SCHILLINGER STUDY VINDICATES EINSTEIN'S UNIFIED FIELD THEORY

 

 

The following information is respectfully offered to those who seek solution to the Unified Field Theory. This is an intellectual synthesis and has been gleaned from Joseph Schillinger's system after more than thirty years of decipherment and study.

 

Schillinger never mentions the elements, but after establishing the geometrically validated coordinates, such as points, lines, angles, tetrahedra, etc., they are clearly marked. This will open a new realm of science and mathematics. In the unlikely event this paper is proven to be spurious, then let it not cast aspersions on Schillinger. When one can see music it dissolves the tortuous bewilderment of analyzing existing music structures and affords a splendid opportunity for composition.

 

More than 250 years have elapsed since the introduction of the equal temperament tuning system, whereby all 12 tones are tuned logarithmically and are equally tempered. However, we continue to use the dreadfully passť just intonation when describing our structures. With equal temperament all notes are perfect: no flat 5ths, raised 4ths, 9ths, 11ths or 13ths. These tones are assigned to the points on a compass or numbers on a clock. C equals zero. D flat equals 1 o'clock. In your long life, please don't ever forget this. C equals the 12 on the clock, one is 30˚ or 1. D is 2, E flat is 3...B is 11 and C octave is 12 noon. This is how it works, based on the clock or compass. This way as we go through the jungles and seas of music with a clock and compass we won't have to tap through the jungle using our finger as a white cane.

 

Our primary selective system of tones is 12, because 12 is the most versatile number. It is the smallest number with the most divisors. There are 479,001,600 possible ways of arranging 12 and 2048 combinations of which 462 of them are 7 note scales. If one were to arrange these 12 tones every second it would take about 160 years to accomplish this massive task.

 

Schillinger categorizes music into two general forms: the symmetric and the diatonic. Symmetric scales and cords have uniform intervals. The diatonic scales and cords have non-uniform intervals.

The study of cosmology and the origin of the universe is greatly simplified by the mathematical interpretation of music and the astute attention to the readings of the supreme instrument (the piano). Factually there are two kinds of zero. Zero is a statement of nothingness. Because of the duality principle, zero nothingness becomes zero somethingness or dead center. When zero comes into its own power it becomes one zero˚ radius of arbitrary dimension. Anything to the power of zero equals one zero˚ radius of arbitrary domain.

 

During the pre-Planck era, which is 10 to the minus 43rd power of one second, the musically charmed inherent quantum odd numbers underwent a 180˚ exchange torsional migration wrap, sic, the even numbers remained static; each odd number (1,3,5,7,9,11) exchange places with the odd number directly across from it on the clock. 1 an 7 exchange places 3 and 9 exchange and 5 and 11 exchange. This results in 7,2,9,4,11,6,1,8,3,10,5,12. This process was necessary for stability otherwise a big bang would really have happened and the seed or shoot would have been destroyed. Its integrity was preserved as well as the pitch, yaw and horizontal balance. See diagram #1 (coming soon).

 

This ends Part 1.

Part 2 soon.

 

Thank you

 

 

 

Harry Lyden