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8/9/2019 Plato - Harmonia
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Platos
Harmonia
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C 261.6C# 276.5
D 293.7
D# 310.4
E 328.6F 348.4
F# 369.1G 391.1
G# 414.3
A 438.9A# 465
B 492.7
C 523.2 Double the first C
The doubling of a pitch is a law that binds all harmonia. Pythagoras is credited with
discovering this ratio, and the arrangement of a music scale is based upon it. It is not disputable.
What is disputable is the frequency of each note and the distance between notes, which is largely
determined by what sound is pleasing to the ear. Modern frequencies are not etched in stone;
classical artists determined A at 432 hertzs, in eighteenth century France this note had a value of
376 hertzs, and in seventeenth century Germany it was set as high as 560 hertzs. There is no
set formulae.
The modern Chromatic scale divides the octave into twelve parts. Two successive
pitches, C to C# for example, are related to the previous pitch by a factor of the twelfth root of
2--a ratio of 1.05946309436. The intervals between these notes are called half-steps. This
measure of the music scale has its shortcomings. Some notes are not as pleasing to the ears as
others, and some do not sound pleasing when played with others.
The division of a scale into twelve parts is modern; little is understood of ancient music
scales, but what we do know is that seven and five note scales existed. What we dont know is
why we know so little. If we turn to Plato, the solution to this problem is obvious--this
knowledge was kept in the hands of the men who wielded control of the ancient religions;
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The seven portions do in fact represent seven frequencies, but, the scale is bound
numerically from the first pitch (1) to the last (27), and the problem of frequencies doubling is
solved when the intervals are filled in. Plato instructs us on how to do this:
Next he went on to fill up both the triple and double intervals, cutting off more
parts from the original mixture and placing them between the terms so that within
each interval there were two means, the one (harmonic) exceeding the one extreme
and being exceeded by the other by the same fraction of the extreme, the other
(arithmetic) exceeding the one extreme by the same number whereby it was
exceeded by the other. This gave rise to intervals of 3/2 and 4/3 and 9/8 within the
original intervals.1
Unfortunately, no one has done this the way Plato has instructed. Cornford is a perfect
example. To prove our point we will show both sides of the argument; Cornford starts with
seven notes:
1. (For example: if we take the extremes of 6 and 12, the harmonic mean is 8, exceeding
the one extreme (6) and exceeded by the other (12) by one-third of 12. The arithmetic mean is 9,
exceeding 6 and falling short of 12 by the same number.)
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Next he fills in the means:
Then he explains: Omitting the numbers in brackets, which occur in both series, we
obtain the single series:
If we now fill in the corresponding notes, the result is as follows:
Cornford continues: As the last sentence remarks, this gives rise to intervals of a fifth
3/2 or a fourth 4/3 or a tone 9/8 within the original intervals. The final step, taken in the next
sentence, is to fill up every tetrachord with two intervals of a tone 9/8 and a remainder 256/243
nearly equivalent to our semitone. And he went to fill up all the intervals of 4/3 (fourths) with
the interval 9/8, leaving over in each a fraction. This remaining interval of the fraction had its
terms in the numerical proportion of 256 to 243. If we take the first octave (two disjunct
tetrachords), the result can be illustrated (approximately as follows, though Plato would have
thought of the tetrachord in the shape of A G F E, rather than C D E F:
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Cornford goes on to say that the harmonic and arithmetic means have their place in music theory
as determining the intervals of a fourth and fifth, but little else in the way of this scheme seems
to pertain to music.
Yet it is obvious that Platos dialogue pertains entirely to music. Something is missing;
and so we must turn back to where we started--to when Plato first divided the whole into seven
portions. The secret of this scheme is that the whole has a numeric value. The following
numbers stand behind the double and triple proportion:
(1) 432(2) 864
(3) 1296(4) 1728
(9) 3888(8) 3456
(27) 11,664
The first four numbers of Platos proportion will be quickly recognized by most as related
to the Hindu yugas (ages). We also see this number and its components quite often in ancient
architecture. Moreover, the numeral 432 is twice the sum of the cubes of the sides of the famous
3-4-5 (3x3x3+4x4x4+5x5x5) Pythagorean triangle, and it is found in the doubletriangle of the
Hindus --six being the length of each side of each triangle (6x6x6), totaling the number--432.
This numeral is the base of Platos scale.
Now we will complete the scheme the correct way. The first step is to insert the
harmonic and arithmetic means between the terms of the double and triple proportions:
Next he went on to fill up both the triple and double intervals, cutting off more
parts from the original mixture and placing them between the terms so that within
each interval there were two means, the one (harmonic) exceeding the one extreme
and being exceeded by the other by the same fraction of the extreme, the other
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(arithmetic) exceeding the one extreme by the same number whereby it was
exceeded by the other. These links gave rise to intervals of 3/2 and 4/3 and 9/8
within the original intervals.
The arithmetic and harmonic means inserted between the terms of the double proportion:
Ratios 1:1 4:3 3:2 2:1
Frequencies 432 576 648 8649/8
Ratios 2:1 4:3 3:2 4:1
Frequencies 864 1152 1296 17289/8
Ratios 4:1 4:3 3:2 8:1Frequencies 1728 2304 2592 3456
9/8
The arithmetic and harmonic means inserted between the terms of the triple proportion:
Ratios 1:1 3:2 2:1 3:1 4.5:1 6:1 9:1 13.5 18 27
Frequencies 432 648 864 1296 1944 2592 3888 5832 7776 11,6644/3 4/3 4/3
The insertion of the arithmetic and harmonic means produced intervals of 4/3, 3/2 and
9/8 within the original intervals. Exactly what the philosopher stated (Cornfords version
produced other intervals, 9/2, 16/3, 27/2). Plato is very specific on what to do next:And he
went on to fill up all the intervals of 4/3 with the interval of 9/8, leaving over in each a
fraction. This remaining interval of the fraction had its terms in the numerical proportion
256 to 243. Cornford made the assumption of thinking 4/3 meant fourths or tetrachords. He
was wrong. It means exactly what it says. The next step is to fill up the intervals of the 4/3s in
both the double and triple proportions:
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Ratios 1:1 4:3 3:2 2:1
Frequencies 432 486 512 576 648 864 >DoubleIntervals 9/8 256/243 9/8 9/8 9/8
Ratio 3:2 2:1Frequencies 648 729 768 864 >TripleIntervals 9/8 256/243 9/8
Thus the combination of the double and triple proportion produces seven notes. Cornford
is wrong again; a scale can be constructed using the double and triple proportions.
The final step is to complete the proportions. The tonic (first note of a scale) in the Greek
music scale was A, and so, in our re-construction of Platos harmonia we will ascribe A as being
equal to 432 hertzs or vibrations per second. The sequence of notes that follow are derived with
A as the tonic. Starting with the double proportion:
Notes A G F E D C B A
Ratios 1:1 9:8 32:27 4:3 3:2 27:16 16:9 2:1Frequencies 432 486 512 576 648 729 768 864
Intervals 9/8 256/243 9/8 9/8 9/8 256/243 9/8
Notes A G F E D C B ARatios 2:1 9:8 32:27 4:3 3:2 27:16 16:9 4:1Frequencies 864 972 1024 1152 1296 1458 1536 1728
Intervals 9/8 256/243 9/8 9/8 9/8 256/243 9/8
Notes A G F E D C B ARatios 4:1 9:8 32:27 4:3 3:2 27:16 16:9 8:1
Frequencies 1728 1944 2048 2304 2592 2916 3072 3456
Intervals 9/8 256/243 9/8 9/8 9/8 256/243 9/8
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frequency to 6912 in the triple proportion. The same thing will be found to happen with each
note.
The total number of notes and frequencies in Platos scale:
A--- 432, 864, 1728, 3456, 6912
G--- 486, 972, 1944, 3888, 7766
F--- 512, 1024, 2048, 4096, 8748
E--- 576, 1152, 2304, 4608, 9216
D--- 648, 1296, 2592, 5184, 10,368
C--- 729, 1458, 2916, 5832, 11,664
B--- 768, 1536, 3072, 6144
Thirty four. Seven notes, twenty seven frequencies, and all the systems of notes that
evolve from this scheme:
But when you have grasped, my dear friend, the number and nature of the
intervals formed by high pitch and low pitch in sound, and the notes that bound
those intervals, and all the systems of notes that result from them, the systems
which we have learned, conformably to the teaching of the men of old days who
discerned them, and (called) themscales... (Philebus 16E)
Intervals formed by high pitch and low pitch... systems of notes...notes that bound
intervals... our rendering of Platos harmonia fits exactly. Others have not.
Platos music scale bears a resemblance to the Pythagorean scale that emerged in the
post-Christian era, as it contains five tones (9/8) and two half tones (256/243) of the same
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proportions. The Pythagorean scale also determined the ratios of the fourth (4:3) and fifth (3:2)
in the same manner. But this scale (which is undoubtedly an inaccurate production of the true
Pythagorean scale) has capital flaws; moreover, its origin is quite obviously found in the
mistaken interpretation of Platos harmonia (look closely at Cornfords finished product and you
will find the Pythagorean scale).
Platos scale, on the other hand, has no deficiencies. It is a unity. A system of notes that
come into existence when the art of measure embraces the unlimited. It is the whole of music.
The use of the double and triple proportions in the construction of the music scale places
a limit to that which is unlimited-- the high and low in pitch. Plato spoke of the law and order
that are marked by limit in Philebus (25, 26). Then, speaking of the family of unlimited to
Protarchus:
Socrates: And now, as the next step, combine with it the family of the limit.
Protarchus: What family? Please explain.
Socrates: That of equal and double and any other kind that puts and end to the
conflict of opposites with one another, making them well proportioned and harmonius by the
introduction of number..and in the case of high and low in pitch, or of swift and slow, which are
unlimited, does not the introduction of these same elements at once produce limit and establish
the whole art of music in full perfection?
Platos scale does just that. Establishes limit. The design of the scale insures it. The
double proportion is a tool used in the scales construction, but the triple proportion is thefinished
product. All the notes of the double proportion are contained within it. It has a beginning and an
end. It cannot be extended in either direction to form another octave without breaking down. It
is a closed system. This cannot be said of any other music scale.
But is it perfect? For the last two thousand years mankind has been trying to equalize the
octave. It cant be done. Why? It is a creature of proportion.
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A proportion exists by means of lesser and greater parts. For music to sound in tune,
the different notes being sounded simultaneously need to be related in a way which is pleasing to
the ear. This is where proportion comes into play. The insertion of the harmonic and arithmetic
means between the terms produced a center:
432 576 648 864(9/8)
72 parts separate this center. If we obtain seven notes there will be seven tones. If the
tones were equal to the center, 72 parts, then the parts would exceed the term (432)--504 parts, or
72 extra parts. In order for this to work, five of the parts must equal 72 and the other two parts
need be cut in half--36 parts. This is the reason there are five tones and two semi-tones in an
octave. However, if we divide the tones and half-tones with parts of 72 and 36 it doesnt work.
The intervals between notes are erratic, the half tones are all on one side of the octave, and the
relationship between notes is tenuous:
432 468 504 576 648 720 792 86436 36 72 72 72 72 72
13/12 14/13 8/7 9/8 10/9 11/10 12/10
This is why we were instructed by Plato to fill up all the intervals of the terms with 9/8
(the tone determined by the harmonic and arithmetic means); the end result:
432 486 512 576 648 729 768 864
54 26 64 72 81 39 96
Balance. The tones and half-tones on the left side of the scale add up to 144 parts. The
tones and half-tones on the right side of the scale add up to 216 parts. Both sides are in
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proportion to each other, and to the center. And of course, the notes stand in proportion to each
other--they are not arbitrarily divided--they are related by means of proportion.
This music scale is mathematically superior to modern scales. The fact that Plato
concealed it in his scheme indicates its extreme value. As it now stands, the unveiling of a
music scale existing over two thousand years ago, constructed in a manner heretofore unheard of,
is a discovery that should send a shock to scholastic communities the world over. It will certainly
deal a fatal blow to the idea that our ancestors were primitive, and likewise, open modern minds
to other secrets left behind by the ancients for us to decipher.