Min's Light & Sound.pdf

M IN ’ S L IGHT & S OUND

All rights are free

Min’s Free Press

Continental Divide, CO

Min’s Google-archived digital edition April 21, 2003.

First printed edition published by MFP on July 1, 2004.

Contents

Ch 1 – Dark Side of the Moon ....................................... 1

Ch 2 – Primaries and Secondaries .................................. 6

Ch 3 – Signs, Decans & Pentads .................................... 9

Ch 4 – Chart of a Genius ............................................ 28

Ch 5 – Chromatic Transposition .................................. 36

Ch 6 – Going In Circles .............................................. 43

Ch 7 – Center Of Creation .......................................... 49

Ch 8 – By Jove! .......................................................... 59

Ch 9 – 13 Baktun ....................................................... 66

Chapter 1

Dark Side of the Moon

HE CHROMATIC IRIS & octave of the planetary zodiac are referred to the familiar spec-

trums of visible light and audible sound, respectively. Light & Sound bear witness to the

diatonic and chromatic qualities of astrological forces from which the four elements of crea-

tion derive and manifest throughout the universe. As we humans see and hear, these forces are

perceived in primary colors: Red, Yellow and Blue; secondary colors Orange, Green, Violet;

and tertiary colors russet, citron and olive (composite Indigo), hence the diatonic “ROYGBIV”

primary colors of light, i.e., Red-Orange-Yellow-Green-Blue-Indigo-Violet refraction dispersal

of visible wavelengths — as through a prism, from about 700 nm just above infrared, down to

about 400 nm which is just below ultraviolet. Color intensity or chroma is its degree of satura-

tion - AND - departure from pure light, whose “color” is white; although white, and black, are

not really colors by strict definition, since pure white is generally the appearance of all visible

wavelengths, whereas pure black is the absence of the appearance of any visible wavelength.

As with light, the primary “colors” of audible sound are Red, Yellow and Blue, the three

diatonic tones numbered 1-3-5, which are the root tone, major third and perfect fifth, which

together form the C-major triad. The secondary colors Orange, Green, and Violet correspond

to the root tone, minor third and natural sixth (note perfect sixth implies a major third but the

minor third is dissonant), which form the D-minor sixth triad. The tertiary colors are formed

by the interval of two chromatic tones, such as olive which is yellow-green of diminished satu-

ration, which falls between the E and F, thus is E and F played together, E as the root tone,

and F as the minor second, the epitome of dissonance like the theme from the movie “Jaws”

which is exemplary of how this interval is used in music to build tension or conflict by the

complex ratio of 11:12 (cf. Judas Iscariot and the ensign of Jupiter-inferior, the twelfth sign

Pisces, archetypal “Hanged Man” of Tarot, his mystical musical niche succeeded by Matthias).

Thus there are seven diatonic colors in the iris: 1 Red, 2 Orange, 3 Yellow, 4 Green, 5 Blue,

6 Indigo, 7 Violet; therefore there are twelve chromatic colors in the iris, 1 Red, 2 Red-Orange,

3 Orange, 4 OrangeYellow, 5 Yellow, 6 Green, 7 Green-Blue, 8 Blue, 8 Blue-Indigo, 10 Indigo,

11 Indigo-Violet, 12 Violet. These are the 7 x 12 colors in the planetary zodiac having 7 x 12

corresponding tones.

The chart below illustrates the color/tone relationship in the zodiac with the planets and

their signs. See how the C-major scale corresponds with the “ROYGBIV” colors, the C-major

triad is consonant with Red, Yellow, & Blue, the D-minor sixth triad matches Orange, Green,

& Violet:

Dark Side of the Moon

|<-------perfect 5th------->|

| |

|<----perfect 4th-->| |

| | |

|<--major 3rd-->| | |

| | | |

Ari Gem Leo Vir Sco Cap Pis

Mar Mer Sun Mer Mar Sat Jup

Red Ora Yel Gre Blu Ind Vio

C D E F G A B

|---|---|---|---|---|---|---|---|---|---|---|

Tau | Can | Lib Sag Aqu |

Ven | Moo | Ven Jup Sat |

ROr | OYe | GBl BIn IVi |

C# | D# | F# G# A# |

| | |

|<minor 3rd>| |

| |

|<----------natural sixth---------->|

For example, the C-major triad is dominated by the ‘C’ with the major third ‘E’ and perfect

fifth ‘G’ mixing their respective colors on full intensity. This color is dominated by ‘C’ or Red,

but the Yellow of ‘E’ and Blue of ‘G’ are charted as if mixed on full intensity. As such

color/sound analyses are refined and expanded, dynamic colors and tones may be further ac-

counted for such as tertiary colors which are of a lower intensity, on down to the intuitive

level — which is just as well, since intuition is truly the lifeblood of imagination, while em-

pirical observation and theoretical knowledge alone are only the beginning of such applied

learning. Sooner or later this knowledge and experience must be integrated into ones cogni-

zance and feeling of living, which clearly transcends mundane secular academia.

In all fairness to “RGB” advocates, the primary color of Green corresponds to the perfect

fourth above Red, thus is Red-Green-Blue equal to 1-4-5, the very fundamentals of music, a

convincing argument except that Green is made by Blue plus Yellow. Conversely, however,

Cyan is made by Green plus Blue. When you look at the zodiac of these primary and secon-

dary colors, you immediately see that Cyan and Yellow, with Green between them, oppose

Magenta, and this is precisely the CYM color model of subtractive color. And furthermore,

Green and Blue, with Cyan between them, is at opposition to Red, i.e. the additive RGB color

model. The following color zodiacal diagram demonstrates this principle:

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