On the Harmonic Origins of the World

After the ice receded, late Stone Age people developed the farming crucial to the development of cities in the Ancient Near East (ANE). On the Atlantic coast of Europe, they also developed a now-unfamiliar science involving horizon astronomy. Megalithic monuments were the tools they used for this, some still seen in the coastal regions of present day Spain, France, Britain and Ireland. Megalithic astronomy was an exact science and this conflicts with our main myth about our science: that ours is the only true science, founded through many historical prerequisites such as arithmetic and writing in the ancient near east (3000- 1200 BC) and theory-based reasoning in Classical Greece (circa 400-250 BC), to name but two. Unbeknownst to us, the first “historical period” in the near east was seeded by the exact sciences of the megalithic, such as the accurate measurement of counted lengths of time, developed by the prehistoric astronomers. With the megalithic methods came knowledge and discoveries, and one discovery was of the harmonic ratios between the planets and the Moon.

The idea that the planets were gods had been born before the ancient world, through the data of megalithic astronomy and this megalithic idea was the basis for the religious ideas of the East. Megalithic astronomy and Near Eastern religious and harmonic ideas have both been written out of our history of civilization, leaving us with enigmatic monuments and ill-defined religious mysteries. How this slighting of our real history happened is perhaps less important than our discovering again the purpose of the megalithic monuments and of those religious ideas that sprang from the discovery that the planets were harmonically related to life on Earth.

Le Menec Alignments indicate a profound astronomical work in the new stone age by 5000-4000 BC. Composite mash up by David Blake using Blender, Google Earth elevation and imagery plus Alexander Thom geometry and digitized stone locations.

Is human history lacking something fundamental?

The Harmonic Origins of the World first explores this alternative late stone age, the megalithic, as more culturally significant than the advent of Neolithic farming. But ironically, the megalithic culture has been eclipsed by the history-building developments of the middle-eastern civilisations, all because intellectual histories could only start when written records began within the civilizations. Writing did not make people literate and they still relied on an oral tradition of story-telling which had descended from the stone age. But writing did record the oral stories which became our texts.

Subsequent civilisations changed the civilized soul, through contact with the material cultures necessary to support urbanisation: written records, accountancy, religious ideas, reason and most recently our own science and technology. To get closer to the meaning of the megalithic enterprise, one must recognise that its primary cultural norm was astronomical. Numbers were sublimated as counted lengths, these representing the duration of celestial cycles where days were counted using small standardised units such as a digit or inch. This counting of time, to form a length where numbers were then implicit, enabled the geometry of the right triangle to also sublimate the multiplicative and trigonometrical functions used, in our mathematics, to calculate. Today’s methods for studying astronomy are therefore completely different to those of the megalithic: we don’t look to the horizon, count lengths or use geometry to compare. Therefore 20th century science has vastly underestimated the scope, sophistication and significance of megalithic astronomical knowledge.

Why was Religion astronomical?

The religious thoughts that subsequently emerged in the ANE were mainly based upon the celestial heavens; where the planets, sun and moon were gods responsible for the creation of the world. Our word religion expresses the notion of a human effort to reconnect with a cosmic world above our heads. Ancient religion had a sacred basis that was kept secret from the ordinary man and this established the division between the secular and the sacred which still exists today. The most direct way of explaining why ancient religions sought to connect with gods, literally in heaven, is to see in it the product of a prior age in which the heavenly world was intensively studied so as to understand the behaviour of the celestial bodies within a heavenly world of time, as where something divine is happening. This work must have predated the earliest historical civilisations. No written record of megalithic astronomy has ever been found so that only the monuments can speak of it, if we understand their astronomical language of number and proportion.

By 3000 BC, the Sumerians had inherited fully developed astronomically-based religious ideas in their oral traditions (such as Gilgamesh, then fortunately written down on cuneiform tablets.) Thus, whilst the megalithic was reaching a zenith in Europe, the great historical civilisations recorded beliefs that could only have evolved from their concrete astronomical knowledge of the heavens, an activity brought uniquely to a high level of sophistication by the builders of the megaliths. But why were astronomical truths used as a basis for religious thought? To understand this requires we re-interpret the megalithic record, a record largely concerned with discovering the time-patterns of the sun and moon.

Astronomical Ratios are the Matrix of Creation

The pattern of time formed by planets can be found within the stories and symbols of the historic period, but the techniques for finding this pattern only existed in the megalithic period as it must have been based upon measuring ratios between time periods. Planetary time ratios naturally lead to a pantheistic insight; that the planets are gods, instrumental in the creation and maintenance of the world.

The megalithic established the ratio (between counted lengths) of the lunar to solar years, as the basis of their astronomy, and this approach was then crucial to understanding the musical pattern of time formed by the planets to the moon (as per figure 3).

Figure 1 The collision with Theia with the proto-Earth leading to the creation of our Moon. [NASA/JPL-Caltech]

The moon was formed after the collision of a proto-earth with a smaller Mars-like planet, as the inner solar system was coalescing its solid matter into the present inner planets: Mercury, Venus, Earth and Mars. Billions of years later, the moon achieved an orbital distance from the earth that made the lunar year (of twelve lunar months) musically resonant with the three outer planets. The lunar year formed a tone (9/8) to the synod[1] of Jupiter, a diatonic semitone (16/15) to the synod of Saturn and a chromatic semitone (25/24) to the synod of Uranus.

Figure 2 The synods of the outer planets based upon the earth’s orbit make it possible, numerically, for the lunar year to evoke three of the most significant musical intervals. Earth’s orbit and the Sun’s illumination of the Moon have achieved the required lunar year length of 120, where twelve is the number of semitones in an octave, and notes on a keyboard.

For the ratios of these outer planets to relate to the lunar year requires the ratios of their sidereal periods to already have the possibility of achieving this musical resonance, when viewed from Earth’s orbital year. Figure 2 shows the situation within which the synods of the outer planets are themselves expressing lesser-known musical intervals between each other. Saturn is the common factor of 128 units of time in length to Jupiter’s 135 units and to Uranus’s 125 units. It is these numbers in ratio that enable the lunar year to achieve a duration of 120 units and, since the lunar year is made up of 12 lunar months, these units of time are one tenth of a lunar month long or 2.953 days.

Forming the Cosmic Octave

The optical discovery of Uranus in ancient times is dubious, but we can assume that the synods of Jupiter and Saturn became known to a megalithic astronomy which, as already stated, specialised in measuring time periods and in comparing these to other time periods, using trigonometrical triangles.

Figure 3 The harmonic ratios between the nearest three outer planets and the lunar year. The four-square rectangle with long side equal to the lunar year gives, geometrically, the solar year as its diagonal length. The outer planetary synods are longer since the planets have moved ahead of their last opposition to the sun, at which time they appear to perform a loop amongst the stars

Figure 3 shows how megalithic use of triangular comparison would have revealed the common factor, of 1/10th of a lunar orbit, between the outer planets, namely the Jupiter synod is 13.5 lunar months, that of Saturn is 12.8 lunar months (and that of Uranus is 12.5 lunar months.)

The Gods of the Ancient World

This was the principle discovery on which ancient speculation, that the planets were gods, was based. These same lords of time were celebrated in the New World, after the Bronze Age collapse of 1200 BC in the Old World, firstly with the Olmec and subsequently the Maya and Aztec religions of Mesoamerica. Passed on from the Ancient Near East, Olmec religious ideas contained elements soon suppressed in the Old World. Numerical tuning theory was closer to its astronomical origins before 1200 BC so that, the fantastic information placed into mythic stories could still be read with regard to the harmonic numbers referred to in stories. These numbers could be abnormally long ages or reigns, the numbers of things, the number of syllables or stanzas, and so on. Ancient myths hold many astronomical and harmonic allusions which have long puzzled scholars unable to find the missing link in the megalithic.

A couple of seminal books on this subject emerged simultaneously with similarly challenging proposals. In Hamlet’s Mill (1969) the Precession of the Equinoxes (and of the earth’s Poles) was shown to be a common theme within myths and; in The Myth of Invariance (1976), Plato’s tuning theory was shown to be “the tip of an iceberg” of ancient harmonic allegory: both books implied there had been a near world-wide oral tradition that had incorporated such matters in their epic works.

For example, the Bible has a flood hero called Noah, reused from those of Marduk in Babylon and Indra in the Rig Veda. Precession was considered the creator of world ages, that is, of History itself; and the great numbers of India expressed time as a harmonic ceiling for an octave, such as 8,640,000,000 – a number which turns up in many traditions, for example the Edda’s final battle of the gods, and the design of Angkor Wat. The Bible significantly starts with a smaller number, the first man is called Adam, whose name in letter-number equivalence is 1 + 4 + 40 = 45 when added whilst in place notation he is 1,440, which is 32 x 45. This takes us back to the Moon.

Music from the Moon

If one wants to generate a harmonic ceiling for the lunar year and outer planets, whose numbers are 120, 128 and 135, Adam as 45 must be doubled twice to 180, the age at which Isaac, son of patriarch Abraham, dies. This implies that the lunar year lies within a harmonic system of 18 lunar months, which is exactly the time period of the Olmec and Maya Supplemental Glyphs, sometimes added to their Long Count marking upon stela (engraved standing stones) as if these cultures had derived from the megalithic. The Olmec appear to carry forth parts of the intellectual life of megalithic times otherwise lost to the historic record. The Bible writers were evidently privy to this harmonic tradition which seems to have travelled alongside an oral tradition, lost though cryptically recorded by the genuine literacy of Plato’s age, in texts and secret Pythagorean groups.

If one factorises the numbers 120, 128 and 135, one can place them according to the presence of prime numbers 2, 3 and 5, since it is these primes which form the musical intervals between tones:

CyclePowers of 2× powers of 3× powers of 5Total
Lunar Year835120
Saturn128  128
Jupiter 275135

One can see that the lunar year and Jupiter synod both have the factor 5 whilst they differ in two ways; by 9 (3 x 3) and by 8, hence the interval 9/8 between them. Saturn differs in three ways from the lunar year; by 16 (128/8), and by both 3 and 5, hence the interval 16/15 between them.

The writers of the Bible raised Isaac up from 180 through reproductive doubling to 360 (x 2), then 720 (x 4) to reach the fullest extent of Adam’s name, namely 1440 (x 8), meaning we must multiply these planetary numbers by 8 to become 960, 1024 and 1080 – numbers which have rich meaning in ancient number symbolism. They can be viewed on a mountain made of increasing powers of 2, 3 and 5 under the 1440 limit (figure 4) and this mountain uses units one 80th instead of one 10th of a lunar month.

Figure 4 Adam becomes 1440 and shows where the outer planets are, harmonically. Such mountains were used to tell a story that maintained the harmonic doctrine whilst providing cultural and religious stories. (http://harmonicexplorer.org#1440)

One 80th of the lunar month of 29.53 days is 0.369 days, which times 1000 is the synod of Uranus (starts 4th row), the air god Enlil, who launched floods to cleanse the earth of human wickedness. The Bible replaced him with YHWH and the seven planetary gods were removed from the week, numbering weekdays rather than deifying them as of the god, as per; “Thou shalt have no other gods before me”. And yet, the harmonic doctrine still lay behind the outer biblical narrative, secretly informing it.

This situation is repeated in many ancient texts and in many different ways. The widespread insertion of harmonic numbers within literary texts gives three rows of darker notes around D a special capacity to form musical scales. In this case the gematria limit for Adam of 1440, gives him the ability to play five modal scales, some of the notes having these planetary numbers.

This type of work was originally deduced from some of Plato’s dialogues, seen as a codification of the ancient methods by Ernest G McClain, who wrote The Myth of Invariance to illustrate its widespread use in the ancient world. I have continued in this rich vein whilst connecting McClain’s work with my own work: on megalithic astronomy and discovery (in 2000) of the musical intervals between the lunar year and the outer planets.

Bringing it all together

The Harmonic Origins of the World is the latest exploration of this domain, revealing some famous figures in ancient myth, through visualising their “holy” mountains whilst introducing how practical musical scales work on these mountains. The significance of McClain’s work is deepened through the restoration of an important missing history which can explain why our oldest texts, often religious, are peppered with harmonic numbers. And part of that missing history is that harmony between the lunar year and outer planets has arisen relatively recently, alongside the modern humans of the last 200,000 years.

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[1] Synodic periods are the time taken for the Earth to again stand between that outer planet and the Sun, longer than a year because the planets are slowly moving during the solar year. These synods therefore only apply to those living on the surface of the Earth. The synods are: lunar month 29.53059 days; lunar year 354.367 days; Jupiter synod 398.88 days; Saturn synod 378.09 days; Uranus synod 369.66 days

from Book 5: Harmonic Origins of the World

Intelligent Star Systems

The harmony of the spheres can only be found in our world of time, where it is a strong and compelling phenomenon. Such a harmony was no prescientific fantasy. Pythagoras, who coined the term, probably did so based on the geocentric time world, a view lost to history apart from cryptic references that can no longer be interpreted.

In our age of system science, musical harmony is not thought relevant to the design of dynamic systems such as the planets, yet they appear adapted to just intonation seen from the exclusive perspective of our planet. Why should our planet have a harmonious view of time, and what difference does time’s harmoniousness make to life on Earth? Is there some other purpose to this harmony or none at all? To answer such questions one has to recognize just intonation as being a holistic system that demands human insight into the nature of whole phenomena (a so-called gestalt). Such gestalts flow from the need to see higher-level relationships rather than the raw complexity of their parts. All higher structures of meaning subsume lower levels of meaning.  For example, microclimates are a structuring of meaning higher than  trees, water, weather, and topography, usefully integrating these parts within a newly perceived whole. Such insights reveal a higher idea that indicates new potentials within a system. The new level of conceptual order has not changed in the phenomenon but how we relate to it. This profound faculty is the basis of what we call understanding rather than knowing, and it enlarges our “world.” The world is already structured, and a sensory insight re-creates that structure as a simplifying aspect, already present, to expand the intelligibility of the sensory world and with it, our present moment. Insight and the world’s creation were considered similar acts within ancient cosmologies, in that an insight about the world resembles the structure of the world as it would be conceived by any god in the act of creating it. Such a vision involves a special effort but provides a creative view of the world, in which simplicity and relatedness replace functional complexity with a new appreciation of the sensory world. The celestial behavior in Earth’s skies is a prime example of such an action: the rotation of Earth, its orbit around the sun, the moon’s orbit, and its illumination by the sun complicate the observed orbital periods of the other planets and yet, that added complexity has produced harmonic simplicity between synodic periods!

Chapter 1 showed how Late Stone Age astronomers used geometrical counts of synodic periods to discover this harmony of the spheres, which modern astronomers have not seen because scientific calculation methods deal instead with planetary dynamics modeled by equations. Simplicity has somehow adapted our solar system without breaking physical laws. At the level of gravitational dynamics, many complexities were required to achieve just intonation seen only from Earth, especially the lengthening of the lunar month as an intermediary to the planetary synods seen from Earth. Any demiurgic preference for harmony (seen from Earth) resembles the human gestalt that revealed the harmony of the spheres to human sensory intelligence in the Late Stone Age, and it must be noted, humanity has become demiurgic since the Stone Age, creating man-made worlds.

Demiurgic intelligences are probably part of each star system and, if our star has a demiurgic intelligence, this action seems to have used the moon to establish a justly intoned time world for the third planet. It adapted the unchanging orbital pitches of an n-body planetary system to present harmonic synodic systems that planetary orbital periods alone could never express. Our geocentric system is harmonically founded between 1, the zeroth power of 2 (the Saturn synod) and the fifth power of 60 (YHWH, as 365-day year), which is the smallest numerical resolution to contain just intonation of both inner and outer planets, as in the implied holy mountains of our ancient texts.

Harmonic Origins of the World
Contents (272 pages, 100 b&w illustrations)
Preface
Introduction: The Significance of Planetary Harmony (5)
PART 1: RECOVERING LOST KNOWLEDGE OF THE WORLD SOUL
1 Climbing the Harmonic Mountain (20)
2 Heroic Gods of the Tritone (19)
3 YHWH Rejects the Gods (15)
4 Plato’s Dilemma (22)
PART 2: A COSMICALLY CREATIVE HARMONY
5 The Quest for Apollo’s Lyre (25)
6 Life on the Mountain (23)
PART 3 THE WAR IN HEAVEN
7 Gilgamesh Kills the Stone Men (16)
8 Quetzalcoatl’s Brave New World (31)
9 YHWH’s Matrix of Creation (19)
10 The Abrahamic Incarnation (15)
Postscript: Intelligent Star Systems
APPENDIX 1: Astronomical Periods and Their Matrix Equivalents
APPENDIX 2: Ancient Use of Tone Circles (11)
Notes
Bibliography
Index

The Harmonic Origins of the World

“We have long known, thanks to Ernest McClain, that the ancients were obsessed with harmonic numbers and that the Bible encodes these from beginning to end. Now new evidence appears, as these numbers correlate with the planetary periods, and their discovery is pushed far back into the prehistoric era. Richard Heath’s work, based not on speculation but on objective data, challenges all accepted notions of cultural evolution and religious origins.”

–JOSCELYN GODWIN, author of Harmonies of Heaven and Earth and Atlantis and the Cycles of Time

As modern humans first walked the Earth roughly 70,000 years ago, the moon’s orbit came into harmonic resonance with the outer planets of Jupiter, Saturn, and Uranus. The common denominators underlying these harmonic relationships are the earliest prime numbers of the Fibonacci series–two, three, and five–the same numbers that interact to give us the harmonic relationships of music.

Exploring the simple mathematical relationships that underlie the cycles of the solar system and the music of Earth, Richard Heath reveals how Neolithic astronomers discovered these ratios using megalithic monuments like Stonehenge and the Carnac stones, discoveries that informed later myths and stories, including the Epic of Gilgamesh, the Resurrection of Osiris, the Rg Veda, the Hebrew Bible, Homer’s epic tales, and the Return of Quetzalcoatl. He explains how this harmonic planetary knowledge formed the basis of the earliest religious systems, in which planets were seen as gods, and shows how they spread through Sumer, Egypt, and India into Babylon, Judea, Mexico, and archaic Greece. He exposes how the secret knowledge encoded within the Bible’s god YHWH was lost as Greek logic and reason steadily weakened mythological beliefs.

Revealing the mysteries of the octave and of our musical scales, Heath shows how the orbits of the outer and inner planets gave a structure to time, which our moon’s orbit could then turn into a harmonic matrix. He explains how planetary time came to function as a finely tuned musical instrument, leading to the rise of intelligent life on our planet. He demonstrates how this harmonic science of numbers can be read in the secret symbolism and sacred geometry of ancient cities such as Teotihuacan and in temples such as the Parthenon, connecting the higher worlds of planetary time and harmonics with the spiritual and physical life on Earth.

Recasting our understanding of the solar system, Heath seeks to reawaken humanity’s understanding of how sacred numbers structure reality, offering an opportunity to recover this lost harmonic doctrine and reclaim our intended role in the outer life of our planet.

Harmonic Origins of the World
Contents (272 pages, 100 b&w illustrations)
Preface
Introduction: The Significance of Planetary Harmony (5)
PART 1: RECOVERING LOST KNOWLEDGE OF THE WORLD SOUL
1 Climbing the Harmonic Mountain (20)
2 Heroic Gods of the Tritone (19)
3 YHWH Rejects the Gods (15)
4 Plato’s Dilemma (22)
PART 2: A COSMICALLY CREATIVE HARMONY
5 The Quest for Apollo’s Lyre (25)
6 Life on the Mountain (23)
PART 3 THE WAR IN HEAVEN
7 Gilgamesh Kills the Stone Men (16)
8 Quetzalcoatl’s Brave New World (31)
9 YHWH’s Matrix of Creation (19)
10 The Abrahamic Incarnation (15)
Postscript: Intelligent Star Systems
APPENDIX 1: Astronomical Periods and Their Matrix Equivalents
APPENDIX 2: Ancient Use of Tone Circles (11)
Notes
Bibliography
Index

RICHARD HEATH is a development engineer with degrees in systems science and computer-aided design. His interest in megalithic astronomy and ancient metrology has resulted in 6 books, including, in January 2021, Sacred Geometry: Language of the Angels. He lives in the Preseli hills of West Wales.

St Pierre 1: Jupiter and the Moon

The egg-shaped stone circles of the megalithic, in Brittany by c. 4000 BC and in Britain by 2500 BC, seem to express two different astronomical time lengths, beside each other as (a) a circumference and then (b) a longer, egg-shaped extension of that circle. It was Alexander Thom who analysed stone circles in the 20th century as a hobby, surveying most of the surviving stone circles in Britain and finding geometrical patterns within irregular circles. He speculated the egg-shaped and flattened circles were manipulating pi so as to equal three (not 3.1416) between an initial radius and subsequent perimeter, so making them commensurate in integer units. For example, the irregular circle would have perimeter 12 and a radius of 4 (a flattened circle).

However, when the forming circle and perimeter are compared, these can compare the two lengths of a right-triangle while adding a recurring nature: where the end is a new beginning. Each cycle is a new beginning because the whole geocentric sky is rotational and the planetary system orbital. The counting of time periods was more than symbolic since the two astronomical time periods became, by artifice, related to one another as two integer perimeters that is, commensurate to one another, as is seen at St Pierre (fig.3).

Continue reading “St Pierre 1: Jupiter and the Moon”

Further Ratios of the Outer Planets to the Lunar Year

The traditional way to express the Harmony of the Spheres is geometrically, despite the fact that geometrical knowledge of the heliocentric planetary system was not available to Pythagoras who, for the West, first established this whole idea – that the planets were part of a system expressing harmony.

The opening picture is from Kepler’s Harmonices Mundi :
from a scan made of the Smithsonian’s copy,
made available on Wikipedia as in the public domain.

In my own work, on the type of ancient astronomy based upon time and not space, I find it to be the outer planets in particular which express harmony in their geocentric synods relative to the lunar year. This applies to Jupiter, Saturn and Uranus but Neptune expresses a rational fraction of 28/27 involving prime numbers {2 3 7} whilst the other three planets only involve ratios involving primes {2 3 5}. The harmony of the outer planets has been a strong source for the sacred numbers found in ancient texts, as with Jupiter 1080 – considered a lunar number perhaps because the Moon is resonant to Jupiter – who is shown by figure 1 to be geocentrically resonant to the other planets and the Moon.

Continue reading “Further Ratios of the Outer Planets to the Lunar Year”