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The God Chord
There is much more information that I yet need to add to this web page. I have withheld the actual chord itself until the book of more than 300 pages and more than 50 diagrams is published (if I can find a publisher). Aside from the chord itself, some of my other discoveries and theories have never been put forth by anyone else before, so some of what you read here will be new to you. The God Cord encompasses music, numbers, and spirituality.
| audio | Diagrams and Graphics |
| intro | Menorah diagram |
| Major Arcana | Menorah sine waves |
| zodiacal musical chart | |
| zodiacal sine wave |
Here are a few diagrams to accompany my audio explanation of the Major Arcana, also known as the Trump cards. The blue is positive and the green negative
| 1 | 2 | 3 | 4 |
| 1 | 2 | 3 | 1 | 2 | 3 | 1 | 2 | 3 | 1 | 2 | 3 |
| 1 | 2 | 3 | |||||||||
| 4 | 5 | 6 | |||||||||
| 7 | 8 | 9 | |||||||||
| 7 | 8 | 9 | |||||||||
| 4 | 5 | 6 | |||||||||
| 1 | 2 | 3 | |||||||||
| 1 | 2 | 3 | 1 | 2 | 3 | 1 | 2 | 3 | 1 | 2 | 3 |
The final set of 4 cards after the polarity of 9 is the 4th minor 3d of the diminished 7th minor chord, which has no polarity. Even this fourth group itself is also a group of 4 cards, or is it 3? I have left out the 0 from the above diagram to make the red zones show properly, but the card layout shd look like this (to have the 22 cards):
| 1 | 2 | 3 | 1 | 2 | 3 | 1 | 2 | 3 | 1 | 2 | 3 | 0 |
| 1 | 2 | 3 | ||||||||||
| 4 | 5 | 6 | ||||||||||
| 7 | 8 | 9 | ||||||||||
| 1 or 19 |
2 or 20 |
3 or 21 |
0 | |||||||||
| 7 | 8 | 9 | ||||||||||
| 4 | 5 | 6 | ||||||||||
| 1 | 2 | 3 | ||||||||||
| 1 | 2 | 3 | 1 | 2 | 3 | 1 | 2 | 3 | 1 | 2 | 3 | 0 |
Notice that the 4th placeholder (the 0) is not the red zone, and notice also that the 1-2-3 are not a polarity. A red zone cannot exist without being preceded by a polarity. These 3 are in the red zone in the two diagrams that preceded this last one, but that was because they were being viewed from the eyes of the material realm. But these last three are denoting the viewpoint as is seen from the spiritual realm, hence there is no red zone for the 0. Compare the above diagrams to those of the Menorah:
| Menorah diagram | Menorah sine wave |
Years ago I discovered The God Chord by merging the only three chords in music: the major, minor, and the diminished 7th minor chords. I kept this a secret to myself until December 2023 when decided to go public with it. Music is a manifestation of number. Numbers do not represent principles, rather, numbers ARE principles. Just as there are three chords: major, minor, and diminished 7th minor, so also there are three types of 7th intervals: major, minor, and diminished. This is not a coincidence. How is it that the major and minor chords are polarities in that each contain both major and minor thirds, but the diminished 7th minor chord only contains minor thirds? This is theoretically impossible because since like charges repel, the chord should self destruct, since it contains four minor thirds. Nothing of a material nature can exist unless it is a polarity. This is because the core building block of everything is the hydrogen atom which consists of one proton and one electron. Matter cannot be reduced below this without self destructing. Imagine an atom that has four electrons only? Impossible, yet this what the diminished 7th minor chord contains: four minor thirds. There are only 9 principles that govern everything in the universe, just as there are only nine numbers. These 9 principles are encoded in The God Chord as 9 notes. Here is the blueprint for everything.
The God Chord is built around what I call the chasm which is apparently "nothingness", yet this "nothingness" is everything. The Chasm is not an interval, rather it is "no man's land" and does not belong to any note or interval or chord, and it is a barrier that cannot be crossed. The Chasm is where the greatest mystery of all is hidden, yet it has previously not been known to exist. This chasm is so mysterious, so hidden, and so sacred, that it cannot be found in the major, minor, or diminished 7th minor chords. It can only be revealed in The God Chord.
We have been taught that there are 7 notes: A to G, but this is wrong. There are 12 notes. The black keys then take on a different function altogether, not as accidentals, but as their mathematical placements on the keyboard as clusters of 2 black keys (hydrogen: [2-part atom] the material realm) and clusters of 3 black keys (deuterium: [3-part atom] the spiritual realm) in relation to the white keys which are found as singles or pairs. These singles and pairs of white keys are interesting because it is the pairings only that link the clusters of 2 and 3 black keys. The single white keys link the black keys that are already inside of a cluster, but do not link the clusters themselves.
It is the groupings and placement of the white and black keys that holds significance to our understanding of music as a whole. This enhances our understanding of intervals which cannot be properly understood only as intervals, but can only be properly understood within the context of their relationship of the white to black keys within those intervals. For this reason the intervals take on different meanings or aspects depending on which key they start from.
This is why The God Chord can only be found starting on one specific key, because of the relationship of the white and black keys that are involved. When we combine the significance of the placement of the white and black keys to the relationship of the intervals of The God Chord, then add to that the mysterious and sacred Chasm, it is only then can we get a proper realization of the significance of the discoveries within this chord.
Just as 2 applies to the material realm (in the form of polarity) so does 3 apply to the spiritual realm. The reason that 2 governs the material realm is because everything material is derived from hydrogen which has only two parts: one proton and one electron. Nothing can be reduced lower than hydrogen any more than you can separate the two sides of a coin without destroying the existence of the coin. The material realm is a manifestation of the spiritual and so the principles of the spiritual realm govern the material realm as well in that as the principle of twoness is a part of the threeness in the form of the number 2, which is a part of the 1-2-3. Altho the 2 is found in the 1-2-3, the 3 is not found in the 2. The spiritual realm dominates the material realm, and hence 3 is superior to the 2, yet they work together in cooperation, not with animosity.
There are 9 principles and 9 numbers. We often refer to “those 9 numbers” as such but this denotes quantitativeness and chronology. More accurately they are three groups of three, and are better seen as such. We can also say that there are 3 aspects of 3 principles. In this way there wd be 3 principles with 3 aspects of those 3 principles. In another way we can say that there is 1 principles with 3 aspects, then 3 aspects of those 3 aspects. All principles are based on the foundation principle of everything, which is the 1-2-3. In the spiritual realm, everything is in 3's. It cannot be otherwise. So we can understand those 9 principles as:
| 1 | ||
| 1 | 2 | 3 |
| 1-2-3 | 1-2-3 | 1-2-3 |
The foregoing is in a sequencial or quantitative format. But more correctly the spiritual understanding is:
| 1 | ||
| 1 | 1 | 1 |
| 1-1-1 | 1-1-1 | 1-1-1 |
In this diagram there is unity and not chronology or quantitativeness. In the spiritual realm numbers do not exist: this is only a function of the material realm.
We have been taught in church that God is all, and is in all and that nothing can exist outside of God. There are the doctrines of omnipresence and omniscience. If evil exists and the concept of God includes everything, then God is also that evil. If God does not include evil, then God is not the "all in all", and is therefor not God. And if God encompasses everything, then God also encompasses diversity, and God is diversity and well as unity. Notice carefully that I did not say that God is division. Division does not exist any more than a hydrogen or a deuterium atom can be divided without ceasing to exist.
Diversity is a part of unity, not an abberation away from it. The disunity (the division: which is the decent into the material world of polarity) is absolutely necessary for God to be God, because God cannot be God without knowing all things, and this knowledge cannot be acquired without experiencing all things. The knowledge and the experience are inseparable. And who is it that does that experiencing? It is you and me. We are God. The 2 is what introduces life on earth into the equasion because 2 is polarity (not division) because we have good and evil in this world and also diversity. It is the diversity that allows us to experience all things. We are that "God" who expereinces all things, as we as Man (Greek: Anthropos) accummulate all knowledge. Hence Man is God. God (Man) does experience all things which include skydiving, marriage, pain, sickness, playing hockey, climbing mount Everest, freezing to death: everything. There is no such thing as division as for example if you eliminate cold you also eliminate hot. Hot and cold are not a division but a polarity because one cannot exist without the other. There is no such thing as a one sided coin.
In the spiritual realm there are no numbers at all. (even the number 1 does not exist in the spiritual realm, but I use it so that we can better understand the situation) This is because everything is one process, but even the term "one process" cannot be used because "one" cannot exist because there very presence of a "one" means that it is differentiating this "one" from other numbers, so that other numbers must exist also. Since hydrogen is a polarity and the electron cannot exist without the proton, this is not a quantity of two any more than we can remove one side of a coin and still have a coin. There is therefore no such thing as a quantity of two, and therefore no division or schism (in the spiritual realm). Even the chasm is not a division and can only be properly understood as not separating any numbers, but rather as not allowing a passage across it. The principles of the numbers still interact with each other, but not thru the chasm, but rather thru the 9.
In numerology we are told that 1 is God or Unity, and that 2 is division, and 3 is the unification of that division. This is not correct. 1 (quantitatively) is not Unity and is not God, but rather 3 is Unity and God. Here is why: The 1 starts out with no knowledge, and since God is suppose to have all knowledge, we have a big problem here. True knowledge only comes from experience, and experiencing everything. It is the 3 that has unity, not the 1, and that the 1 cannot have unity because there is nothing to unify: it has no experience and no knowledge. It is apparent that the 1-2-3 must be understood as 1 whole process. These 3 numbers are inseparable and hence are not really three numbers, any more than deuterium is three separate entities. Here I am using the chronological format of 1-2-3 as sequencial only for demonstration purposes to help you to better grasp the concept, but in reality there is no chronology because the spiritual realm is outside of the realm of time.
You may also be wondering how it is that I said that there are 9 core principles yet there are 12 notes. Consider a woman who is pregnant for 9 months. She is counting the months until her baby is delivered. After the baby comes, is she still counting the months? She is not saying "Get away from me you remaining 3 months of the year, I don't want you here any more." They are just not in the picture in the first place. There is no forcing involved. In Ancient Egypt their months consisted of exactly 30 days, which is because each month had 3 decans, which is a length of 10 days. Hence 9 months was exactly 30 X 3 (or 3 X 3 with reduction).
Since numbers are the basis for everything, and there are only 9 numbers, then why would not we use base 9 counting system instead of base 10 system? In fact we do use base 9 but it is disguised as and wrongly labelled as base 10. Ten is not a number. It contains one number (1) and one (and the only existing) non-number which is 0. Ten is the symbol for sex. The ten keeps reproducing cycles of three groups of three. Notice that there was no sex to produce the original set of 9 numbers, which is the only set of 9 that exists. This is because the 9 numbers are eternal and had no beginning nor will have an end.
| 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | |||
| 1 | 2 | 3 | 1 | 2 | 3 | 1 | 2 | 3 | |||||||||||||||||||||
| SEX | 11 | 12 | 12 | 14 | 15 | 16 | 17 | 18 | 19 | ||||||||||||||||||||
| 1 | 2 | 3 | 1 | 2 | 3 | 1 | 2 | 3 | |||||||||||||||||||||
| SEX | 21 | 22 | 23 | 24 | 25 | 26 | 27 | 28 | 29 | ||||||||||||||||||||
| 1 | 2 | 3 | 1 | 2 | 3 | 1 | 2 | 3 | |||||||||||||||||||||
| SEX |
(To read more about 10 and sex click here)
There are only two keys from which symmetry can start from (as a centre key), and these are the D and G#/Af. But unlike other models, we can only start counting from the middle, not from the end or start as we wd do for example by spelling the G major chord which must start from the first key of that chord which is G. And chords or intervals starting at the D or G#/Af can only start on that middle key in order for there to be symmetry, and we must count in pairs. Since there are 9 numbers, 9 principles, they can only be conveyed in 9 notes, so the only way that we can consider using the D or G#/Af as a location for the God Chord we must span out from that centre key in pairs, and count 1-2-3-4 on each side to reach 8, then we count the starting key of D or G#/Af as 0 which is also the 9th position or placeholder. The reason why we use the D or G#/Af as the 9th position is by default. There is no other option. This is because the symmetry can only be in the form of pairs on either side of the centre note. This is better shown in a circular diagram in that the 1's, 2's, 3's, and 4's line up horizontally as pairs, and hence the symmetry. The 9th position, which is the zero, can only be at the top centre because that is the only place that it can be. Here are the circular diagrams of the symmetrical D centre key and G#/Af centre key scales. Notice that flats are used below the centre key and sharps are used above it. Following this is the D-/F+ octave circular scale
symmetry of the D centre key scale
| 4 | 3 | 2 | 1 | 0 | 1 | 2 | 3 | 4 |
| Bf | B | C | Df | D | D# | E | F | F# |
| - |
D centre key scale circular diagram
| - | D | 0 | D | |||||||
| - | ||||||||||
| - | Df | 1 | 1 | D# | - | |||||
| - | ||||||||||
| C | 2 | 2 | E | |||||||
| - | - | |||||||||
| B | 3 | 3 | F | |||||||
| - | - | |||||||||
| - | Bf | 4 | 4 | F# | - | |||||
| - | - | |||||||||
| A | G | |||||||||
| - | - | |||||||||
| - | Af | G# | - | |||||||
| - | - | |||||||||
| G | A |
G - G# - A are the red zone as they are "outsiders". No one can cross between the 1's, 2's, 3's or 4's, the 4s being the end of the scale. One side can only cross to the other side at the 0. The orange area is the chasm.
In the diagram 2 charts above, the span is from Bf to F#, leaving space of 3 notes (G - G# - A) between them, and likewise the D key (below) spans E to C and leaves a gap between the C and E which is C# - D - Ef, again, three notes. The gap in the G key covers the D, and the gap in the G# chord covers the D.
The polarity is horizontal wheras the contrary motion is vertical. In Christianity, the Ascension of Christ (the knowledge going to the Father) is one side of the contrary motion, with the other side being Jesus coming to Earth (descending). This is impossible using polarity alone.
symmetry of the G#/Af centre key scale
| 4 | 3 | 2 | 1 | 0 | 1 | 2 | 3 | 4 |
| E | F | Gf | G | Af/G# | A | A# | B | C |
| - |
| - | Af | 0 | G# | - | ||||||
| - | ||||||||||
| G | 1 | 1 | A | |||||||
| - | ||||||||||
| - | Gf | 2 | 2 | A# | - | |||||
| - | ||||||||||
| F | 3 | 3 | B | |||||||
| - | ||||||||||
| E | 4 | 4 | C | |||||||
| - | ||||||||||
| - | Ef | C# | - | |||||||
| - | ||||||||||
| D | D | |||||||||
| - | ||||||||||
| - | Df | D# | - |
It is Jesus (you and me) who obtains the experience but Christ who obtains the knowledge. One is the son of Man and the other is the son of God. Notice the transition here from Man (Jesus) to God (ignorance to knowledge) [ignorance here meaning the lack of experience] The chasm then is when Jesus hung on the cross at the 9th hour said "My God my God, why hast thou forsaken me?" Notice that it was the 9th hour! And that this chasm is located directly elow the 9th position. But this 9th posiion is not obvious. It is veiled as the 0. More specifically, it is only veiled if we perceive it from the standpoint of the material realm, but if we see it from the standpoint of the spiritual realm it is a 0.
If the 4-3-2-1-0-1-2-3-4 were people standing on two sides of a plateau with a wide chasm between them (with a sheer drop to death if you tried to cross it), the only way for people on one side to unite with the people on the other side wd be for them to walk to the zero then walk to the other side.
| - | F | |||||||
| - | ||||||||
| - | E | Gf | - | |||||
| - | ||||||||
| - | Ef | G | ||||||
| - | ||||||||
| D | Af | |||||||
| - | ||||||||
| - | Df | A | - | |||||
| - | ||||||||
| C | Bf | |||||||
| - | ||||||||
| B |
There is a cluster of two blacks on the left and three black keys on the right.
The red zone spans 4 keys which is required for counting three semitones in both directions:
| 1 | 2 | 3 | |
| > | > | > | > |
| D | Ef | E | F |
| F | E | Ef | E |
| < | < | < | < |
| 3 | 2 | 1 |
The Ef is the entry point of The Idea and the E is the exit point of The Knowledge
The minor and major chords using only the blacks.
| minor chord | Ef | -3d | Gf | +3d | Bf | ||
| major chord | Gf | +3d | Bf | -3d | Df |
In one sense, there are two key systems: the white keys and the black keys, which function differently from each other. For example, if we use triads containing two intervals of thirds, starting at A we will get major or minor chords, with the exception of B (no major or minor chords start on the B):
major and minor chords using white keys
|
Key |
A |
B |
C |
D |
E |
F |
G |
|
Major |
C - E - G |
C - E - G |
F - A - C |
F - A - C |
F - A - C |
G - B - D |
|
|
Minor |
A - C - E |
D - F - A |
D - F - A |
E - G - B |
A - C - E |
A - C - E |
major and minor chords using black keys
|
Key |
Ef |
Gf |
Af |
Bf |
Df |
|
Minor |
Ef-Gf-Bf |
||||
|
Major |
Gf-Af-Df |
All the black keys are landing keys except for the G#/Af which is the middle key. Since the major and minor chords span from Ef to Df, the D is outside of the span area of the chords. It is like a firewall. There is an augmented 4th/diminished 5th between the centre black key and the D, in both directions. Unlike the white keys where only one key has no major or minor chord starting from it, with regards to the black keys that are 2 keys (G#/Af and C#/Df) that do not have major or minor chord starting from it, altho only one of these 2 keys (G#/Af) is the only black that is not a landing key. So how are we to understand this D which is outside of the span of the black key major and minor chords?
The Mysterious Major and Minor Black Chords
There are practically only 12 key signatures, and 24 keys (12 polarities of major and minor) not 15 key signatures as we have been told in music school. Of these 12 polarities, 9 parallel the Messiah Chord in the circular diagram. I will use C as the starting point because it utilizes the signature of no sharps or flats.
|
1 |
2 |
3 |
4 |
5 |
6 |
7 |
8 |
9 |
0 |
11 |
12 |
|
C |
C#/Df |
D |
D#/Ef |
E |
F |
F#/Gf |
G |
G#/Af |
A |
A#/Gf |
B |
The previous chart represents the numerical sequence starting with C, but it does not accurately portray the accidentals (or as someone stated it “incidentals”) Here is a more accurate numbering of the first 9 keys:
|
A- |
F+ |
Bf+ |
Ef+ |
Af+ |
|
f |
ff |
fff |
ffff |
|
|
0 |
1 1 |
2 2 |
3 3 |
4 4 |
|
# |
## |
### |
#### |
|
|
C+ |
G+ E- |
D+ B- |
A+ F#- |
E+ C#- |
Here there are 4 key signatures governing 9 keys. No sharps and flats as in they keys of A minor / C major not a polarity and therefor zero is not a polarity, so that according to the laws of physics, it is not there because it has no positive (proton) or negative (electron) charge, whereas, just as in conventional math, the numbers 1, 2, 3, 4 are positive and negative. Mathematically then there can only be 9 keys on this chart because there are 4 positive numbers and 4 negative numbers, and a zero, which is not a number, and its function here is that of a placeholder. Since music is a manifestation of number, the derivative cannot exceed the derivator. Here is the above chart (appearing below) in the layout of purely chronological sequence of the key signatures.
I will now deal with the remaining key signatures (other than the 0) so that it becomes evident why the first set of key signatures 1 thru 9 (0 thru 4) need to be treated differently than the later ones (10-11-12).
The next one (the 10th signature) which is 5 flats and 5 sharps have dual possible key signatures so that they are different from the previous 4 which had no alternative enharmonic signature. 5 flats is enharmonically the same key as 7 sharps, and 5 sharps is enharmonically the same as 7 flats. It is also interesting the the 6 is in between the 5's and 7's. Two of similar or the same character or function on either side, but the middle being of a different character and function. I elaborated on this motif of the 2/3 elsewhere in my writings.
|
12 |
12 |
12 |
| Cf+/Af- |
Ef-/Gf+ |
D-+/Bf- |
| 7 flats | 6 flats | 5 flats |
| 5 sharps | 6 sharps | 7 sharps |
| B+/G#- | F#+/D#- | C#+/A#- |
According to conventional musical criteria there are 15 key signatures, (and 24 keys) 3 more key signatures than there shd logically be (which is 12). The three additions being one of 7 sharps, one of 6 sharps, one of 5 sharps, or if you prefer, one of 7 flats, one of 6 flats, one of 5 flats. This information is not an aside from the topic of this website, which is The God Chord, but it directly relates to it.
|
C+/A- |
G+/E- |
F+/D- |
D+/E- |
Bf+/G- |
A+/F#- |
Ef+/C- |
E+/C#- |
Af+/F- |
B+/G#- |
Df+/Bf- |
F#+/D#- |
Gf+/Ef- |
C#+/A#- |
Af-/Cf+ |
|
2 |
2 |
2 |
2 |
2 |
2 |
2 |
2 |
2 |
2 |
2 |
2 |
2 |
2 |
2 |
|
0 |
1# |
1f |
2# |
2f |
3# |
3f |
4# |
4f |
5# |
5f |
6# |
6f |
7# |
7f |
In the above diagram: there are 5 key signatures and 9 keys from no sharps or flats to 4 sharps and 4 flats, then another set of 3 keys from 6 key signatures starting with 5 sharps and 5 flats. 9+6=15 which reduces to 6. The entire conventional system is based on polarity. Notice that there are pairs of keys, even for when there are no flats or sharps to designate polarity. Hence we have polarity within the polarity. For example: A- and C+ are a polarity, yet there are no sharps or flats in the key signature, so that the major and minors (A and C) are a polarity, but their key signature is not a polarity. All intervals in music along with their reciprocals must total 9, yet the only three reciprocal key signatures are the final three. Here is yet another example of the pattern that I discovered of the ratio of 3/4, with the final 3 being like the last 3 cards of the Major Arcana of the Tarot, and the stem in the Menorah, which I have written about extensively elsewhere.
I still hold to my original premise that the conventional notational system of using sharps and flats defies logic and is wrong. Yet at the same time, possibly it was intended to be wrong! Possibly it was meant to mislead us and yet hide some truth.
Because two key signatures of 5/7 have one redundant key signature, whether you choose 7 sharps and 7 flats, or 5 sharps and 5 flats, (logically we wd exclude the 7’s because then the trend can end at 6 and not miss a space). So logically then we cd exclude 3 key signatures: one of the two pairing of 7 and 5, and one of the 6 sharps or flats, which totals 3. So then why are these final three sets of dual key signatures containing one redundant key signature?
The phemomenon of 3/4 is found in several examples. *** The 3 remaining months of the year (the 4th trimester) after a baby is born is not counted by the new parents, even tho it is the remaining part of the year.
*** The final minor 3d of the diminished 7th minor chord.
*** The three months spanning the winter solstice to the spring equinox is the astrological "red zone", and the 3 zodiac constellations involved are also in this red zone.
*** The first 9 key signatures are the 3/4 of the 12, with the final 3 (7#/5f, 6#/6f, 7f/5#) being in the redzone and are not found in the 9.
*** The 19th, 20th, 21st cards of the Major Arcana which are the fourth group of 3.
*** The three almond blossoms on the vertical stem of the menorah are the 4th group of threes, with the previous three groups of 3's being polarities, because there are 3 blossoms on each side of the 3 branches.
*** Just as the final 0 card of the Major Arcana is not in the equasion, neither is the topmost (4th) almond blossom on the stem, and neither is the final 3 on the stem remaining any more in the equasion.
The final 3 zodiacal houses that are not needed are Aries, Taurus, and Gemeni. In this chart, Aries has the key signature of 7#/5f and Gemeni has 7f/5#, and the middle house: Taurus, has 6# - 6f. Here is that same idea in the form of a sine wave but without the key signatures. Isn't it curious that Dec 21st on our innaccurate Gregorian calendar is on the cusp of the changeover from Pisces to Aquarius and isn't it also interesting that a number of world saviours (not all of them) claimed to have been born on Dec 25th which is when the "dead" sUn was brot back to life (starts moving again after 3 days and nites of no lateral movement on the horizon in terms of degrees) This is the marking of the end of the three 3's and the point where the fourth group of 3's we have started. The solstice marks the birth of baby saviours (several of them) as well as the birth of a new (in this case hidden) era of 3 zodiacal houses which are not included just as the fourth minor 3d of the diminished 7th minor is not included. The only possible deaths or births (transitions between the spiritual and material realm wd be solstices and/or equinoxes. I am not saying that they all are, but at least it is narrowed down to only these 4 possibilities. But here again we have the 3/4 phenomenon in that three of the seasonal quarters are within the group or 9 (3 threes). Pisces is the end of an era and Airies is the beginning of another. Since six constellations are above the horizon and 6 are below it, this can be symvolized by the 6 sharps and 6 flats which is the transition, not between any groups of 6 (of this there were 12 groups of 6), but specifically that one group of 6 that was evident at the specific transitional time at the winter solstice. Actually there are only 4 groups of 6 that cd possibly be transitional groups, as stated previously, these were at the cusps of the solstices and equinoxes.
Here I am referring to the fact that in this classification two are similar, or of the same class, or opposites, but the third is of a different class or category. Here is the two within the 3.
| application | both belonging to a similar class | of a different class |
| the crucifixion story | criminals on either side, guilty | Jesus, not guilty |
| deuterium atom | proton and electron | neutron |
| the sacred 3 | opposite movements by The Idea and The Knowledge | no movement by Amun |
| music | major and minor chords | diminished 7th minor |
| types of 7th intervals | major and minor | diminished |
your comments and questions are welcome
ask (at) 333 (dot) Africa