"The Lambdoma Matrix is attributed to the philosopher Pythagoras (500 bc) who spent over twenty years as an Egyptian initiate. The concept of the Lambdoma Matrix in the present age is relatively unknown, and is not cited in most dictionaries. On the surface, it appears to be nothing more than a mathematical multiplication and division table. On a closer look however, it bears a one-to-one relationship to musical intervals in a very specific harmonic series. Because of its numerical framework of ratios, it can be translated into frequencies of audible sound. The Lambdoma bears relationships to aromatics, chemistry, crystallography, cybernetics, art, music, geometry, all of which may be explored by those interested in the above disciplines. The Lambdoma bears mathematical relationships to Issac Newton, the Diophantine equations and the Farey series, as well as in the present century to Georg Cantor.""My dream was to realize the application of my theories in the health and musical domains. Recently I have accomplished a breakthrough in making the lambdoma a oncrete instrument of healing and auditory pleasure. With the help of engineers, software programmers, musicians, and electronics manufacturers this dream has materialized in the Pythagorean Lambdoma Harmonic Keyboard (PLHK). Based on early prototypes of this revolutionary instrument we have demonstrated its unique effects on human well-being and musico-spiritual evolution. Articles and testimonials from well-known authors on sound healing, microtonal composers, and university professors are available upon request. "
It has been found and established that in this interval of vibrations, between the given number of vibrations and a number twice as large, there are two places where a retardation in the increase of vibrations takes place. One is near the beginning but not at the beginning itself. The other occurs almost at the end.
ReplyDeleteThe laws which govern the retardation or deflection of vibrations from their primary direction were known to ancient science. These laws were duly incorporated into a particular formula or diagram which has been preserved up to our times. In this formula the period in which vibrations are doubled was divided into eight unequal steps corresponding to the rate of increase in the vibrations. The eighth step repeats the first step with double the number of vibrations. This period of the doubling of the vibrations, or the line of development of vibrations, between a given number of vibrations and double that number, is called an octave.
The differences in the notes or the differences in the pitch of the notes are called intervals. We see that there are three kinds of intervals in the octave: 9/8, 10/9 and 16/15. The smallest interval 16/15 occurs between mi and fa and between si and do. These are precisely the places of retardation within the octave.
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