C3.05. The Deists and The Law of Octaves

When the Deists expressed the words, The Laws of Nature and Nature’s God, they understood the Law of Three as manifest in the Divine Pattern of Creation, as well as the Law of Octaves which holographically is embedded throughout every aspect of all that exists.   When Deism is portrayed as Deism …is the standpoint that reasonand observation of the natural world, without the need for organized religion, can determine that a supreme being created the universe” (see Deism) — it was because the American Gnostics who were Deists, understood the higher reality of the Laws when overcome, is a harnessing of the Laws within one’s own mind and being that, in the above words of Ouspensky,  “…makes books and libraries entirely unnecessary” .    Why would overcoming the Laws within one’s self render “…books and libraries entirely unnecessary”?   Those who overcome the Laws and emerge out of what Jesus portrayed as the “outer darkness” of mind and being — or the illusions of Plato’s Cave — are able to see and understand all things for what they truly are — and are thus, travailing the path of the soul’s journey of enlightenment.   And one of the primary concerns of our Deist Constitutional Framers, was creating an environment where the Natural Laws (of God) could function at a higher level, and permit the people to evolve to their higher potential that organic man simply could not even begin to comprehend.

Though the pattern of the Law of Three and the Law of Octaves is holographically present throughout all of Creation, it is perhaps easiest to see, hear and observe in music.  Again let me stress the fact that while the manifest Laws-at-work can be demonstrated more easily in music, its far-reaching reality is prevalent throughout all aspects of life in this world and beyond.  The only difference, then, is that the same sequence of Law is more difficult to observe throughout the other aspects of life — but quickly becomes apparent once one is cognizant of the pattern and sequence.   The same pattern that is found in music has been noted in what is known as Newlan’s Law of Octaves — i.e., is related to the arrangement of elements in the periodic table.  If elements are arranged in the order of their atomic weights, the eighth element starting from a given one is a kind of repetition of the first.  It is said that once Pythagoras recognized the relationship of music and math — and established music as an exact science — Pythagoras then applied his Law of harmonic intervals to all the phenomena of Nature.   He went so far as to demonstrate the harmonic relationship of the planets, constellations, and elements to each other.

If we look at the picture of a typical keyboard, what we see is the whole notes represented in the white keys, and the half-tones in the black keys.  Regardless of the fact of whether we understand music or not, what we should quickly recognize is the easily discernable fact that not every whole-note interval has a half-tone!  Why?  Why isn’t there a half-tone between the third and fourth note on the keyboard and musical scale?  Also, why isn’t there a half-tone between the seventh and eigth note of a musical scale?  Though the answer is very simple, the reality that is portrayed is so esoteric and beyond physical reality as we know it, that the most accomplished musicians cannot supply you with the answer to the enigma — an enigma that is holographically true of all Laws — and envelops every aspect of our lives and Creation.

Man’s physical body is programmed for his spiritual failure: Our physical body is of the earth — it therefore is not a vehicle that is the natural environment of man’s higher soul and spiritual natures.  What this means is that if we are to manifest our higher natures, and rise above the inherent carnal limitations of our physical body/vessel, we will be required to make a conscious effort — even a super conscious effort — as we endeavor to overcome the Laws that are the ruling forces of this natural world.  Once again, our physical body is comprised of earth-matter — and is not naturally acclimated to support man’s higher aspects of mind and being.   And this is the reason why Paul warns that the “natural” mind of man cannot even begin to perceive or comprehend the higher reality of the soul and spiritual natures (see Mystery Of The Gospel) — judging and rejecting these higher truths as utter “foolishness” and even heresy.   That the physical body and mind must be purified and transformed in order to gain access to those higher areas of mind that are able to perceive and comprehend man’s higher soul and spiritual reality — and the fact that this transformational process requires much effort and work on one’s self — is portrayed in the words of the disciples where they stated: “We must through many tribulations enter the kingdom of God” (Acts 14:22 NKJ).

If we are therefore bound to this physical realm by the natural Laws, then it is of the utmost importance for us to be cognizant of the effects of the Law as they interact with every aspect of nature and life.  If we pose the question: Is man’s physical body imbued with the Laws that inhibit him from fulfilling his spiritual goals?  As we look around us at the natural world it is important that we be cognizant of the fact that we see the absence of strait lines.  The leaves on a tree or plant — the outline of a mountain range — the formation of rocks — as well as the very physical bodies in which we presently dwell.  Strait lines do not exist in nature.  Why?  Because these Laws which we can hear and observe on a keyboard, cause all things to change direction in midstream.  In the same way that we cannot clear our minds and focus on a single thought, as we attempt to walk the path of spiritual enlightenment, the Laws of this realm will constantly work to lead us off the path to Life.

Returning once again to the keyboard: Starting from the left most key, we can see the first note, and between the first and second white keys is a half-tone which is represented by that black key.  Thus, the black key represents a half-step or half-tone between the two white keys which musicians call a sharp or flat.   The same is true with respect to the sequence of the second to third note.  Then, between the third and fourth note the pattern suddenly changes, and we can observe that there is no half-tone between these notes.  Why?  Because when we play the notes, the frequency of the fourth note is actually a half-tone — and yet it artificially and falsely sounds to our physical hearing a whole-step increment.  Why?  Why does our ears hear a half-tone in the third to fourth sequence as if it is a whole, while this is not true in the first two intervals of an octave?

The enigma is caused by a twisting of the frequencies when they are played in sequence — but this twisting is not only true of the musical scale — but is holographically true and representative of a pattern which is indigenous to all such sequences of Law throughout all of Creation.  What this means is that while we can hear this Law at work in music, and observe this Law at work by virtue of the physical placement of the keys on a keyboard, this same pattern remains universal to all the Laws that control this world throughout every aspect of our lives.  The result is that when we think we are hearing what would be portrayed as a straight linear path — our physical senses are subject to an illusion within the construct of the Laws —  resulting in the fact that we are inadvertently turned off the linear path without ever realizing that our direction has been altered by the natural sequence of Laws which immerse every aspect of this physical realm in what Jesus portrayed as the “outer darkness” of mind and being, or the illusions of Plato’s Cave.

In the first place we must understand that an octave is comprised of seven notes or sequences — as is the pattern of the seven colors of the rainbow that make up white light.  As the seventh note is stepped into the eighth sequence, the first note of the sequence is double the frequency of the first, and is repeated as one octave higher than the initial note played.   What this means is that there is seven notes which complete the sequence before the first note is repeated one octave higher than the first — as in the common musical sequence Doe Re Me Fa So La Ti Doe — with the second Doe being the same note as the first, but only one octave higher.    For those who don’t understand the musical scale, there is no variableness in the beginning and ending of the first sequence that makes up the octave, because the frequency of the eighth note which is also expressed in the term Doe which commences the next higher octave, is double the frequency of the first Doe.    And this is why whole notes only consist of a repetitive A through G sequence.