Those of you that are unfamiliar with the harmonic series just need to know that when a note is played, a series of other notes above that note can be heard ringing in sympathy. When the first note played is C, the series of notes are: C, C, G, C, E, G, Bb, C, D, E, F# and G.
Now, the second note of C is exactly half of the length, or size, of the first, which is double the frequency. This means that the second wave pattern of C fits twice into the first wave of the original note of C. So, the fact that the second note is the same letter, or called by the same name, but is half the size, means that the first can be designated the name of ‘the father’ whilst the second note naturally fits the name of ‘the son’. This is represented by the mathematical ration of 1:2, or an octave.
The third note in the series is G, and the ratio between the second and third note is 2:3, which creates the interval of a fifth, C – G. This is the beginning of movement in the series of notes, because the first two created an octave, which is static. So 2:3 is associated with movement.
Now, the third in the Holy Trinity of the ancient texts referred to as the old testament, amongst other names, is the holy spirit. The first mention of it is in the second line of the text of Genesis, which says ‘the spirit of God moved upon the waters’. Firstly, the movement is the first vital element, but why is the movement mentioned apart from God, surely he can move the waters too? Well, again the allegorical purpose of the writing, I believe, is referring to the movement in the harmonic series, first apparent in the ratio of 2:3.
The second is the clue of waters, or rather waves, which the spirit is moving in relation to. If there was a body of water that the spirit was moving in relation to, wouldn’t it be referred to in the singular, as in ‘the spirit of God moved upon the water’? As mentioned previously, the wavelength and frequency of the first two notes are represented in the material world as waves, one inside the other. So we have the plural of water, and the word ‘waves’ makes much more sense than ‘waters’.
Next, as shown above, the numbers 1, 2 and 3 are all that is needed to be able to represent the father, the son, and movement, or spirit. Now that we have the movement, there is no mention of stopping it so let’s just see where it goes. Taking G as our next starting point, the ratio 2:3 gives us the note of D, and continuing the method we complete the circle of fifths and our end point back at C again: C – G – D – A – E – B – F# - C# - G# - D# - A# (Bb) – F (E#) - C.
So, by using the ratio that creates movement, or spirit, twelve times, we end up at our place of origin, albeit at a higher octave. Perhaps this is what is meant in allegorical terms as the twelve disciples.
Now, I am not belittling the text of Genesis, far from it. I think the purpose of allegory in sacred scriptures is to help explain the metaphysical realm in ways that are more approachable for most. The ratios between the three numbers could very well mimic the ratios between the supernatural forces mentioned in religious works.
Finally, I find it very noteworthy that in the first 12 notes of the harmonic series, that the notes of Bb and F# occur. Not B natural or F natural, but Bb and F#. This is the same process as explained above, but now in a higher order. The movement, or spirit, that is now shown is moving away from the key of C, which we took as our starting point, and Bb leads us back a fifth into the key of F major whilst F# moves us into the key of G major or forward a fifth. To me, it is almost like an expression of duality, movement clockwise and anti-clockwise at the same time. (Remember, this all occurs simultaneously with the appearance of the first note.)
I’ll leave it up to you what you make of that, but I think using allegory to explain scientific or even metaphysical principles is worthy of some attention. It may even lead us to a greater understanding of matters we thought were a closed book. Thanks for reading.
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