Sombre Paris - La Ville Sombre for Wind Septet (Sacred Geometry)

Sombre Paris.pdf
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www.secretsinplainsight.com/tag/isis

http://www.secretsinplainsight.com/tag/paris/

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The official story of how Paris derived its name is based on a Celtic Iron Age tribe (the
Parisii) that inhabited the area around 250 BC. This tribe actually came from the
Parrhasians of Arcadia, went on to become the Celtic Parissi, and were then enveloped
by Rome. Legend says they came to France from Arcadia, under the lead of Hercules
(according to John Baptist Mantuanus). At any rate, the Parisii (a tribe of Isis worshipers),
were eventually enveloped in this new Roman empire by the 3rd century AD. Thus the
saying "Only Paris is worthy of Rome; only Rome is worthy of Paris." These deep and
cryptic origins of Paris continue. According to Bernard Mathieu:
"...Isis was named Pelagia (of the sea), or Euploia (of safe navigation) and Pharia (of
Pharos), and was said to have invented the sail and had a temple on the island of Pharos.
She was so famous in the whole Mediterranean world that we find her even in the 17th
century manuscripts, and comfortably installed ont the prow of the boat on the coat-of
arms of Paris which Napoleon commissioned in 1811..."

From Graham Hancock and Robert Bauval's 'The Master Game:'
"Julian [the Apostate] had governed Gaul - ancient France - for five years and had resided
in Lutecia, ancient Paris, for three years between AD 358 and AD 360. Julian and his wife
Helen were also devotees of the Alexandrian god Serapis and the goddess Isis-Pharia, and
may have imposed, or at the very least encouraged, her cult on the inhabitants of Lutecia.
At any rate, [17th century writer] Jean Tristan was to write:
'The Parisians received their name of Paria-Isis, because of the cult of this goddess which
had been introduced in Illyria and in Gaul, in the region next to the River Seine and in
Lutecia, called 'Lutecia of the Parisians' or Farisians...' "

Hancock and Bauval continue:
"As further support to this hypothesis, the French classicist Jurgis Baltrusaitis points out
that in a fragment of a manuscript from Saint-Hilaire concerning the Council of Rimini,
the city of Paris is actualy referred by him as 'Farisea Civitas,' ie the 'city of the Farisians'
or, as Jean Tristan has suggested, the city of those who worship Isis-Pharis or Faria-Isis..."

To this day, how fitting that 'Paris' and 'ISIS' are inextricably linked in a Grand Rite of
Innocent Blood Sacrifice.

In Ancient Egypt, the Isis cult consisted mostly of materialsacrifices, such as donations
and fasting, and devotees were very public with their displays
of worship to the goddess. It was at one time perhaps the largest competitor of Christianity,
with a more equal treatment of women (female priests etc). This Goddess of Rebirth has
apparently undergone a rebirth of her cult in the modern world.

Many dark (sombre) secrets lie hidden in plain sight in the modern city of Paris; the
gateway of Isis and Egypt and Hermetic thinking to the West...
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ABCBCA; The ‘A’ theme basis is a pseudo-canon using a multi-octave 33 notes sacred
geometry scale. 66 bars A1 33 bars A2, 66+33 = 99 is the new moon
Cube + flower/egg of life 26 + 7 = 33
6 circles encircling a 7th is flower/egg of life.
Al fl+En hrn+Cl+bsn+hrn+tp+tba=7 instruments
In terms of register/tessitura, the Cl is arguably the 7th middle circle in which the rest
surround above and below.
Brass is highest (tp C7) and lowest (tba C1) with a bunch of alto and tenor ww. Brass at top
and bottom of ad quadratum construction; akin to top of Head Temple of Freemasonry
and Albert Pikes'grave underneath it.
153, sq root 12.369, is number of full moons per annum. 153 figures prominently in the
Louvre and Bible. This is the Lundy Island to Presely Bluestone Quarry 2/3 ratio if
factoring Caldey Priory Church as the split point. 2/3 is the ratio of the fifth CG.
The full Moon is represented by this vertical harmonic interval tying in with 153,
12.369. 153 is CGE.
Claude Debussy wanted a Society of Musical Esotericism to keep their occult musics even
more out of reach to the unenlightened mass public.
Moon is 400x smaller than Sun. Moon is 400x closer to Earth than Sun. Earth rotates 400x
faster than Moon.
Egyptian Netherworld afterlife is the Duat; at Orion and Sirius. The Golden Gate is the
galactic midplane near Scorpio, the Silver Gate is the ecliptic plane of Earth, near Orion.
7/11 is ratio of Great Pyramid base radius and height, on a scale of 1:43000 size of the
Earth's polar radius and equatorial diameter
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400mm x 153bpm = 61200, 6+1+2=9.
11/8 and 7/8 compound time sig is 18/8. 18 is 9.
Beat pattern and subdivisions conducted like so:
Four and three ‘pseudo-clave.’ 7 beats in master cycle til reaching ‘sam’ again.
Subdivided like so:
3332|223
333 is 9, 2223 is 9 (three 2s).
11/8 7/8
3332|223
1234 567
X x
18/8. 18x400 is 7200 720 72 3600 360 36 18 9 all 9.
18/8 compound time sig simplifies to 9/4x400=3600 beats in the piece/153bpm is doubled
to 23.5 min is axial tilt of Earth!The piece itself is therefore half that, 11.75 minutes.
Isis and Osiris raising the djed was 23.5 angle to represent the tilt.
23.5x60=1411.7
14+11+7=32.
3+2=5 hinting at the 3 2 separation of CGC the full moon.
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7 instruments 7 pointed star of Isis
Sequential decimal is 1/81.
.0123456789 etc becomes .012345679012345679 into infinity as you add 10, 11, 12, 13 etc
There are 81 stable naturally occurring elements. 81 is 9. Measure 81 belongs to Moon.
The Moon is 1/81 the mass of Earth. The Moon's magic square has 81 numbers.
6/5 where 6 is time and 5 is space. 6660in is 555ft
"Adenine is a hexagonal ring and a pentagonal ring, as is DMT, serotonin, and melatonin
There are 59 beads on the Rosary corresponding to 53 Hail Mary’s and 6 Our Fathers.
6 Gloria Patris for which there are no beads are also said in the Rosary bringing the
total number of prayers to 65.
The obverse of The Great Seal of the United States has 13 stripes (representing the
colonies), 13 stars in the “glory” above the eagle’s head, 13 arrows, 13 leaves, and
13 olives. 13 x 5 = 65.
In addition the feathers on the wings, 33 on the left and 32 on the right, add up to 65.
Also through “Pythagorean addition” 32 becomes 3+2 = 5 and 33 becomes 3+3 = 6.
The wings of the bird then represent the relationship between 6 and 5.
Multiplying Phi squared by 6/5 is Pi
1.2 x (1.6180 x 1.6180) = 3.1415
Illuminant D65 6500 Kelvins" -Scott Onstott
12/5 and 6/5 Jerusalem rectangles
The hexagram vs the pentragram, hexagon vs pentagon, 6 v 5 (Pope Sixtus V etc)
can be exploited by quintuplets and sextuplets, the pentatonic parts of the Flower
scale against the hexatonic for A2, etc.
In Paris, the Grand Arche is doubling the cube.
Moon is represented by 108 (silver), new moon by 99, and full moon by sq rt of
153 (12.369). mm81,162,243, 324, and 99, 198, 297, 396, and 153, 306, belong to the Moon.
108,216,324 do as well. Moon's magic square Sigma sums to 369, thus EAd in m. 369.
Moon diameter:distance=1:108
Sun distance to diameter
1:108
Silver
Atomic mass 108
Atomic number 47 (m. 47 has CG to denote the Moon).
Crystal structure is cubic
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Sum of Interior Angles = (n-2) × 180°
Each Angle of a Regular Polygon = (n-2) × 180° / n
3333.33 km from Western Wall of Jerusalem to Place de Nation Paris. The Louvre is
3333 (EEEE) meters from the Arc de Triomphe. The Arc De Triomphe has 12 avenues,
denoting the 12 pointed star, symbolizing the Zodiac.
Where 8 is C 8va and 9 is D 8va. So obviously most of this is only going to be possible in C4
octave because of the multi-octave scale present. Only when transcending by playing Pi or
Phi can an instrument play the GPS scales ad lib, otherwise they are restricted to the multioctave
Flower/Egg of Life scale. If dueting Pi and Phi with another instrument, those
instruments are then both allowed to play retrogrades of any and all scales in this piece until
the next distinguishable section of music. But these GPS themes, sphere motifs, EEEE, are
the 'B' theme/sections.
6/5 is 1.2. 6 five times or 5 six times.
Cube octahedron by Da Vinci is 12 spheres surrounding a 13th, shows 7 planes of
symmetry. This will serve as our 'C' theme/sections.
The 13th as an ostinati with the other 6 instruments playing the 12 various motifs at the
same time in cacaphonic counterpoint. Remember that they need to play Pi or Phi first if
the octave they are playing these motifs in do not allow for it due to the multi-octave
Flower of Life scale restrictions. Have the Cl be the continuo 13th.
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Number to note master list:
GPS:
Grande Arche 48.892778, 2.235833 FccdDBBc, DDEGcEE
Arc de Triomphe: 48.8738, 2.295 FccBEc, DDdG
Louvre: 48.860854, 2.335812 FccArcGF, DEEGcCD
Eiffel Tower: 48.858222, 2.2945 FccGcDDD, DDdFG
Sphere motifs based on the same respective coordinates:
Fccd,
FccB,
FccA,
and FccG for North sphere motifs
Pi: 3.14159265 ECFCGdDAG
Phi: 1.6180339887 CACcrEEdccB
Flower of Life multi-octave 33 note scale:
C tuba lowest note is C1
Trumpeters can hit C7 by step, this C6 octave can only be mf-ff (more like f only).
C1 - quadratic: CEFG
C2 - pentatonic: CEbF#GB
C3 - hexatonic: CDbEbF#GB
C4 - heptatonic: diatonic ionian CDEFGAB
C5 - hexatonic: CD#EFGB
C6 - pentatonic: CDEFG
Start off with playing the entire scale from tuba C1 on up then back down but end it on
the highest note G6 probably in Cl once you get there the sixth time. This means 6
ascensions but only 5 descents 6/5.
General rhythm is eighth note tuplets
C1: 4:5 quarter note quadruplets, rest an 8th (11/8) - Tba
C2: 5:6 quintuplet rest an 8th (7/8) - Bsn
C3 6:5 sextuplet then rest (7/8) - Tba (upper half can be En Hn notes)
C4 7:11 septuplet 11/8 - Hn or Tp (perhaps w/ bucket mute)
C5: 6:5 rest two 8ths 7/8 - Al Fl
C6: 5:4 quintuplet tie the G6 for a few more eighth 11/8 - Cl
Then C6 on back on down following through C1, then starting again ascending C1
and so on.
6 ascents x 6 bars =36mm
5 descents x 6 bars = 30mm
30+36=66
Notice the mirroring from C3 above and below in terms of the time sigs alternating, the
scale run theme is the only time this will be allowed to happen as it requires that the next
bar right after is also 11/8 to keep the cycle going back properly, which is why the C6
and C1 sorta repeat on the way back down.
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Time sig relation to measures
18 to 400
7200
Tetracontadigon. Star forms are tetracontadigram, such as the {42,11}, {42,13}, and
the {42,5} which has each interior angle at 137.143. This is accurate to the fine structure
constant by 99.92197857%. The fine structure constant is sometimes simplified to 137
and is the most sacred of all numbers. All other constants fall in line to it, and it is the
biggest mystery in all of science.
Because of this significance, mm 42,84,126,168,210,252, 294,336, 378 and 137 and 274
all hold particular importance for the 42-gon and 137 motifs, sorta like the Moon.
Tetracontadigram motif is 137.143 is CEB,CFE
Fine Structure Constant 'Alpha' is 137.036 is CEBrEA
Only during measures 137 and 274 can the Alpha be played, only during the 42 sequence
measures can the tetracontadigram motif be played.
Cube + Egg of Life is 33 (fruit of life is electron cloud, 4 spheres surrounding a 5th).
12+6+8+7=33
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Robert Bauval, in his book 'Talisman,' notes how the temples of Luxor and Karnac in Egypt
have an axial offset of 6 degrees. Louvre has an axis offset of 6 degrees compared to the
Axe Historique in Paris, as viewed from the July Column. Nearby in the Place de la Concorde
lies the obelisk taken from none other than the Luxor itself. Scott Onstott hypothesizes the
reason for all this is to make Paris a mirror of Egypt. The Luxor Obelisk is placed in the
center of the 86,400 sq meter Place de la Concorde, 864,000 miles is the Sun's diameter.
There are 86,400 seconds in a day. Axe Historique aligns to the heliacal rising of Sirius.


Scott Onstott also notes; "The location of the Grand Arch has a special relationship to the
Arc de Triomphe, the Luxor obelisk, and the Arc de Triomphe du Carrousel.
All four monuments are spaced in such a way to create this approximate doubling pattern
suggesting musical octaves. In addition, the Arc de Triomphe is roughly double the size of
the Arc de Triomphe du Carrousel, and the Grand Arch is about double the size of the
Arc de Triomphe. "In the scaling of the three arches I see three stargates representing the
human, planetary, and stellar bodies, just as we saw symbolized with cubes in London and
in DC. Notre Dame cathedral fits perfectly inside the Grande Arche. I'm guessing this is
no accident. A tune in three octaves if you will; I call it the symphony of the stargates."
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Dna helix, magnetic resonance, harmonic resonance, wave patterns of light, harmony of
colors' resonance or their discord etc. It's all told by 3 little 'strings.'

Two variable magnetic currents around neutral particles of matter, the Rod of Asclepius,
the Serpents and the Scepter, the caduceus.

Just these 3 things compose the entire
Symphony of the Universe.

I'm assuming you like the sound this produced, kind of Boulez or Webern in nature, so fair enough. I will just say, I'm not personally a fan of that kind of applicative-aleatoric sound.
My only thing to say I guess would be your nested tuplets are kind of harsh especially with the mixed meter you use. 
Interesting stuff... I don't have this kind of patience to write this kind of music. 

Honestly, I love this music.

Some suggestions:

1. The notes are overwhelming. I understand the essence and that you want to explain it and establish the relationship with all those facts. But, in the end, the musica is what matters. I like to know about how you compose the piece, but perhaps there are many data for an average listener.

2. I thing you have complicated the metric issue. Some measures could be notated easier. On the other hand, some tuplets are confusing. Take measure 2, which is 2+2+3/8. And there is a 5:6 tuplet. 6... there are 2 eights lacking, or rests ??

Aniway, nice work. I also like the instruments you use.

I pretty like this.

All parts are really beautiful and I enjoyed listening to it.
The orchestration and choice for instruments is excellent.

The sound of the music is nice. Note that I use the word sound. In my opinion, the description (the part with all numbers) is far-fetched to be honest.
I like how you want to create a piece with all symbols you mention in the description, but I think one can go too far.
I namely feel like you want to drown the audience in an ocean of facts and numbers. Furthermore, I feel some elitairism, which is not my taste. Please correct me when I am wrong.
Honestly, I hate Maths, so this does not help to appreciate these time signatures and other things. I do not understand why one would do difficult, when one could do easy.
The confusing time signatures only cause confusion and the performers will not appreciate that.
For me music is on the first place and how it is created is not as important as how it sounds.

Just to state clearly, I really like your work and it sounds amazing. However, in practice it can be very hard to play and all these numbers and facts seem to have gotten more priority than the actual music. If this is the way you compose, do not let me stop you from doing it this way.

Well done.

Thanks all, much appreciated on the feedback! I listened to that Mozart, I can see where the comparison is drawn there for sure. I guess I wanted it to be the opposite of Debussy's Society of Musical Esotericism and put everything out in the open. It's intended to be the opposite of elitist, a Fanfare for the Cultured Man, but everything presented so that anyone who wants can study it and learn it, for free. I guess the overwhelming amount of info can make it seem elitist anyhow though lol. 

I wanted to tow a line between tonal populism and serialism, at once and in turn as well. Thus C major diatonic scale was chosen for the GPS and Geometric motifs, though the 33 note multi-octave scale has a few different scales within it that aren't necessarily diatonic. The trick was the pre-determined scales (a la 12 tone system) ushering in a cool melod yand harmony by  leaving the rhythm free so I could compose something clever and listenable.

Should overall sound like a broken accordion, as though you're at a cafe in Paris but in a Black Lodge Twin Peaks sort of way.