### The Cosmic Octave

The cosmic octave is based upon a principle in physics, which is the process of octavation.
In 1978 the Swiss Mathematician Hans Cousto had the idea that the harmonic law of doubling frequencies or the process to half the frequencies can be used beyond the range of audible perception. This created the possibility of appropriating octave-analogue tones and rhythms to the rotation of planets and the vibration level of molecules.

The theory of planetary tones or 'harmonical' concert pitches were developed and established under the name of 'Ur-töne' (archaic tones or sounds) by Prof. H.C. Joachim-Ernst Berendt, Journalist for Music.

The formula to calculate any cyclic occurrences in octave-analogue tones and rhythms is quite simple:

(1:a) x 2 n = f

a = periodic duration in seconds
n = octave amount
f = frequency

Based on the natural law , the equivalence of octaves, which means tones within a distance of the octave have an identical, partial row of tones, have the same overtones with the help of the 'octavation process'. It is possible to calculate an octave-analogue sound to every re-occurring vibration.

Explanation of the formula using an example:
the reciprocal value 1:a is formed (in 1: 31556925.54 seconds) of any cyclic occurrence 'a'
(example : earth year = 365.25636042 days = 31556925.54 seconds).

This results in the frequency Hz, which is the vibration per second. In the example of the earth year (rotation of the earth around the sun) a tone with 0.00000003168 Hz.

A human being is able to hear 20 Hz (20 vibrations per second) up to 16000 Hz.
20 Hz represents the deepest bass tone, which is just about audible. (Hosenbeinflattern, the sound of trousers flapping in the wind).
16000 Hz is a very high pitch. And there is no contingent tone possible for the perception of the human ear which is below 20 Hz and this is the domain of rhythm, calculated in beat per minute (bpm).

In order to achieve an octave-analogue tone of the path of the earth around the sun, the ultra-deep frequency of the earth year (0.00000003168 Hz) has to be doubled, multiplied by two, until it becomes audible as sound.

This happens in the very first instance in the 30th octave. And the best audible tone of the earth year is in the 32nd octave. This calculated tone is a c sharp with 136.10 Hz, which is slightly lower than the c sharp based on the concert pitch with 440 Hz. The appropriated concert pitch of the earth year is A and would have a frequency of 432.10 Hz. In order to play the octave analogue tone of the rotating earth around the sun one has to perform a basic tuning of the instruments from A = 440 Hz to A = 432.10 Hz and then checking the sound of C sharp. This calculated frequency is identical to the basic tone of classical Indian music and the Tibetan Om.

This tone is related to the spiritual anatomy of the heart centre. Many people around the world in the process of meditation are tuned in unison with this tone which is the year tone of the earth, the earth circling around the sun.

As mentioned above the continuous perception of vibrations (tones) in their single occurrences (rhythms) can not be manifested below 20 Hz. The basic frequency of the year doubled 25 times would produce a speed of rhythm of 63.8 bpm (beats per minute). In the 26th octave this would be 127.6 bpm.

The perceptive ability to see as well as to hear is based on vibrations, but these oscillations are faster than acoustic signals which are vibrating, and if one were to continue to multiply up to the 74th octave, it is possible to perceive an octave-analogue color. The octave analogue color to the earth year is blue-green with 500.837 nanometer wavelength.

In the case of tuning the molecules, this process is reversed. The spectral analysis which helps to identify the molecule delivers precise results in the nanometer region, i.e. the colors. These results will be divided by two again, until they reach the human perception of hearing. The so-called behaviour of frequency sequences in our brain activity response (FFR) of human brainwave activity is always synchronized when acoustic perception goes into a resonance. This implies that hearing octave analogue tones and rhythms together with exterior occurrences can resonate beyond our direct perception.