has been calculating such time counts for years.

James Furia

July 31, 1998

It is Painfully Obvious
There is a Unified Theory
in the Mathematical Grid of the Ancient Ones

by James Furia

Egypt and Mexico . . .

One can only imagine the linear space/time functions and factions of such imperial facts that Carl Munck has shown us. There are countless correlations of the mathematical evidence connecting the pyramids of Egypt and Mexico. In The Code newsletter # 43 and, ironically, on page 43 of the book Whispers From Time, the Pyramid Bible, I have shown the obvious helicopter view of the two complexes to be exactly similar in appearance, and further, the arithmetic connection of each of the sets of three analogous pyramids. In addition, I have discovered matching artwork and glyphs, in these two cultures. The Great Pyramid faces true north, yet the Sphinx has an azimuth of 94.24777 degrees. What happens when we curiously ask if the azimuth of The Avenue Of The Dead (Mexican pyramid complex) TALKS to the azimuth of the Sphinx?

94.24777 x 15.491933 (Azimuth of Teotihuacan) = 1460.08

= Exactly 4 ancient solar years

The grid lines up in OUR time, and in the present, every 4 years we add a leap-day. WHY ARE THE SO-CALLED EXPERTS LOOKING IN ALL THE WRONG PLACES?

Note:  These equations may seem meaningless to the untrained eye.

James Furia

August 1, 1998

The Sphinx, Two Fountains Of Youth,
And The King's Chamber
By James Furia

The Encino burial mound next to the Encino spring of California has a grid lattitude of exactly 3240 pi. It is impossible to dismiss the fact that the Great Pyramid of Egypt shows anyone willing to look the location of 2 ancient healing springs. 3240 / 34.377468 = 94.248623 (The exact azimuth of the Sphinx! 34.377468  is, of course, the length of the king's chamber in feet and the grid point of the Warm Mineral Springs in Florida.

Further Evidence: Simply multiply by 3 (3 pyramids) . . .

34.377468 x 3 = 103.1324

= The lattitude of the Encino Spring itself is 10313.24!

And still more: 25920(precession of the equinoxes) / the radian 57.29578 = 452.38933. The grid longitude of the encino Spring is 4523.8933

James Furia

July 31, 1998

153

Music, Stonehenge and The Great Pyramid
by James Furia

D# = 152.89924 cycles per second, the augmented 4th from its root "A." This interval was outlawed a few hundred years ago. Divide by pi = the radius of the inner circle of Stonehenge. Multiplied by pi = height of the Great Pyramid.

Also, this note is extremely close to the number 153, an ancient Pythagorean story problem that we of "The Code" have solved. Found in The Bible, John Chap 21, Jesus returns from the dead and mentions this highly significant number to some of the apostles. What we discovered recently is that the entrance to the Great Pyramid is at the 17th course (level)

1+2+3+4+5+6+7+8+9+10+11+12+13+14+15+16+17 = 153

17 X 9 (total pyramids at the Giza complex) = 153

204 (total courses of stone on the Great Pyramid) / 1.3333333(a 4th in music intervals) = 153

360 feet up the Great Pyramid is the 153rd course

The length of the grand gallery inside the Great Pyramid is 153 feet

153 + 513 = 666           6 x 6 x 6 = 216(new standard)

315 + 351 = 666            2160 miles is the diameter of the moon

135 + 531 = 666            (not the devil but astronomy)

1 and 5 and 3 are the degrees in a scale used to make a chord

square root of 153 is the exact amount of full moons in one year. amazing 12.369

James Furia's Keyboard

The actual number of keys on a piano's keyboard are 52 white keys and 36 black keys. From the start, one wonders exactly how much of the ancient reckoning system was carried over into Western society and culture. The number 52 is an obvious multiple of 26, and the two distinctive ancient reckoning counts were 260c and 360c. Furthermore, a note of intriguing wonder: 52 x 36 = 1872. The number 1872 is the fractal of the maya long-count period: 1872000 days since the beginning of time. One might find it difficult to even entertain the suggestion that Bartolomeo Cristofori, who built the first practical piano, may have had such symbolic numbers in mind. Or, that 52 and 36 reflect the two variations of perfect right triangles at their baseline numbers: 48:52 and 36:64, as we have examined previously (Earth/matriX Nº 67). Such a symbolic representation may have been in tribute to the study of music exercised by the Pythagorean school, which concentrated on the relationship of perfect right triangles. Nonetheless, the numbers of the perfect right trinagle and their variations are in the numbers of the tuning of a piano, irrespective of which particular pitch one wishes to work with.

Let us, then, observe the complete numbers for the setting of the piano's pitch baseline at A432, as suggested by James Furia.

The A432 Tuning Pitch for a Piano

27 x 1.059463094mediatio/duplatio

27.005410821643286417283456

28.60550353857.21114.42228.84457.68915.361830.723661.44

30.306475283760.61121.22242.44484.88969.761939.523872.04

32.108592072364.21128.42256.84513.681027.362054.724109.44

34.017868300968.04136.08272.16544.321088.642177.28

36.040676001372.08144.16288.32576.641153.282306.56

38.183766106176.36152.72305.44610.881221.762443.52

40.454290979380.91161.82323.64647.281294.562589.12

42.859828286585.72171.44342.88685.761371.522743.04

45.408406284790.82181.64363.28726.561453.122906.24

48.108530615996.22192.44384.88769.761539.523079.04

50.9692126941101.93203.86407.72815.441630.883261.76

275410821643286417283456

28.657.2114.4228.8457.6915.21830.43660.8

30.360.6121.2242.4484.8969.61939.23878.4

32.164.2128.4256.8513.61027.22054.44108.8

346813627254410882176

367214428857611522304

38.176.2152.4304.8609.61219.62439.2

40.58116232464812962592

42.985.8171.6343.2686.41372.82745.6

45.490.8181.6363.2726.41452.82905.6

48.196.2192.4384.8769.61539.23078.4

5110220440881616323264

The previous table was obtained by multiplying the baseline numbers A27 by the twelfth root 2 (1.059463094) successively thereupon its own column, then, rounding those numbers off to two decimal places, and then, doubling each number along its corresponding line. The second listing on the table shows the numbers rounded off to only one decimal place. These numbers would not necessarily be useful to someone attempting to tune a piano, since possibly the beats would not be distinguishable, but they are simply theoretical numbers for the pitches.

How would the numbers actually play ? That would have to be a task for someone like James Furia himself to distinguish possibly; if the numbers are any reflection of sound, there appears to be a wealth of purity involved as the numbers easily complement one another which suggests "constructive interference" as it is termed. The numbers do vary from those proposed by Munck/Furia in the newsletter. These adjustments appear to be more acceptable in terms of method and meaning.

The A432 Keyboard of a Piano

The distinct pitches, observed in the previous manner, would suggest a complete picture of the keyboard. In fact, it may appear logical that the keyboard begin with A27 (a prime divisor or 432)

432 / 27 = 16

Yet, the number 27 points to something quite interesting regarding the pitch of a piano and an organ. In the manual on tuning a piano, reference is commonly made to the lowest key possible of a 16 pitch, achieved in a 32-foot open pipe, or in a 16-foot closed pipe. In order to consider the pitch of 16, let us observe the natural divisions suggested in the A432 (or A440 as well) keyboard:

Divisions of the Keyboard

From the perspective of the specific musical instrument, the piano, it would appear logical that the notation of letters begin with the letter A at the pitch 27 (A27). Yet, still another consideration may be in order . The lowest possible pitch for organ (and piano ?) is that of 16, as we have seen above. Therefore, it would seem to be acceptable to understand the numbers and the lettering notation as of A16, and not A27. This would be the similar relationship pointed out earlier regarding A430:C256hz and A427:C256hz, which were older tuning baselines.

A Distinct Notation for A432 : F432-A256

If we commence the pitch scale with A16, instead of A27, then the theoretical numbers appear to be self-explanatory. Furthermore, the baseline pitch beginning with 16 reflects the natural number progressions as of the unit one:

1, 2, 4, 8, 16, 32, 64, 128, 256, 512, 1024, 2048, 4096

The chosen scale baseline for the organ/piano is physically encompassing the pitch scale 16 - 4096; its lower and upper limits. One could easily comprehend the need for the notation of letters to follow that same scale of numbers:

Pitch F432: New Notation

One may understand that A440 (and its variations of pitch), that is, the 49th key of the piano's keyboard was chosen as a physical starting point for tuning the piano. The commencement of the tuning exercise somewhere around the middle of the piano's keyboard would assist in avoiding a deviation towards the outer limits of the keyboard itself. If one were to begin tuning at the lower or upper limit of the keyboard, then any error would be greatly increased as one approached the other end of the keyboard itself. A materially physical reason may have established the need for starting the tune-up somewhere in the middle (A49). But, the theoretical make-up of the numbers would require a distinct criterion in relation to the vibration of the strings themselves (A16), an apparently natural limit of this particular instrument.

Currently, the notation of letters would appear to follow the reasoning behind the requirements for tuning the piano, and not the reasons behind the theoretical relationship of the strings. In a sense, there exists a contradiction of terms among the notation, the vibrations of the strings, and the requirements for physically tuning the piano. Inspite of that, undoubtedly incredible music has been created through sound; ultimately, music has been created without the notation or the theory, based on sound alone.

Observations.

The A440 pitch is generally employed in tuning a piano. This particular baseline for the scale has been accepted since 1939; undoubtedly, such a practice may not vary for a long time. Inspite of that, musicians are quite inventive and they experiment with distinct arrangements;that is the creative nature of music itself. The A432 pitch has been suggested by James Furia as a possible alternative for tuning a piano. Before the A440 pitch was accepted, the A435 pitch was common; to propose the 432 pitch does not seem to be that radical, and lies within the possibility of creating music obviously.

The most pleasant aspect of choosing A432 as a baseline for the piano's tuning pitch is that the theoretical numbers that derive from this procedure reflect historically significant numbers of the ancient reckoning system from around the world. One has only to consider some of the numbers listed in this essay on the A432 table in order to observe their similarity with numbers cited in other Earth/matriX essays. The same complementary nature of the numbers coming out of the ancient reckoning systems may be observed with regard to the series of numbers for theoretical pitch on the A432 scale. Music deals with the complementary and constructive interference of the vibration of the strings; the numbers and their complementary nature reflect just such a possibility. An obvious conclusion is that the numbers of the ancient reckoning systems could easily produce musical sound on the piano ---no matter which particular pitch may be chosen--- because the numbers of both systems behave the same way.

In this essay, we have shown that in order to allow the theoretical discussion of numbers to be more theoretically comprehensible, one would probably have to adjust the universe of the numbers (from A16 - A4096), and therefore adjust the system of notation of letters, as such:

New Notation: (Theoretical)

A163264128256

Current Notation: (Theoretical)

A13.7527.5055110220440

A#16.9534A#14.5629.13

B17.9536B15.4330.86

B#19.0238C16.3532.70523

C20.1540.3C#17.3234.64

D21.3543D18.3536.70

D#22.645D#19.4438.89

E23.948E20.641.20

E#25.351F21.8243.65

F26.954108216432F#23.1246.24

F#28.557G24.4948.99

G30.261G#25.9551.91

A32

By employing the 432 pitch for A, the numbers of all the other strings would appear to be easily relational. By interchanging the notation of letters, the manner by which the numbers may be related become even easier than normally comprehended. In this regard, a few more essays may be in order to illustrate how the numbers and the notation work together. The system of pitches F432 - A256 (or, previously notated as A432 - C256) reflect the general universe of the octaves A16 - A4096, the complete gamut of organ/piano tuning. Within those series of numbers, the historically significant numbers of the ancient reckoning systems become evident. The idea that the ancient reckoning system may be susceptible to a translation in music would not appear to be something outside the realm of musical creation.

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