John Michell’s Perpetual Choirs

15 April 2017 Views: 10450

In 1972  John Michell inferred an enormous ten-sided form nearly sixty three miles across, in which important historical and neolithic sites had been intended as ten vertices around an ancient centre, signified by a Whiteleafed Oak.

Figure 1 The Decagon of Perpetual Choirs, anchored upon Stonehenge, the Solstice sunrise in summer and set in winter

Michell had previously [1991] developed the idea of the enchantment of the land as an actual practice; land areas were enchanted by using a geometrical pattern integrated with myths and ritual calendars, enacted within that framework. This  was long before, around 930, such a pattern was being established of thing-places in Iceland. The idea of thing places is still find-able in English names such as Goring, the centre northeast of Stonehenge, where the summer solstice sun arose.

“Perpetual choirs were a Celtic institution, from pagan into early Christian times. In Iola Morganwg’s Triads of Britain, translated from Welsh, it is stated that ‘in each of these three choirs there were 24,000 saints; that is,
there were a hundred for every hour of the day and the night in rotation, perpetuating the praise and service of God without rest or intermission.’ ”  – The Measure of Albion

“Three of the choirs were located at Stonehenge, at Glastonbury, and near Llantwit Major in Wales. Others appear to have been at Goring-on- Thames and at Croft Hill in Leicestershire, a traditional site of ritual,  legal, and popular assemblies.” The Dimensions of Paradise


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The Tetraktys as plan of planetary harmony and the four Elements

In "Planetary Resonances with the Moon" I explored the astronomical matrix presented in The Harmonic Origins of the World with a view to reducing the harmonic between outer planets and the lunar year to a single harmonic register of Pythagorean fifths. This became possible when the 32 lunar month period was realized to be exactly 945 days but then that this, by the nature of Ernest McClain’s harmonic mountains (figure 1) must be 5/4 of two Saturn synods.


Figure 1 The elimination of 5 as a factor in the harmonic mountain for 36 lunar years, resolved using matrix units of one tenth of a month and the limit 360 units.

Using the lowest limit of 18 lunar months, the commensurability of the lunar year (12) with Saturn (12.8) and Jupiter (13.5) was “cleared” using tenths of a month, revealing Plato’s World Soul register of 6:8::9:12 but shifted just a fifth to 9:12::13.5:18, perhaps revealing why the Olmec and later Maya employed an 18 month “supplementary” calendar after some of their long counts.

By doubling the limit from 18 to three lunar years (36) the 13.5 is cleared to the 27 lunar months of two Jupiter synods, the lunar year must be doubled (24) and the 32 lunar month period is naturally within the register of figure 1 whilst 5/2 Saturn synods (2.5) must also complete in that period of 32 lunar months.

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Distribution of Prime Numbers in the Tone Circle

first published 13 February 2018

The ancient notion of tuning matrices, intuited by Ernest G. McClain in the 1970s, was based on the cross-multiples of the powers of prime numbers three and five, placed in an table where the two primes define two dimensions, where the powers are ordinal (0,1,2,3,4, etc…) and the dimension for prime number 5, an upward diagonal over a horizontal extent of the powers of prime number 3. Whilst harmonic numbers have been found in the ancient world as cuneiform lists (e.g. the Nippur List circa 2,200 BCE), these “regular” numbers would have been known to only have factors of the first three prime numbers 2, 3 and 5 (amenable to their base-60 arithmetic). Furthermore, the prime number two would have been seen as not instrumental in placing where, on such harmonic matrices, each harmonic number can be seen on a harmonic matrix (in religious terms perhaps a holy mountain), as

  • “right” according to its powers of 3.
  • “above” according to its powers of 5.

The role of odd primes within octaves

An inherent duality of perspective was established, between seeing each regular number as a whole integer number and seeing it as made up of powers of the two odd two prime numbers, their harmonic composition of the powers of 3 and 5 (see figure 1). It was obvious then as now that regular numbers were the product of three different prime numbers, each raised to different powers of itself, and that the primes 3 and 5 had the special power of both (a) creating musical intervals within octaves between numerical tones and (b) uniquely locating each numerical tone upon a mountain of numerical powers of 3 and 5.


Figure 1 Viewing the harmonic primes 3 and 5 as a mountain of their products, seen as integer numers or as to these harmonic primes
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