This is the Place XI: The Hidden History of Music

 Previously: The Tabernacle Organ and the Freemasonic "Architects"

Welcome readers to part 11 of this series. This post will be a slight detour from buildings and construction and a deep plunge into the hidden history of music.

Since I was sixteen (remember that number) I have been a wannabe musician. Although I took piano lessons as a kid, I really dreamed of playing guitar in a rock band since my teenage years. That dream came true when I turned 25, when I joined my first band as lead guitarist. I've been playing in rock bands ever since.

About 15 years ago I developed severe tendonitis in my fretting hand, and eventually I sought out a surgeon who actually made the problem worse, adding scar tissue to the already dysfunctional tendons. Consequently, the last seven years or so I've played very little, and now carry a handicap in my left hand as I'm unable to close it enough to make a fist.

But life goes on. Things like running a business and raising a family create a nice distraction from the lost dreams of youth, and honestly, I'm grateful it happened, otherwise I would've never been able to take a step back and look at where my life was going as a broke musician playing repetitious set lists for inebriated listeners.

Sometimes God works in mysterious ways, and the losing of one passion can often lead to the development of another. Writing eventually filled the void that my guitar injury left behind, and now here I am, 45 years old and 53 posts deep into this rabbit hole of a blog. 

A few years ago I began to discover that there is something seriously wrong with our modern music, and my journey from ex-guitarist to blogger took on a whole new meaning. I learned that musicians like the Beatles, Led Zeppelin, Black Sabbath, Pink Floyd, Bob Dylan, the Red Hot Chili Peppers, Katy Perry, Lady Gaga, and scores of others are practitioners of the occult. In fact, most musicians that have gone mainstream have sold themselves in exchange for fame, and many are involved in secret societies and have ties to elite Luciferians. 

But most of us who have searched even a little into the study of secret combinations know this about our modern musicians. A quick internet search of singers flashing satanic hand signs and covering an eye is all it takes to see that the music industry has been infiltrated by secret societies. But is there something deeper, further down the rabbit hole - something more sinister that's been done to our music that has been hiding just outside of our collective periphery?

We are all familiar with the phrases “ignorance is bliss" or "what you don't know doesn't hurt you." Well, what if our music is not complete? What if there are tones, harmonies, and even notes that we have never heard? What if some powerful people, acting hundreds of years ago, changed music into something it was never meant to be?

What if music has been altered and weaponized as a device to control human consciousness and behavior?

One of the most comprehensive books on the Tartarian theory of history was written by James W. Lee, who "died suddenly" a few months ago. The book, The One World Tartarians, can be downloaded for free at this website, along with free pdfs of all of his other books.

In chapter 7 Lee explains how he believes the Tartarians used cymatics for healing. Cymatics is the study of how vibrational frequencies can be affected by sound and sacred geometry. Many researchers looking into the Old World believe that the Tartarians (or whoever this previous civilization actually was) designed their buildings according to sacred geometry and cymatics, and that before basilicas and cathedrals were taken over and repurposed into churches by the Jesuits, these buildings were used as mass healing centers. The type of stone, the exterior carvings, and the dimensions and layout of the rooms, were all based on sacred geometry. The original edifices were designed to raise the vibrational frequency of any human being who merely entered the doors.

(As a side note I don’t agree with everything in Lee’s book. Although I believe the Tartarians are descendants of the lost tribes of Israel, I believe they fell into idolatry and were destroyed like the Nephites and Jaredites before them.)

Once the magnificent building was constructed and the acoustics were measured and tested, the healing pipe organ would be built to specs. The organ had to be designed to be in tune with the healing resonance of the building. For this reason, the construction of the organ could not possibly precede the construction of the building, as we are told happened in the building of the Salt Lake City Tabernacle. 

After assembly the organ would be tuned to a vibrational frequency of 528 Mhz. It was tuned with metal tuning forks used to harmonize the instrument with the telluric energy of the earth. Other factors that influenced this energy field were the tall spires (for collecting atmospheric energy), cisterns of water under the cathedral, and the forming and compacting of the soil surrounding it. 

In the following excerpt from his book, James W. Lee expounds more upon the purpose of the healing pipe organ:

Once upon a time when the temples of free energy architecture were used to rise man, the organs were used as a harmony bomb. The songs were tuned and played at sacred healing tone of 528 Mhz. It was not allowed to change the frequency of the earth using for example 440 Mhz, which divided by 12 equals 36.666, this frequency disharmonizes humanity leaving beings agitated, angry and sick and that was not allowed. So, at the correct frequency there were regenerating concert halls, where people recharged themselves with pleasant music while buildings collected the energy of the ether. (p. 103, emphasis original)

Virtually all genres of popular music we are exposed to today are tuned to 440 Hz, including pop, rock and roll, and even hymns played in churches. This is by design, and is a tactic to manipulate and control us, as well as a means to keep us sick, agitated, depressed, and anxious. Disharmonized and fear-driven people are much easier to control. This mistuning of modern music is so subtle that it cannot be detected by the ear, but only by the brain itself, which interprets frequency, rather than sound. 

Although I believe that music has been used since the beginning to either bless and heal, or manipulate and control mankind, our modern version of musical tuning can be traced back to Vincenzo Galilei (father of Galileo), who lived during the 16th century. Galilei was the father of equal temperament, the tuning of the musical octave into 12 equal chromatic notes. As the story goes, he was trying to solve the problem of the Pythagorean comma, the stacking of fifths that left a small discrepancy in the frequency between the last two notes of the chromatic scale. Pythagoras was a student of Plato, who believed that music, and people, should be regulated for their own good. (Sound familiar?)

If you're not a musician some of this may sound foreign to you, but a fifth is the perfect musical interval between the tonic (root note) and the octave (the doubled tonic). If you love rock and roll, the fifth is expressed in the pleasing power chord, ubiquitous in all modern music. The relationship between the tonic and the fifth sounds pleasing to the ear because it resolves the tension that exists between the other notes. It's a musical phrase, or sequence, that is full of energy.

The problem Pythagoras ran into by attempting to build a scale by stacking fifths is that it left unjust octaves, as in the diagram below showing the Pythagorean comma:

Galilei attempted to solve this problem by tempering the tuning of each note on the scale enough to create a just octave, which altered the frequency ratios between each interval. On the C major scale (the scale that organ keyboards are built around), this left A tuned at 440 Hz.

Hertz (named after Heinrich Hertz) are defined as units of measure for "how many waves pass a given point in a specific period of time". Or, in other words, the frequency of a wave of energy as it vibrates through space and time. One Hz is equal to one wave cycle per second. All matter (including how it is shaped), and even intention and thought, has a frequency that can be measured in Hz. 

When a frequency created by an instrument matches that of a geometric shape in the resonating chamber of a building, the two vibrate as one, and this is known as resonance. When you put a person into the mix, the human brain starts to resonate with the same frequency and healing can occur. This is known as entrainment, and notice that this word is close to entertainment.

Entrainment can occur with both positive and negative frequencies, which is why music can be used for both good and evil.

And the reason why modern music can make us feel agitated and unsatisfied is twofold: one, the frequencies that exist within the natural harmonic scale have been altered (tempered), and as a consequence no longer resonate with nature, and two, modern music is missing certain notes on the scale. Notes that have disappeared down the black hole of history and have been deliberately withheld from us.

Galilei was a member of a secret society, which was most likely an offshoot of the Rosicrucian Order established by Sir Francis Bacon, who absolutely knew and understood that a conspiracy existed to hide the true musical scale from the masses. Bacon, now known to historical researchers as the real Shakespeare, encoded this conspiracy into his literary works, two of which include his novel, The New Atlantis (which I wrote about here), and a play attributed to Shakespeare, King Lear. These have been deciphered by a woman named Stephanie McPeak Petersen, who wrote a book entitled, The Next Octave: A Sustainable Economy Encoded In Music, published in 2021.

In addition to decoding Bacon's cipher, Stephanie lays out the connection between a tempered musical scale and a tempered economy. Both music and money share a common term that we know as the note, i.e., whole note, half note, quarter note, and bank note.

The thesis of her book is that a "sustainable economy" (a phrase constantly thrown around by elites these days) can only be achieved when market forces are left up to individual choices. She argues that price controls, tariffs, fractional-reserve banking, and artificial credit are tempering devices the government uses to manipulate the economy, and are nothing more than mechanisms to control and enslave us.

This tempering of economics by the elite is done to enrich themselves at the expense of the masses, through the hidden tax of inflation.

(I wrote about how secret societies control economies here.) 

Similarly, the tempering of music is also a tool used by the elites to keep us from experiencing the healing frequencies and transcendent tones that real music offers to the soul. In her book, Stephanie likens the unmolested musical scale to the gold standard, both of which resonate at a higher frequency, which is why mankind has voluntarily chosen gold to represent money for millennia. When we are given the choice, we will always choose that which resonates at higher frequencies. 

The problem is that we are not being given the choice when it comes to music or gold, because secret societies have taken those choices away through fiat notes and currency. The word fiat means a decree or arbitrary (whimsical) declaration made by a ruling body, and by fiat both our music and money has become artificially inflated.

Stephanie reveals in the book that this conspiracy involving music has been hidden in plain sight and is apparent in the very symbolism of Freemasonry, and she proves, through basic mathematics, that the scale used in music today is incomplete, and that the A note in the C major scale should be tuned to 432 Hz (more on this later), a frequency that resonates with nature.

The Phantom Notes Of the Opera

I really dislike musicals. I've never been able to sit through the Phantom of the Opera, and most likely never will. Even when I'm watching some cartoon with my kids, when the characters break into song, I become immediately annoyed. What can I say, I'm an uncultured redneck from Idaho, who'd much rather ride a dirt bike than sit through some boring play with annoying vibrato singing.

But when I read in Stephanie's book that clues to conspiracies are woven into the very script of plays like the Phantom of the Opera, I became intrigued, not enough to watch the movie or sit through a live opera, but maybe enough to read the novel the play is based upon.

Phantom of the Opera: Encoded in the story is the plan to alter the musical scale. 

As Stephanie points out in her book, the very conspiracy to alter and temper the musical scale is encoded into the story of the play, hidden in parable form for those with eyes to see.

If you're interested in how she came to these conclusions, watch the video below:

These four phantom, or missing notes, are apparent in the harmonic series in the key of C major. The harmonic series is based on laws that exist in nature and cannot be altered. Harmonics simply exist, we cannot manipulate them, we can only discover them. They belong to God, the ultimate Composer, who writes His symphonies to perfectly resonate with established mathematical frequencies in nature. 

These frequencies correspond with energy fields, geometric shapes, and even abstract concepts like compassion, charity, and love. 

A definition of harmonics is found on page 230 of Stephanie's book, The Next Octave, as follows:

Harmonic frequencies occur naturally as overtones when any fundamental tone vibrates.

The harmonic series is made up of notes, means, and tritones. The last note of the series ends at the 32nd harmonic, beyond that there are no notes but only means. A true note resonates at a pure mathematical frequency (whole numbers that when divided do not result in fractions), a mean is a pitch between two notes, and a tritone is a sequence of six semitones (half-steps; black keys on a piano) or three adjacent whole tones. 

The tritone is sometimes known as the "howl", or "the devil in the music", because of its dissonant tone. In metal music you hear it as the diminished fifth.

According to Stephanie, there are two basic laws that govern the harmonic series:

1) all new notes emerge into the series as odd numbers, and... 2) all even-numbered harmonics are octave repeats of previously generated notes. This means that any odd-numbered harmonic is a brand new tone, and any even-numbered harmonic is an old tone, now repeated in the form of an octave.(The Next Octave, p. 231)

Also according to Stephanie, the first 16 (remember this number from the end of my last post?) harmonics are structural beams that build the scale. The second 16 harmonics make up the scale itself (12 notes plus the missing four equals 16), and the rest of the harmonics, from 33 onward, are microtones that diminish further and further until they are imperceptible to the human ear. 

(Notice in the second column that Stephanie labels the missing notes of the chromatic scale as W, X, Y, and Z.)

All harmonics are generated off the tonic, commonly called the root note. In the case of C major, the tonic is the first harmonic, and up to the 32nd harmonic all odd numbered harmonics are considered notes, while even numbered harmonics are considered means. But after the 33rd harmonic, or the third tritone (in the key of C major, F# is the tritone, entering the series as the 11th and 22nd harmonic, this will be important later), all ascending tones are considered means. Thus, there can only be 32 notes in the harmonic series of any tonic or key. 

(And where have you seen the numbers 32 and 33 before? In Freemasonry of course. Keep that in mind as we proceed.) 

Equal temperament tuning, like debt monetization and fractional reserve banking, is inflationary in frequency. 

In the un-tempered harmonic scale, note frequencies do not artificially increase or decrease, but are self-regulated within natural parameters. Notice on the chart below that each frequency interval within the harmonic series is constant while interval frequencies in 12-TET (equal temperament) are increasing (inflationary) with each interval:

(Also notice the red line drawn between the F# in 12-TET tuning and the phantom note W in harmonic tuning. This will be important later.)

Musicians with instruments tuned in the natural harmonic scale could not change keys without retuning their instruments. In equal temperament tuning however, key changes can be made with ease, but at the expense of natural note frequencies. In Pythagorean tuning, stacking perfect fifths left unjust octaves, and it is only in the harmonic series that just octaves and perfect fifths are synthesized. Here is how Stephanie describes the inflationary nature of equal temperament:

...12-TET [12 note equal temperament] uses a static ratio to produce marginally increasing intervallic [of or relating to an interval] values or spans. The harmonic series does the opposite, producing marginally decreasing ratios that generate static intervallic values. And it's the marginal nature of equally tempered Hz values that tends to leave listeners of modern music feeling mentally taxed. The marginal Hz values of 12-TET create what composer Kyle Gann called "caffeinated sound." Within a harmonic octave, Hz values are consistently spaced and don't produce this type of challenge to the brain and its frequency following response. Remember, its not ratios the brain attempts to mimic; it's frequencies. (Ibid, p. 295, emphasis original)

In the harmonic series, only odd numbered notes are newly generated, and all even numbered notes are octave repeats of the tonic. This is a natural regulatory mechanism that keeps the scale from becoming inflationary. To generate the second harmonic off the tonic, you simply multiply by two and you arrive at the tonic's octave. Although it is the same note, the frequency at which it vibrates is doubled, which the human ear perceives as a higher pitch. The second harmonic is not a new tone, therefore it is a mean, because it has already been generated in harmonic 1. Octaves therefore, represent the power of 2. 

The 3rd harmonic is generated by tripling the tonic which when multiplied mathematically arrives at the perfect fifth. In the case of C major, the perfect fifth lands on G, a completely new tone. Fifths are based on the power of 3.

The number 2 represents the physical world and the power of doubling. A simple example is the human embryo. It begins as a single cell and then doubles into 2, 4, 8, 16, 32, 64, and so on. The number 3 represents the higher spiritual realm and power of tripling, i.e., 3, 6, 9, etc. In mathematics 2's and 3's are said to be incompatible because of the irreconcilability of even and odd numbers. However, the perfect fifth is the musical interval that synthesizes these two powers:

For Pythagoras and his students, a perfect fifth also represented a reconciliation of opposites. For them, the number 3 represented the male and the number 2, the female, with the ratio of 3:2 representing a union between them. (Ibid, p. 43)

Assigning gender to the numbers 2 and 3 is most interesting when we consider the esoteric number associated with the secret society known as the Skull and Bones: number 322. 

Not only are they portraying the ratio of 3:2 in the first two numbers, but they are adding a second 2 at the end, offsetting the natural balance between male and female. Hence, the numbers represent a male and two females, and may be a hidden symbol for polygamy. But as we also know, the logo of the Skull and Bones is a cross between a male and female set of skulls and femurs, which may also be a hidden symbol for transgenderism, which is the physical inversion of a male into female and female into male. 

Later in this post I'll offer another possible interpretation of 322 that ties into the musical conspiracy.

Stephanie shows in her book how the powers of 2 and 3 can be reconciled on a mathematical illustration known as the Mobius Circuit, created by a man named Marko Rodin.

 Stephanie offers an explanation of the Mobius Circuit as follows:

The circuit's creator, Marko Rodin, uses discrete mathematics (the process of reducing any number down to a single digit by adding its discrete integers) to generate its form, which illustrates the "underpinning geometry of the universe." According to Rodin, the numbers generated by doubling (1-2-4-8-7-5) represent matter, while the numbers generated by tripling (3-6-9) represent spirit. (Ibid, p. 43)

On the Mobius Circuit, if you start at one on the right and start doubling, you trace a line to 2, and then to 4. From 4 you trace a line to 8, and then to mirror the image on the right side of the circle, you trace a line from 7 (8+8=16, 1+6=7) to 5 (7+7=14, 1+4=5), and then back to 1 (5+5=10, 1+0=1). 

The numbers 3, 6, and 9, when traced, form a triangle, with 9 at the top. 9 is considered the mese of 6 and 3. The term mese means center, or the middle of two points. It is calculated by doubling the numbers 6 and 3 and then averaging them (6+6=12 and 3+3=6, and the average of 6 and 12 is 9, calculated by adding 6 and 12 which is 18, and then dividing by 2 to arrive at 9). When applying this to the harmonic scale, 3 is the tonic, 6 is the octave, and 9 is the perfect fifth. Thus, the perfect fifth is the mese of the scale. 

You'll also notice on the Mobius Circuit that when you add each number horizontally, you'll always arrive at 9 (8+1, 7+2, 6+3, and 5+4). When all the lines are drawn and allowed to overlap on the Mobius Circuit, you'll begin to notice a familiar design: the compass and square used in Freemasonry.

This, dear readers, is not a coincidence. Galilei's attempt to equally temper the scale was said to be improved upon by his son Galileo's friend, Marin Mersenne, who used a "straightedge and compass" to perfect equal temperament. You can read this straight out of Wikipedia. This is an admission by the powers that be that Freemasonry was responsible for altering music. Furthermore, Mersenne was a "reverend" and was educated at the Jesuit College of La Fieche. Supposedly, he never joined the Society of Jesus, but was educated by them nonetheless. In the brief history of this man Mersenne (who may or may not have actually existed), we have both a Freemasonic and Jesuit connection to this musical conspiracy. 

What are the powers that be, the "controllers" trying to tell us?

Now we're going to take this a level deeper. Mese (meaning "middle") is a Greek word, and is where the word meson is derived from. Meson is the origin of the term masonry, which has to do with laying brick and stone. Stone masons use the meson of the brick, or the middle point, to overlap bricks in a pattern that makes the structure of the wall stronger. Notice the familiar pattern below:

The term Masonic is a melding of two words: Meson and sonic, and we all know that the word sonic has to do with sound. In past posts I've pointed out different interpretations of the letter G displayed in the Masonic logo. According to different sources, the G can mean generation, geometry, gnosis, or God. 

But there is one more interpretation of the Masonic G in regard to music, and that is that G is the perfect fifth, or the mese, of the C major scale, the scale that all piano and organ keys are built around. But despite the fact that Freemasonry displays this symbol, the conspiracy to alter music has resulted in what Stephanie calls the "usurpation of the mese" (see chapter 14 of her book) which entails changing the natural frequency that the original G resonates at. 

This has been done subtly by altering the tritone that occurs before the G, the F#, giving it an even more dissonant tone that sounds like a howling wolf. And this howl may be a clue as to who is the true mastermind behind this musical conspiracy. 

The Devil in the Music

There is a legend that has been circulating for centuries that the devil is a musician, often using the fiddle or a flute to lure in and steal the souls of men. In our modern music we hear it in songs like The Devil Went Down To Georgia by the Charlie Daniels Band, and in classical literature we read about it in fairytales like The Pied Piper.

This legend is ancient, and goes all the way back to the beginning. Scripture even seems to concur that Lucifer was a musician. Ezekiel makes a strange statement against the "king of Tyre," named Hiram, the same guy the Freemasons believe was Hiram Abiff, the master "architect" who built Solomon's temple. As you might recall from my last post, the Freemason's honor a god they name as "the Supreme Architect of the universe," as pointed out by Manly P. Hall in his book The Secret Teachings Of All Ages.

In my opinion, this "master architect" is an allusion to Lucifer himself, and as you will see in a moment, Ezekiel's condemnation of the "king of Tyre" is also an allusion to Lucifer. The prophet writes that this king of Tyre was in the Garden of Eden, which seems strange when the real king Hiram of Tyre reigned in Phoenicia from 980 to 947 BC and was a contemporary of David and Solomon. Ezekiel also describes this king as one who played the pipes:

You have been in Eden, the garden of God. Every precious stone was your covering: the sardius, topaz, and the diamond, the beryl, the onyx, and the jasper, the sapphire, the emerald, and the carbuncle, and gold. The workmanship of your tambourines and of your pipes was prepared in you in the day that you were created. (Ezekiel 14:11, RE, emphasis added)

A tambourine is a percussion instrument, or a drum, and pipes are associated with Pan, the Greek god (portrayed as half-man, half-goat) who used music to lure children in to molest and kill them. Sadly, this is where the legend of Peter Pan came from. I wrote about that here (reader discretion is advised). Notice that the flute that Peter Pan plays looks similar to the cloud buster built by Wilhelm Reich in the 1940s:

  

   

This suggests to me that the "pipes" Ezekiel is referring to may be more than just a musical instrument, they may actually be a specific technology.

As to the tambourines referenced by Ezekiel, we come to another common term used in music nowadays that does not mean what we think it does. I'm talking about the word beats. A beat is not a rhythmic percussion played to keep time in music, but rather is an "interference pattern between two sounds of slightly different frequencies, perceived as a periodic variation in volume whose rate is the difference of the two frequencies" (Wikipedia).

In other words, a beat is a wave interference. It is the disruption of a natural frequency, and our modern music is full of them. Because today's music is tuned to a frequency that mismatches natural frequencies found in nature, our brain interprets it as a constant dissonant beating. And remember, the other definition of beating is "a punishment or assault in which the victim is hit repeatedly." Is this a coincidence? I don't think so. 

Listening to modern music is basically a constant beating by the powers that be. After years and years of hearing these beats, we begin to crave the negative energy they create in our bodies. We begin to crave the punishment we receive from them in an unhealthy pattern similar to Stockholm Syndrome. 

A few decades ago the band Tool came out with a song called Pet, found on the album A Perfect Circle. A line towards the middle of the song reads "Swaying to the rhythm of the New World Order and..." 

Is there a rhythm to what Lucifer has been up to in this fallen world?

Indeed, I believe there is. As Nephi said, this rhythm lulls you into carnal security, comforting you, gently whispering in your ear to close your eyes to what's going on around you, and blissfully slip into a slumbering stupor.

Like everything else Lucifer does, he put his insignia on this musical conspiracy, and the key to understanding what he has done can be found in the number 22. The phrase "catch 22" may mean more than what we think it does. To "catch" something is to capture it, by laying a deceptive trap or snare to lure it in. And as you'll recall from earlier, the number two is associated with this fallen world, an unascending number, stuck in a pattern of doubling onto infinity, yet never being able to escape its material prison. Thus, the catch 22 is a trap to keep us asleep in a never-ending cycle of dualism (one example is the American two-party system).

If you count the stars surrounding the mountain on the logo of Paramount Pictures, you’ll again come to the number 22:

What mountain is being depicted here? Could it be Mt. Armon (or Hermon in the bible), the mount described in the Book of Enoch where the 200 fallen angels descended to? In chapter 7, verse 9, Enoch names 18 of their leaders. So why are there 22 stars? The other four may be the angels that guard the four corners of the earth: Michael, Gabriel, Raphael, and Uriel. 

Could it be that Lucifer has taken these four righteous angels, who hold the keys over this creation, and lumped them in the with the fallen ones? 

The ultimate "catch 22" is the illusion of a narrative where good and evil have been flipped on their heads. In Freemasonry, this is symbolized by the black and white checkerboard floor (I wrote about that here).

Now for the musical connection to the number 22. In the harmonic series there are 3 tritones, and the 3rd lands on the 33rd harmonic. In the case of C major, the tritone is F#, occurring at the 11th, 22nd, and 33rd harmonics. Remember that there are no notes after the 32nd harmonic, so the 33rd harmonic, or the 3rd tritone, isn't a note at all, but a means in the form of the first microtone. A tritone consists of 3 whole steps, or 6 half steps, and when we get to the 33rd harmonic, we have covered a total of 18 half steps, or 6 repeated three times (666). 

Now, the 22nd harmonic is the middle octave, or the mese of the F# tritone in the key of C major. And this is where the conspiracy comes into play. In 12-TET or equal temperament tuning, the F# is slid into the sharper position of the 23rd harmonic, and has a frequency of 23.12. In the harmonic series, the 23rd harmonic is the phantom note that Stephanie Petersen labels as "W." This stretched position of F# gives it a more dissonant tone than its original position at 22, which is why it sounds like a "howl," or "the devil in the music." 

Furthermore, equal temperament allows the F# to span seven semitones instead of six, symbolic of man (represented by six, the number of a man) attempting to usurp the position of God (represented by seven). In equal temperament, the tritone of F# is literally usurping the true mathematical note of W, one of the phantom notes of the opera that we don't hear in modern music. Even more significant, is that this altered tuning slightly moves G (the perfect fifth) out of its place as the mese of the scale, and replaces it with F#, a black key on a piano or organ:

Equal temperament has allowed the tritone to usurp the positions of both the legitimate tritone (22 Hz) and the perfect 5th's central position as mese of the scale. Herein lies the greatest musical conspiracy ever perpetuated, the usurpation by the "devil in the music," an act dramatized by Edmund in King Lear. (The Next Octave, pp. 301-302, emphasis original)

Stephanie believes that Francis Bacon was the true Shakespeare (and I agree), and the true author of the play King Lear. To find out how the conspiracy to alter music was written into that script, read chapter 14 of her book, The Next Octave. 

(I disagree with Stephanie's opinion that Bacon was a good guy trying to fight against equal temperament tuning and economic mercantilism; I believe he helped engineer these things and then wrote them into plays and literature as part of his obligation to disclose [revelation of the method] what the elites are up to.)

Remember, Bacon altered the King James Bible significantly, which means that Nephi saw him as part of the Great and Abominable Church of the Devil.

In the video below, Stephanie takes you deep into this rabbit hole, and shows you how this conspiracy is alluded to in a popular rock song by Alanis Morissette, as well as the movie Eyes Wide Shut. In the secret society scene, in the mese, or the middle of the film, a piano is oscillating between F and F#, and F# and G. Stanley Kubrick, producer of the movie, is putting this conspiracy right in our faces.

Francis Bacon was also part of a group known as the "Twice Eleven Brethren," and here is where the conspiracy becomes even more ubiquitous. Twice eleven is 22, which brings us back to the esoteric number associated with Skull and Bones: 322. Not only is 22 the true harmonic position of F#, the original tritone, but in the Skull and Bones number it is succeeded by 3, representing the power of 3 or the spiritual realm gently regulating the material realm. To the conspirators, the number 3 places them (led by Lucifer) into the position of God, usurping His role as the true spiritual source that governs the universe:

...for he [the Devil] rebelled against me, saying, Give me your honor - which is my power... (T&C 9:11)

The ratio of 3:2 is the ratio of the perfect fifth, but the placing of the 2nd 2 in the number 322 is an admission by the conspirators that they have changed the position of the perfect fifth in music and replaced it with a tritone, F# (the Devil in the Music), represented by the number 22.

This means that high-ranking members of Skull and Bones know exactly what is going on with music, and are part of the plan to use it as a means to control and manipulate the masses. 

And just how many of these "Bonesman" are leaders in wealthy and powerful churches using tabernacle organs, hymns, and choirs (tuned in 12-TET) to alter human consciousness?

Perhaps a few.

Sweet Sixteen: The Geometry of Music

This brings us back to where we left off at the end of my last post, to the quote by Brigham Young when he said, speaking of building towers on the temple, that "it is easier for us to build sixteen, than it was for him [Joseph Smith] to build one."

What did he mean by 16 and 1? We'll come back to that in a moment. 

When Galilei implemented equal temperament into the musical scale, he was only working with 12 chromatic notes. In order to create just octaves, Galilei had to sacrifice just intervals. If you were to divide up the 12-note chromatic scale into a pie, the pieces would not all be the same size:

If you compare this pie to the harmonic series, you can see that up to the 21st harmonic, all the notes are evenly spaced, but when you get to A (the major 6th of the C major scale) at the 27th harmonic, there are gaps:

To fill in the gaps, we simply add the four phantom notes that have been removed from 12-TET tuning as follows:

After adding the missing notes, our pie looks like this:

And now that the note intervals are equidistant in frequency, all kinds of geometry can manifest in the scale:

This only works if there are sixteen notes in the chromatic scale. If we temper the scale by compressing it into 12 notes, these perfectly symmetrical shapes cannot be generated.

For a more complete explanation of these images (created by Stephanie Petersen), please watch the 5-minute video below:

The French physicist Joseph Sauveur argued in 1713 that middle C should tuned at 256 Hz, coming to this conclusion because of his study of acoustics and "absolute frequency." 256 is a product of doubling, and represents the power of 2. Sixteen is also a number that is generated by the power of 2 (2, 4, 8, 16, 32, 64, 128, 256, 512, etc.).

When middle C is tuned at 256 Hz, the frequencies of the scale intervals are as follows:

• C 256 Hz
• C# 272 Hz
• D 288 Hz
• Eb 304 Hz
• E 320 Hz
• F 336 Hz
• F# 352 Hz
• W 368 Hz (phantom note)
• G 384 Hz
• X 400 Hz (phantom note)
• Ab 416 Hz
• A 432 Hz
• Bb 448 Hz
• Y 464 Hz (phantom note)
• B 480 Hz
• Z 496 Hz (phantom note)
• C 512 Hz

Notice that every note of this chromatic scale can divide its frequency by 16 and find its place in the series from harmonics 16 to 32. 

• C  (256/16)=16
• C# (272/16)=17
• D  (288/16)=18
• Eb (304/16)=19
• E (320/16)=20
• F (336/16)=21
• F# (352/16)=22
• W (368/16)=23
• G (384/16)=24
• X (400/16)=25
• Ab (416/16)=26
• A (432/16)=27
• Bb (448/16)=28
• Y (464/16)=29
• B (480/16)=30
• Z (496/16)=31
• C (512/16)=32

In equal temperament tuning, however, A is tuned to 440 Hz, which when divided by 16 renders a decimal at 27.5 and not a whole number. Furthermore, 440 is an un-ascended frequency stuck in the doubling power of 2, representing the materialistic world. When A is tuned at 432 Hz however, it reduces down to 27, which is divisible by 9, rendering it an ascended frequency representing the power of 3. It is only in the harmonic series that the powers of 2 and 3 are synthesized, and that perfect fifths, just octaves, and equidistant intervals are rendered.

(We can even see these powers of 2 and 3 being represented in the Book of Mormon. For instance, Nephi's example of one who is on a path of ascension represents the power of 3 (breaking the cycle of the Jews and connecting with God in order to learn the higher commandments and mysteries), while Laman and Lemuel, his two brothers, are stuck in a continuous cycle of rebellion and partial repentance (when angels literally stop them in their tracks), never rising above their pride and penchant for unrighteous dominion, and never going to God (the supreme spiritual source) to find out for themselves how they can ascend, yet still believing they are righteous.)  

The 16-note scale is the scale I believe the Tartarians tuned their healing organs to before they fell into idolatry and were destroyed. Not only is music based on these frequencies, but light, geometric shapes, and even color use the same mathematical values. For instance, the maximum number of color bits that can be displayed at one time is 256 per pixel. Ram memory stored in computers measured in bytes also comes in doubling multiples at 128, 256, and 512 megabytes. The frequency of middle C tuned at 256 Hz is literally all around us. 

Francis Bacon hinted at the 16 note scale in his novel The New Atlantis. The novel begins with a group of 51 men setting sail from Peru, and being on the water for a year, nearly starved to death, until they finally spotted land (the New Atlantis) in the distance. Upon coming close to shore, the inhabitants forbade them to land the boat, delivering to them a scroll with the following words:

Land ye not, none of you; and provide to be gone, from this coast, within sixteen days, except ye have further time given you...

These sixteen days were required as a cleansing period for the sick on board, but why would Bacon use that particular number? It may become clearer when you read the following passage at the end of the short book. Here the leader of the New Atlantis is introducing to the leader of the 51 visitors all the advanced technologies the civilization enjoys. One of them is music is that is "unknown" to the visitors:

We have also sound-houses, where we practise and demonstrate all sounds, and their generation. We have harmonies which you have not, of quarter-sounds, and lesser slides of sounds. Divers instruments of music likewise to you unknown, some sweeter than any you have; together with bells and rings that are dainty and sweet. We represent sounds small sounds great and deep; likewise great sounds extenuate and sharp; we make divers tremblings and warblings of sounds, which in their original are entire... We have also means to convey sounds in trunks and pipes, in strange lines and distances. (Emphasis added)

Sounds that in their "original are entire"? Could he be referencing the sixteen note scale in the harmonic series? And his reference to "pipes" is also very interesting considering the scripture we quoted in Ezekiel about the king of Tyre using pipes. Bacon describes them as if they are some type of technology, rather than a musical instrument.

So why would Brigham Young also reference the number sixteen? He was talking about building towers on temples, saying that they (the Utah saints) could build sixteen to Joseph Smith's one. A ratio of 16 to 1, or 16 notes to one scale. Was Brigham Young musical? Not that we know, but we do know that he was a student of Albert Pike, and could have also been a student of Bacon's literary works. Brigham was steeped in esoteric knowledge, and could have used occult coded parables and symbols in his sermons and speeches.

How do we know that Brigham was a student of Pike's? In the video below there is an admission by a high-ranking Freemason that this was clearly the case:

Starting at the 1:05 mark in the video, the lecturer (Scott Wolter) is reading from a letter written by Albert Pike to Grand Master named W.B.J MacLeod Moore. Here is a snippet of that letter (which is unpublished by the way):

... it is the evening of the 21st and I find the sun still high in the skies, suggesting that somewhere an ancient lodge is conducting its ritual upon the square, three times seven. Tomorrow I will be meeting with the remaining chiefs of the Western First Nations. They remind me a great deal of the Lost Tribes of Israel, seeking a New Jerusalem. So noble, yet so desperate, wandering aimlessly across the desert, or were they? 

Brigham Young understood this and ventured forth to the prime meridian, seeking the same as you and I. For all of our virtues it is most fortunate that he did not fully understand the signs, symbols and tokens left behind by our fellow Knight's Templar who covenanted the goddess...

According to Wikipedia, the Prime Meridian is the Greenwich Meridian, which runs through Africa and England, nowhere close to Utah. What did Pike and Brigham Young know about the true layout of the earth? 

I don't know, but I find this letter very interesting, especially the reference to the Knight's Templar, the assumed origin of the signs and tokens the Freemasons use today. (And I believe it was the original Knight's Templar who taught the Tartarians how to build according to the sacred geometry, and for a reference on how the Chartres Cathedral was built according to the ratios of the musical scale, see chapter 16 [there is that number again] of the book, The Mysteries of the Chartres Cathedral, by Louis Charpentier).

Brigham's reference to sixteen towers is also interesting when we consider the etymology of the word tower. The root of the word is "tow," which means, to pull, to haul, or to draw something by force. In the case of an architectural tower, what is being drawn is energy from the ether. This should give us a clue as to the true nature of the Salt Lake Temple, and many other structures with decorative towers. Remember, one of Tesla's many U.S. patents was technology to draw energy and send it wirelessly through the air (the Wardenclyffe Tower).

Join me next time for an analysis of two very old buildings on temple square: the Hotel Utah (now the Joseph Smith Memorial building) and the original Church Administration Building, built with Corinthian columns and looking like it came straight out of Rome.

(Special thanks to Stephanie McPeak Petersen for discovering this musical conspiracy and exposing it (especially pointing out that the word Masonic is a combination of Mese and Sonic). I highly recommend her book, The Next Octave, get it here on Amazon.)