Note: Descriptions are shown in the official language in which they were submitted.
CA 02813225 2013-03-20
WO 2012/037653
PCT/CA2011/001053
HARMONIOUS SCALE INSTRUMENT
FIELD OF THE INVENTION
[0001] The invention relates generally to instruments for generating
musical
notes, to notation systems for writing music, and to teaching and therapeutic
methods
comprising the use of said instruments.
BACKGROUND OF THE INVENTION
[0002] Earliest historical records demonstrate that music was an
inseparable part
of religious ceremonies. Plato and Pythagoras taught the world to understand
that the
whole spiritual and physical universe was the understanding of numbers. So the
system of
I 0 music, sounds, and rhythms, being ordered by numbers, was conceived as
exemplifying
the harmony of the cosmos and corresponding to it. The most important aspects
of Greek
thoughts on music is "that there is a power in music akin to the power of
words for
influencing human thought and action and that therefore an artist, whether in
music or
words, is under obligation to exercise use of this power with due respect for
its effect on
others. Music or vibration could heal sickness, purify the body and mind and
work
miracles in the realm of nature" (History of Western Music, 3rd ed. Donald Jay
Grout, pg
2-11). Similar powers attributed to music may also be found in the Old
Testament: David
cures Saul's madness by playing the harp U. Samuel XVI: 14-23) or of the
trumpet blasts
and shouting that toppled the walls of Jericho (Joshua VI: 12-20).
[00031 The great composers of the Baroque, Classical and Romantic eras
tuned
their instruments through their own genius ear in what resonated with nature.
In 1919 it
was decided to standardize the tuning system of Western music so that all
instruments
could play together. This 12 tone Equal Temperament System based on man-made
standards in which A was equal to 440 Hz has continued to the present time.
[0004] If our present diatonic scale is not in harmony with mankind or
nature,
then it would be imperative to create a system that is. Dissonant and
=harmonious
vibrations or sounds may create anxiety, tension, health problems, mental
disorders,
emotional disorders, and a feeling of disconnectedness to the universe.
1
CA 02813225 2013-03-20
WO 2012/037653
PCT/CA2011/001053
[0005] The present
diatonic system of Western music is a tonal system in which
specific notes such as the tonic, dominant and leading notes have more
importance than
the other notes. However, the dominant-seventh chord is the most "unstable"
chord in
music writing and demands resolution to the tonic.
[0006] In terms of music, "harmony" may be described as the sound of two or
more notes heard simultaneously, to produce chords, and their successive use
to produce
chord progressions. The term may not be disassociated with the rhythmic
aspects of
music. For example, the use of dissonance and consonance creates tensions
generating a
powerful forward momentum Harmony may also provide punctuation marks in the
form
of cadences, simple readily recognizable chord progressions that mark a
natural end to a
phrase in a stereotyped way.
(00071 Harmony may
be more developed in Western music than in any other
region. Different eras of Western music have held different ideas as to what
kinds of
harmony are acceptable or good. For example:
1. In the Middle Ages (450-1450), the concept of harmony concerned
combinations
of two notes, open 5ths and octaves.
2. In Medieval
and early Renaissance (1450's) music, even a full major triad was
felt inappropriate for the last chord of a piece which normally would embody
the
final note (in more than one octave) and the 5th above it.
3. In the Renaissance (1450-1600), three-note harmony became the norm and
the
triad had become the main unit of harmony. This remained the basic element in
Western harmony until the 20th Century, even when harmony was composed in
four parts or more.
4. From the
beginning of the Baroque era (c1600) harmony was widely understood
as the chords with which a melody was accompanied (basso continuo or figured
bass).
2
CA 02813225 2013-03-20
WO 2012/037653
PCT/CA2011/001053
From the 1600-1900's full triads were usual for concluding chords. Harmony was
sometimes seen as the "opposite" of counterpoint, because it primarily
operates
vertically, whereas counterpoint seemed to operate horizontally. The two were
not opposed: most contrapuntal writing, especially in the 1600-1900 period,
was
5 governed by harmonic progression while, equally, harmony was concerned
with
the movement of individual voices.
6. In the 19th Century, there was much more chromatic alteration of notes
being
used, particularly by Wagner.
7. In the 20th Century, composers treated dissonance more freely and felt
it was
unnecessary to resolve chords, which in earlier eras would have been
considered
dissonant. The principles of triadic harmony were under attack from Bartok
who,
inspired by the folk music from which he came, was constructing chords based
on
the interval of a 4th. Schoenberg used first atonal and then 12 note methods
of
composition. Stravinsky composed predominantly tonal music and left
5 dissonances unresolved to tease the ear. There was the birth of a
"world music"
culture.
8. In the 21st Century, there may be a desire to recapture music's original
purpose of
divination and to restore the Sacredness back into the musical world. There
may
be also growing awareness that we are not tuning our instruments in "harmony"
with the "ALL".
19008] As such, another definition of "harmony" surges, which may be
described
as a satisfying arrangement marked by even distribution of elements, as in
design,
proportion, and symmetry.
[0009] For the general populations to hear more harmonious sounds may
be
beneficial on all levels of being. A more harmonious, atonal system may open
up a new
category of study of music for the "seasoned" musicians, a less complicated
study with a
focus on creating and healing (and not on performance), and may allow people
who
would not otherwise play musical instruments to have this option.
3
CA 02813225 2013-03-20
WO 2012/037653
PCT/CA2011/001053
[0010] Music has always been a reflection of the culture that gave rise
to it and a
reflection of what was going on in the world, politically, socially, and
philosophically.
Playing atonal, modal music, in which all tones are in harmony with each other
and with
nature, may reflect and enhance the move of the world towards unity, with less
division
among races, nations and peace and harmony among all, as well as living
intentionally
knowing that we are all affected and affect each other by the sounds around
us.
Therefore, an improved harmonious musical device would be beneficial.
[0011] Sacred Geometry can be defined as an ancient science that
explains the
energy patterns behind creation and the unification of all things. On every
scale, every
natural pattern of growth or movement conforms inevitably to one or more
geometric
shapes. Although it is found within the entire universe, the more obvious can
be seen in
snakeskin, flower petals, DNA, cornea of our eye, a nautilus shell,
snowflakes, and so
forth.
[0012] Sacred Geometry may also be defined as the relationship between
number,
proportion, astronomy and music and it is so harmoniously proportionate, thus
constructed in the most beautiful method, people travel great distances to
admire it.
Examples of Sacred Geometry in architecture can be seen in the Egyptian
pyramids, or
the great Cathedrals, or the Parthenon, Acropolis, Athens that fits almost
precisely into a
golden rectangle. The Fibonnaci Series is part of the Sacred Geometry. If one
divides
any number in the Fibonacci sequence by the one before it, the result
approaches the
number phi (p) 1.61803 .... For example 55/34, or 21/ 13. This ratio is known
as the
Golden Ratio.
[0013] Today, architects, and artists proportion their work to
approximate the
Golden Ratio, especially in the form of the golden rectangle, in which the
ratio of the
longer side to the shorter is the golden ratio, believing this proportion to
be aesthetically
most pleasing.
[0014] Modem medicine presently uses frequency devices and technology
which
include many frequencies, and complicated procedures for healing and
diagnostic
purposes. Research into a more complete system of healing frequencies may not
only
4
CA 02813225 2013-03-20
WO 2012/037653
PCT/CA2011/001053
simplify, and enhance the present technology, but also the recovery or
prevention of
disease may change profoundly.
[0015] Therefore, what is needed is a new harmonious system which would
involve creating a new category of musical instruments or devices tuned with a
new
harmonious scale. What is also needed is a new set of instruments which
incorporate the
sacred geometry. Harmonious vibrations may serve to create feelings of peace,
love,
harmony, health and wellness amongst humans, animals and nature.
SUMMARY OF THE INVENTION
[0016] In accordance with one embodiment of the present invention, there
is
provided a musical instrument, said instrument comprising nine separate sound
actuators
each of which configured to cause the musical instrument to generate a
different
frequency selected from the group of frequencies comprising 174 Hz, 285 Hz,
396 Hz,
417 Hz, 528 Hz, 639 Hz, 741 Hz, 852 Hz and 963 Hz, the musical instrument
being
configured such that physically manipulating the sound actuators causes the
musical
instrument to generate the frequency corresponding to the sound actuator
manipulated. In
aspects, the musical instruments of the present invention, in either acoustic
or electronic
devices, may be used in methods for healing, teaching, or in methods for
creating music.
[0017] In accordance with another embodiment of the present invention,
there is
provided a musical instrument for producing a scale of musical notes, the
musical
instrument consisting of nine strings coupled to a resonator. Each of the
strings is
mounted to the musical instrument such that each of the strings can vibrate at
a specific
frequency when manipulated by a user, the first string being configured to
vibrate at a
frequency of 963 Hz, the second string being configured to vibrate at 852 Hz,
the third
string being configured to vibrate at 741 Hz, the fourth string being
configured to vibrate
at 639 Hz, the fifth string being configured to vibrate at 528 Hz, the sixth
string being
configured to vibrate at 417 Hz, the seventh string being configured to
vibrate at 396 Hz,
the eighth string being configured to vibrate at 285 Hz and the ninth string
being
configured to vibrate at 174 Hz.
5
CA 02813225 2013-03-20
WO 2012/037653
PCT/CA2011/001053
[0018] In accordance with another embodiment of the present invention,
there is
provided a musical instrument for producing a scale of musical notes, said
musical
instrument consisting of nine strings of different lengths coupled to a
resonator. The
ninth, eighth, and seventh strings each having a gauge of 0.02, the sixth,
fifth and fourth
strings each having a gauge of 0.018, the third string having a gauge of
0.015, the second
string having a gauge of 0.014 and the first string having a gauge of 0.012,
the strings
each being tensioned such that the first string vibrates at 963 Hz, the second
string
vibrates at 852 Hz, the third string vibrates at 741 Hz, the fourth string
vibrates at 639 Hz,
the fifth string vibrates at 528 Hz, the sixth string vibrates at 417 Hz, the
seventh string
vibrates at 396 Hz, the eighth string vibrates at 285 Hz and the ninth string
vibrates at 174
Hz.
[0019] In aspects, the musical instruments of the present invention are
either
electronic or acoustical.
[0020] In accordance with yet another embodiment of the present
invention there
is provided a notation system for writing music having a series of different
harmonious
notes. The notation system comprises marking the different notes to be played
on a staff
of five parallel and horizontal lines separated by four spaces, the first line
being the
lowermost line indicating a first note with a frequency of 174 Hz, the space
immediately
above the first line indicating a second note with a frequency of 285 Hz, the
second line
indicating a third note with a frequency of 396 Hz, the space immediately
above the
second line indicating a fourth note with a frequency of 417 Hz, the third
line indicating a
fifth note with a frequency of 528 Hz, the space immediately above the third
line
indicating a sixth note with a frequency of 639 Hz, the fourth line indicating
a seventh
note with a frequency of 741 Hz, the space immediately above the fourth line
indicating
an eighth note with a frequency of 852 Hz and the fifth line, being the
topmost line,
indicating a ninth note with a frequency of 963 Hz.
[0021[ In accordance with yet another embodiment of the present
invention there
is provided a method of treating a person using any of the musical instruments
of the
6
CA 02813225 2013-03-20
WO 2012/037653
PCT/CA2011/001053
present invention, the method including the steps of playing a series of the
musical notes
while the person listens to the series of musical notes.
[0022] In accordance with another embodiment of the invention there is
provided
a method for treating a disorder comprising exposing a subject to one or more
frequencies
produced by a musical instalment, said one or more frequencies selected from
the group
of frequencies comprising 174 Hz, 285 Hz, 396 Hz, 417 Hz, 528 Hz, 639 Hz, 741
Hz,
852 Hz and 963 Hz. In aspects, the frequencies are selected relative to a
target tissue of
the subject. In aspects the disorders are selected from the group consisting
of selected
from physiological, neurological, behavioural and spiritual disorders.
[0023] In another aspect, the present invention provides for a method for
practicing sound healing, said method comprising exposing a subject to
frequencies
produced by a musical instrument for a time effective to produce a desired
effect in the
subject, said musical instrument comprising nine separate sound actuators each
of which
configured to cause the musical instrument to generate a different frequency
selected
from the group of frequencies comprising 174 Hz, 285 Hz, 396 Hz, 417 Hz, 528
Hz, 639
Hz, 741 Hz, 852 Hz and 963 Hz, the musical instrument being configured such
that
physically manipulating the sound actuators causes the musical instrument to
generate the
frequency corresponding to the sound actuator being manipulated.
[0024] In another aspect, the present invention provides for a device
for
practicing sound healing, said device configured to generate sound frequencies
comprising 174 Hz, 285 Hz, 396 Hz, 417 Hz, 528 Hz, 639 Hz, 741 Hz, 852 Hz and
963
Hz.
[0025] In another aspect, the present invention provides for a musical
scale
comprising the following nine frequencies 174 Hz, 285 Hz, 396 Hz, 417 Hz, 528
Hz, 639
Hz, 741 Hz, 852 Hz and 963 Hz.
[0026) In another embodiment, the present invention relates to a
musical
instrument comprising: one or more sound bodies, each sound body including
elements
having dimensions that are determined using the number phi (cp); and nine
strings
CA 02813225 2013-03-20
WO 2012/037653
PCT/CA2011/001053
extending over a top surface of the one or more bodies, one string being tuned
to vibrate
at 963 Hz, another string being tuned to vibrate at 852 Hz, another string
being tuned to
vibrate at 741 Hz, another string being tuned to vibrate at 639 Hz, another
string being
tuned to vibrate at 528 Hz, another string being tuned to vibrate at 417 Hz,
another string
being tuned to vibrate at 396 Hz, another string being tuned to vibrate at 285
Hz and
another string being tuned to vibrate at 174 Hz.
DESCRIPTION OF THE DRAWINGS
[0027] FIG. I is a perspective view of a musical instrument made in
accordance
with one embodiment of the present invention.
[0028] FIG. 2 is a perspective view of a musical instrument made in
accordance
with one embodiment of the present invention.
[0029] FIG. 3 is a schematic view of a notation system for writing
music in
accordance with one embodiment of the present invention.
[0030] FIG. 4 is a schematic view of a short piece of music written
using the
notation system illustrated in FIG. 3.
(0031] In the drawings like characters of reference indicate
corresponding parts in
the different figures.
DETAILED DESCRIPTION OF THE INVENTION
[0032] Unless defined otherwise, all technical and scientific terms
used herein
have the same meaning as commonly understood by one of ordinary skill in the
art to
which this invention belongs. Also, unless indicated otherwise, except within
the claims,
the use of "or" includes "and" and vice versa. Non-limiting terms are not to
be construed
as limiting unless expressly stated or the context clearly indicates otherwise
(for example
"including", "having" and "comprising" typically indicate "including without
8
CA 02813225 2013-03-20
WO 2012/037653
PCT/CA2011/001053
limitation"). Singular forms including in the claims such as "a", "an" and
"the" include
the plural reference unless expressly stated otherwise.
Overview
[0033] In one embodiment, the present invention describes a musical
instrument,
which may be either acoustical or electronic. The musical instrument may
include nine
separate sound actuators. Each sound actuator may be configured to cause the
musical
instrument to generate a different frequency selected from the group of
frequencies
comprising 174 Hz, 285 Hz, 396 Hz, 417 Hz, 528 Hz, 639 Hz, 741 Hz, 852 Hz and
963
Hz. The musical instrument may be configured such that physically manipulating
the
sound actuators causes the musical instrument to generate the frequency
corresponding to
the sound actuator manipulated. In aspects, the musical instruments of the
present
invention, in either acoustic or electronic devices, may be used in methods
for therapy,
teaching music or healing, or in methods for creating music.
[0034] The inventor has intimate familiarity with Sound Healing. In her
practice
the inventor has worked with individuals having problems of the body, mind and
soul.
That is, with individuals having problems generally perceived as being
specific to a local
body area, individuals having more systemic diseases as well as with the
spiritual aspect
of an individual. Following treatment with musical instruments of the present
invention,
remarkable recoveries from body, mind and soul have been achieved.
[0035] In another embodiment, the present invention describes musical
instruments having a Harmonious Scale. The Harmonious Scale is atonal and may
consist essentially of 9 frequencies. In this document, the term "Atonal"
means a manner
of organizing tones so that no one of them may have greater importance than
the others.
The atonal scale of nine (9) frequencies described in this invention is
referred to as the
Harmonious Scale.
[0036] As previously explained, the present diatonic system of Western
music
consists of a tonal system in which specific notes such as the tonic, dominant
and leading
notes have more importance than the other notes. The Harmonious Scale being
atonal
9
CA 02813225 2013-03-20
WO 2012/037653
PCT/CA2011/001053
may remove the tension that may normally be built up while we await the return
of the
tonic, which can sometimes feel like safety. The Harmonious Scale has no tonic
and there
are no major or minor keys or modulations to other keys, and no key
signatures, no
sharps, flats or accidentals. The Harmonious Scale may consist essentially of
9 precise
frequencies. With the Harmonious Scale a person may start or end on any note
without
adhering to complex composition rules common to the diatonic system. Only
certain
intervals or chord combinations within the diatonic system sound pleasing.
This novel
Harmonious system may make music composition easier and may open up a whole
new
field of "creative" and "intuitive" playing for persons who find the study of
Western
music too difficult. A musical performer often "becomes one" or is in the
"zone" with
his/her instrument and without worry of adhering to complicated composition
rules.
Improvising, performing and sound healing may become easier with the use of
the
musical instruments of the present invention. Therefore, music expression and
creativity
may have no boundaries within the scope of people, their age, intellectual
ability, race,
culture and language, or nations. People from around the world, young and old,
of simple
or highly evolved abilities, may understand, perform, compose, improvise
together in a
universal simple Harmonious System where "all is one" and there is no wrong
way to
play. Because of its simplicity, the Harmonious Scale may also allow mastery
of this
Harmonious System very quickly and at a younger age.
[0037J The Harmonious Scale is based on Pythagoras and Plato's ancient
Greek
"MODAL" system. Pythagoras and Plato taught that all sounds have an "affect"
on
everything around us, so basically "You are what you listen to." For example:
listening
to dance rhythms would have the modal affect of inspiring others to dance.
Another
example would be to take the time signature out of the creative musical
experience. The
modal effect here is one of freedom of expansion, of intuition and
consciousness, because
all structure and sense of time is eliminated,
[0038) The scale of the present invention represents a system of 9
frequencies, all
in harmony, with each other and with nature. The Harmonious Scale may be
utilized as a
new system of tuning and scale system for a new category of musical
instruments which
may have major implications for personal and world healing. These nine
frequencies of
CA 02813225 2013-03-20
W02012/037653
PCT/CA2011/001053
the Harmonious Scale are 174 Hz, 285 Hz, 396 Hz, 417 Hz, 528 Hz, 639 Hz, 741
Hz, 852
Hz and 963 Hz. The nine frequencies are a mathematical set of vibrations which
are so
complete that if one were to try to continue the sequence the whole set would
just repeat
itself. That is, if one were to continue this mathematical sequence, the
number following
963 would be 174 and the sequence would repeat itself over and over again.
Harmony
[00391 As stated in the Background section of this document, another
definition
of "harmony" surged, which may be described as a satisfying arrangement marked
by
even distribution of elements, as in design, proportion, and symmetry. The
inventor,
however, proposes in the present invention that the proportion be a Golden or
Divine
Proportion, the design a Divine Design and the symmetry a Divine Symmetry. The
newly
created definition of musical "harmony" presented herein is based on
numerology and on
how music may be interrelated with the ALL, the whole universe, according to
Plato and
Pythagoras' teachings. The new Harmonious Scale of the present invention, its
tuning
system, and the instruments upon which the Divine frequencies are created, may
be in
perfect harmony with all that we know. What was lost is now recovered in the
Harmonious Scaled Instruments.
The Harmonious Scale
[0040] Pythagoras, the 6th century BCE mathematician, philosopher, and
musical
theorist whose research gave rise to the science of Numerology, was the first
person to
realize that numbers may be the foundation of the universe, and music a
wonderful
harmonious system. During his time, it was widely accepted that the universe
was created
from vibrating energy, something that modem scientists might call a wavelength
or
electromagnetic energy. Pythagoras taught the world that numbers have the
power to
bring all of life into unity and harmony. Pythagoras taught that there were
only 9
numbers, 1,2,3,4,5,6,7,8,9 and anything with multiple numbers could all be
reduced to a
single digit by adding up the individual digits that make up the number you
are reducing.
For example: 10,=1+0=1, 11=1+1=-2, 12=1+2=3. No matter how many digits a
number
11
CA 02813225 2015-07-31
has, it may always be reduced to a single digit, and the sequence 1 thru 9,
repeats itself
over and over again.
[0041] Referring to Table 1, if we consider the Harmonious Scale and add
up all
3 digits horizontally, then a reoccurring pattern happens.
[0042] Table 1:
174 = 1+7+4 =12 =1+2 =3
285 =2+8+5 =15 =1+5 =6
396 =34-9+6 =18 =1+8 =9
417 =4+1+7 =12 =1+2 =3
528 = 5+2+8 = 15 = 1+5 = 6
639 =6+3+9 =18 =1+8 =9
741 =7+4+1 =12 =1+2 =3
852 =8+5+2 =15 =1+5 =6
963 = 9+6+3 = 18 = 1+8 = 9
[0043] The Harmonious Scale may also find its roots in mathematics, and it
is
based on 3rds, the triangle or triad. This may be representative of the Holy
Trinity,
common across many religions, including Christian trinity (the Father, Son,
and Holy
Ghost), Vedic trinities include Brahma, Vishnu and Shiva and their consorts
Saraswati,
Lakshmi, and Kali to name just a few. In Metaphysic study, "3" symbolizes
Divine
manifestation into the physical. It is representative of the triangle: the
strongest geometric
form from which life itself is built. John Keely, inventor of Keely Motor and
discoverer of
Sympathetic Vibratory Physics, expert in electromagnetic technologies wrote:
"the
vibrations of 3`d, 6ths, and 9ths were extraordinarily powerful". In his
experiments, he
proved that settings of 3rd, 6th, and 9ths get the best effects. Nikola Tesla,
the renowned
American Inventor wrote: "If you only knew the magnificence of the 3, 6, and
9, then you
would have a key to the universe".
12
CA 02813225 2013-03-20
WO 2012/037653 PCT/CA2011/001053
[0044] Referring to Table 2, it is shown that most numbers of the scale of
the
present invention are 111 Hz apart, with 2 numbers being 21 Hz and 102 Hz
apart.
According to the Pythagorean Theory of Numerology, if one were to reduce all
of these
numbers to a single digit they would all add up to 3. Accordingly, the
Harmonious Scale
may also find a basis on the sum and difference of Divine Proportion.
100451 Table 2
963 852 741 639 528 417 396 285
-852 -741 -639 -528 -417 -396 -285 -174
111 111 102 111 111 21 111 111
111=1+1+1= 3
102=1+2=3
21=2+1-3
[0046] The well known Fibonacci sequence is as follows:
[0047] 0,1,1,2,3,5,8,13,21,34,55,89 ... to infinity.
[0048] The first two Fibonacci numbers are 0 and 1, and each subsequent
number
is the sum of the previous two. The pattern is of even, odd, odd numbers,
continuing the
pattern of even, odd, odd, until infinity. The ratio of each successive pair
of numbers in
the Fibonacci series quickly converges on phi (9), 1.6180339887 ..., as 5
divided by 3 is
1.666, 8 divided by 5 is 1.60, 13 divided by 8 is 1.625 and so on. Fibonacci
calls this ratio
the Divine Proportion, or Golden Mean, or Golden Proportion, or how everything
in
nature is created. Drunvalo Melchizedek explains in his book, the process of
creation
through Sacred Geometry, using the Fibonacci Sequence and phi ratios (The
Ancient
',Secret of the Flower of Life, Volume 2, Ed. Margaret Pinyan, Light
Technology
Publishing, 2000). On page 244, he explains how 32 is the basic unit to create
the
13
CA 02813225 2013-03-20
WO 2012/037653
PCT/CA2011/001053
Fibonacci Spiral, which is represented by the star tetrahedron, or Star of
David, two
triangles overlapping, one spiralling upward into the heavens and the other
spiralling
down bringing the heavenly energy down to earth. This may represent bringing
the Christ
Consciousness into the physical
10049) Table 3 shows how
each of the frequencies of the Harmonious Scale may
be the sum of Fibonacci numbers. One may notice that all 9 frequencies of the
scale of
the present invention may carry the same common frequencies within their sums,
therefore the nine frequencies of the present invention are harmonious with
one another,
and they may carry a very powerful creative spiralling energy, similar to that
of nature
itself.
Table 3
174 is the sum of 7 sets of Fibonacci numbers:
(1+8+21+144), (1+3+5+21+144), (1+8+21+55+89),
(1+3+5+8+13+144),
(1+3+5+21+55+89),(1+3+5+9+13+55+89),(1+3+5+8+13+21+34+89).
285 is the sum of 9 sets of Fibonacci numbers:
{54-13+34+233}, {2+3+13+34+233}, {5+13+34+89+144), {2+3+5+8+34+233),
(2+3+13+34+89+144), {2+3+5+8+13+21+233},
{2+3+5+8+34+89+144},
{2+3+5+8+13+21+89+144}, (2+3+5+8+13+21+34+55+144).
396 is the sum of 12 sets of Fibonacci numbers:
(1+5+13+377). (1+2+3+13+377), {1+5+13+144+233),
(1+2+3+5+8+377),
(1+2+3+13+144+233), (1+5+13+55+89+233),
(1+2+3+5+8+144+233),
{1+2+3+13+55+89+233}, (1+5+13+21+34+89+233).(1+2+3+5+8+55+89+233),
(1+2+3+13+21+34+89+233), (1+24-3+5+8+21+34+89+233 ) ,
417 is the sum of 15 sets of Fibonacci numbers:
14
CA 02813225 2013-03-20
WO 2012/037653
PCT/CA2011/001053
(1+5+34+377), {1+2+3+34+377), (1+5+13+21+377),
{1+5+34+144+233},
(1+2+3+13+21+377), (1+2+3+34+144+233),
{1+5+13+21+144+233),
(1+5+34+55+89+233), (1+2+3+5+8+21+377),
{1+2+3+13+21+144+233},
{1+2+3+34+55+89+233}, (1+5+13+21+55+89+233), (1+2+3+5+8+21+144+233),
{1+2+3+13+21+55+89+233}, (1+2+3+5+8+21+55+89+233).
528 is the sum of 7 sets of Fibonacci numbers:
{2+5+144+377}, {2+5+55+89+377}, {2+5+21+34-4-89+377}, (2+5+55+89+144+233),
{2+5+8+13+34+89+377}, (2+5+21+34+89+144+233), (24-5+8+13+34+89+144+233).
639 is the sum of 20 sets of Fibonacci numbers:
(8+21+610), {3+5+21+610), (8+21+233+377), (1+2+5+21+610), (3+5+8+13+610),
(3+5+21+233+377), (8+21+89+144+377), (1+2+5+8+13+610),
(1+2+5+21+233+377), {3+5+8+13+233+377},
(3+5+21+89+144+377),
(8+21+34+55+144+377), (1+2+5+8+13+233+377), (1+2+5+21+89+144+377),
(3+5+8+13+89+144+377), (3+5+21+34+55+144+377), (1+2+5+8+13+89+144+377),
{1+2+5+21+34+55+144+377},
(3+5+8+13+34+55+144+377),
(1+2+5+8+13+34+55+144+377).
741 is the sum of 21 sets of Fibonacci numbers:
f 8+34+89+6101, (3+5+34+89+610),(8+13+21+89+6101,
{8+34+89-i-233+377},{ 1+2+5+34+89+61
(3+5+34+89+23+377),(8+13+21+34+55+610),{8+13+21+89+233+377},
(1+2+5+13+21+89+610),{1+2+5+34+89+233+377},
(3+5+13+21+34+55+6101,{3+5+13+21+89+233+377},
{8+13+21+34+55+233+377},{1+2+5+13+21+34+55+610},
{1+2+5+13+21+89+144+377),{3+5+13+21+34+55+233+377},
{8+13+21+34+55+89+144+377},{1+2+5+13+21+34+55+233+377},
{3+5+13+21+34+55+89+144+377},{1+2+5+13+21+34+55+89+144+377}.
CA 02813225 2013-03-20
WO 2012/037653
PCT/CA2011/001053
852 is the sum of 14 sets of Fibonacci numbers:
{1+8+233+610},{1+3+5+233+610},{1+8+89+144+610},
(1+35+89+144+610),(1+8+34+55+144+610),{1+8+89+144+233+377),
{1+3+5+34+55+144+610}, (1+34.5+89+144+233+377),
{1+8+13+21+55+144+610},0+8+34+55+144+233+3771,
{1+3+5+13+21+55+144+610}.{1+3+5+34+55+144+233+377},
{1+8+13+21+55+144+233+377}, {1+3+5+13+21+55+144+233+377}.
963 is the sum of 12 sets of Fibonacci numbers:
{2+8+21+89+233+610 ), {2+3+5+21+89+233+610},
(2+8+21+34+55+233+610),(2+3+5+8+13+89+233+610),
{2+3+5+21+34+55+233+610},{2+8+21+34+55+89+144+610),
{2+3+5+8+13+34+55+233+6101,
{2+3+5+21+34+55+89+144+6101,(2+8+21+34+55+89+144+233+3771,
(2+3+5+8+13+34+55+89+144+610},
(2+3+5+21+34+55+89+144+233+377),
{2+3+5+8+13+34+55+89+144+233+377).
[0050] Referring to Table 4, the Harmonious Scale of the present invention,
may
also be seen as a system of 2 tetra chords joined by 528 Hz which is the
frequency used
by genetic biochemists to repair broken DNA, the genetic blueprint upon which
life is
based.
Table 4
174 285 396 417 528 639 741 852 963
[0051] Six of these nine original sound frequencies were apparently used in
the
great hymn to St. John the Baptist that along with many Gregorian chants, were
lost
centuries ago according to church officials, The chants and their special
tones were
believed to impart special spiritual blessings when sung in harmony.
16
CA 02813225 2013-03-20
WO 2012/037653
PCT/CA2011/001053
[0052] More recently, the other 3 frequencies were used by Dr. Joseph Puleo
from Idaho assisted by Dr. Leonard Harovvitz, Harvard trained award winning
investigator. Their research on what they call "The Original Solfeggio Scale"
is
documented in the book "Healing Codes for the Biological Apocalypse"
(Tetrahedron
Publishing Group, LLC, Suite 147, 206 North 4th Ave, Sandpoint, Idaho, USA,
83864,
2007). However, the nine frequencies have never being unified to create a new
single
harmonious scale, or to create new musical instruments, or for healing
purposes.
Instruments of the Present Invention
[0053] To utilize the Harmonious Scale of the present invention, a new
category
of instruments, which may be either acoustic or electronic, may need to be
made
comprising the Harmonious Tuning System of the present invention. The
instruments of
the present invention may be called Harmonious Instruments. As such, in one
embodiment, the present invention, the present invention relates to a musical
instrument
which includes nine separate sound actuators each of which may be configured
to cause
the musical instrument to generate a different frequency selected from the
group of
frequencies comprising 174 Hz, 285 Hz, 396 Hz, 417 Hz, 528 Hz, 639 Hz, 741 Hz,
852
Hz and 963 Hz, the musical instrument being configured such that physically
manipulating the sound actuators causes the musical instrument to generate the
frequency
corresponding to the sound actuator being manipulated. There is not much use
for any
more notes, as they would just be repeating the same frequencies as it already
contained
in the 9 frequencies. Most instruments available in the world today are set up
with the
diatonic scale, with the 12 tone Equal Temperament Tuning System. Retrofitting
today's
piano to the 9 frequency based scale of the present invention may not work
easily. For
example, a new instrument, the Harmonious piano or keyboard may be designed
with the
Harmonious Scale, having 9 keys only. The Harmonious piano may look different
to the
common piano because it may have only white keys and only 9 frequencies.
Woodwind
instruments such as the flute, piccolo, clarinet, oboe may also be configured
to
incorporate the Harmonious Scale and may have a whole new category of
instruments.
New designs of all existing instruments may be considered in this Harmonious
Tuning
System. FIGs. 1 and 2 illustrate two examples of musical instruments according
to
17
CA 02813225 2013-03-20
WO 2012/037653
PCT/CA2011/001053
embodiments of the present invention: the Sacred Harp (FIG. 1) and the Sacred
Chimes
(FIG. 2).
[0054] In one embodiment of the present invention, the Harmonious devices
for
healing and music may all be created Or designed using Divine proportions, the
Golden
Mean.
[9055) Typical instruments today include a sound box. In the case of
stringed
instruments like guitars, violins, cellos, violas and so forth, the
instruments consist of a
sound box or body and a neck, with strings stretching over a front plate of
the body and
the neck. The sound box or body usually consists of a front plate, a back
plate and side
walls extending from the front to the back plate. A sound chamber may be
formed by the
front plate, back plate and side walls. The front plate may include one or
more openings
to the chamber. The sound box may also be substantially solid, as in the case
of electric
guitars.
[0056] The instruments of the present invention may be designed using the
number phi (9), the Golden Ratio or Golden Proportion. To create the
instruments of the
present invention, the typical sound box or resonator found in instruments
today, may be
replaced with one or more bodies where the acoustics may be maximized by using
Sacred
Geometry, and Golden Ratio in their design. As such, the sound bodies may be
called
Sacred Sound Chambers. The musical instrument may include one or more sound
bodies. The dimensions of each sound body or of the elements within each sound
body
may be determined as a function of the number phi (p). For example, the
maximum
length of the front plate and the width of the side walls may be determined
such that the
proportions between the maximum length of the front plate and the width of the
side wall
may approximate phi (p). Another example may be that the maximum length of a
first
sound body and the maximum length of a second sound body may be determined
such
that the proportion between the first body and the second body may approximate
to the
number phi (cp). Another example may be that the dimensions of the one or more
openings on the front plate may also be determined as a function of phi (9),
for example
18
CA 02813225 2013-03-20
WO 2012/037653
PCT/CA2011/001053
the one or more openings may be circles having diameters which may be
determined as
being one or more times the number phi (9) in length.
[0057] The 9 frequencies may be implemented on any instrument, which may
look like the violin, cello, viola, and so forth. This implementation may be
achieved by
using consistent patterns based on Golden Proportion geometry for the
graduation of the
top and back plates of the one or more body portions or Sacred Sound Chamber
of the
instrument The use of the Golden Proportion in all instruments may allow for
uniformity of the flexing of the plates, as well as optimize velocity of
vibrations
throughout the top and back plates of the Sacred Sound Chambers. As the
density and
tuning of the plates may always be taken into account, the whole pattern of
the one or
more bodies may be made geometrically thinner or thicker accordingly.
[0058] The arch height of the instruments of the present invention may also
be
based on aspects of the Golden Proportion. For example, the ideal arch height
of a violin
may be 16 mm,
(00591 A bridge may be defined as a device for supporting the strings on a
stringed instrument and transmitting the vibration of those strings to some
other structural
component of the instrument, such as the sound box, in order to transfer the
sound to the
surrounding air. In the instruments of the present invention, the bridge
position may be
located in the same proportion to the one or more bodies of the instrument as
the naval is
to the human body, all in Golden Proportion.
[0060] Creating musical instruments, healing devices, and so forth with the
Golden Proportion throughout its construction may acoustically bring about the
most
powerful and vibrational Sacred Sound possible. All Harmonious Scaled
instruments and
healing devices may have "Sacred Sound Chambers", with "Sacred Sound Holes"
through which all vibrations will be emitted. All instruments may be created
with Sacred
Geometry in mind, and numerology, so all may be in Golden Proportion.
[0061] It will be appreciated by a person of ordinary skill in the art that
the
harmonious scale may be incorporated into any musical instrument, including
(i) stringed
19
CA 02813225 2013-03-20
WO 2012/037653
PCT/CA2011/001053
instruments such as violin, viola, cello, harp, lute, banjo, guitar, bass
(either in acoustic or
electronic form); (ii) keyboard instruments such as pianos (including upright
and grand
piano), harpsichords, accordion, harmonium, organs, synthesizers; (iii)
percussion
instruments such as chimes, bells, triangles, xylophones, drums, bongos; (iv)
wood winds
and brass instruments which may use holes or valves as sound actuators which,
when
depressed (or covered) may cause the instrument to generate notes from the
harmonious
scale including flute, piccolo, clarinet, bagpipes, oboes, saxophones,
bassoon, trumpet,
trombones, horns, tubas, euphoniums, are all within the scope of the present
invention- A
percussion instrument may be any object which produces a sound when hit with
an
implement, shaken, rubbed, scraped, or by any other action which sets the
object into
vibration. A person of ordinary skill in the art would appreciate that
percussion
instruments such as xylophones and chimes may be configured to incorporate in
its body
9 bars or sounding chimes, each bar or sounding chime when struck would
produce each
of the 9 frequencies of the present invention (see FIG. 2). A person of
ordinary skill in
the art would also appreciate that in the case of percussion instruments
having
membranes such as drums, nine different drums may be manufactured such that
each
drum may be configured to produce each of the nine frequencies of the present
invention
when hit.
Methods of Creating Music
[0062] The Harmonious Scale is atonal, meaning all frequencies are equal in
importance, and there is no tonal center. All 9 frequencies are harmonious
with each of
the other frequencies of the Harmonious Scale. Therefore, using an instillment
made in
accordance with this invention, a composer, performer, Sound Healer or anyone
else
using an instrument or device designed with this set of 9 frequencies may
begin and end
on any one of the 9 notes without a key signature, or a set of rules defining
appropriate
composition, harmonious intervals or chords as all will sound good together,
one note at a
time, or several and the combinations have no limits. For the first time,
improvisation
may be totally free, and there is no wrong way to perform.
Methods of Healing
CA 02813225 2013-03-20
WO 2012/037653
PCT/CA2011/001053
[0063] In one embodiment, the present invention provides for a method for
treating a disorder in a subject. The disorder may be selected from
physiological,
neurological, behavioural and spiritual disorders. The method may comprise
exposing a
subject to one or more of the nine frequencies of the Harmonious Scale for a
time
effective to produce a desired effect in the subject. The nine frequencies may
be
produced by a musical instrument according to an embodiment of the present
invention.
In aspects the present invention provides for a method for treating pain,
anxiety, learning,
epilepsy and depression in a subject by exposing the subject to the nine
frequencies of the
Harmonious Scale.
[0064] In another embodiment, the present invention provides for a method
for
practicing sound healing. The method for practicing sound healing may comprise
exposing a subject to frequencies produced by a musical instrument of the
present
invention for a time effective to produce a desired effect in the subject.
[0065] Healing by sound frequencies may be based on resonant entrainment of
oscillating systems. This is a well-understood principle within the physical
sciences and
Sound Healing, For example, if a tuning fork designed to produce a frequency
of 440 Hz
is struck (causing it to oscillate) and then brought into the vicinity of
another 440 Hz
tuning fork, the second tuning fork will begin to oscillate. The first tuning
fork may be
said to have entrained the second or caused it to resonate. Tuning forks of a
different
frequency will not be affected as there is no resonance. This is considered
"free
resonance". "Forced resonance" occurs when one vibrating source produces
vibrations in
another object even though those two objects may not share the exact same
frequency.
The vibrations of one may entrain or change those of the other. Those
vibrating sources
that may be subject to the influence of "forced resonance" will resonate with
many
different frequencies. The physics of entrainment apply to bio-systems as
well. The
human body also resonates in this manner, responding to all the frequencies
around it.
[0066] In Sound Healing, by the use of a musical instrument configured to
incorporate the Harmonious Scale of the present invention, the concept of
resonant
frequency healing applies, in which the natural vibrations may be restored.
Through
21
CA 02813225 2013-03-20
WO 2012/037653
PCT/CA2011/001053
restoring the body's own resonant frequencies and balancing its energy
systems, the body
may begin to heal itself. Very simply put, if a part of the body vibrates "out
of harmony",
a trained Sound Healer may, by use of the correct resonant frequency, entrain
that part of
the physical, emotional, mental, or spiritual bodies within a person's whole
etheric and
physical body back into "harmony" allowing for the natural healing process
innate within
the body to take place. This may represent a more holistic method of healing
which may
be capable of healing not only mind and body, but also spiritual healing.
[0067] The electrochemical activity of the nervous system, including the
brain,
results in the production of electromagnetic wave forms which may be
objectively
measured with sensitive equipment. Brain waves change frequencies based on
neural
activity within the brain. Because neural activity is electrochemical, brain
function may
be modified through the introduction of specific chemicals (drugs as
prescribed by
Western Medicine), by altering the brain's electromagnetic environment through
induction, or through resonant entrainment techniques of Sound Healing. There
are no
deleterious side effects when using resonant entrainment techniques.
[0068] In Sound Healing, sonic "entrainment" occurs in which the brain
waves of
the listener lock into resonance with the frequencies sounded by the Sound
Healer for the
time of the treatment. Environmental sounds, such as birds chirping, rain, or
the sound of
waves, etc. may be among the most soothing on the planet, and are often used
by
therapists, such as for massage, reiki, cranial sacral etc. With sonic
entrainment, our
hearts may start to beat with the beats of the earth, and we may be "in
harmony" with the
universe. It is well known that the sounds of traffic, sirens, and other busy
city sounds
affect us as well but usually in a more negative way. We may not be able to
avoid big
cities and the noise, but we may drive along listening to music produced with
the
Harmonious Scale to help keep our energy systems balanced rather than the
music that is
produced with the present diatonic scale and 12 tone equal temperament system,
which
has been proven to be out of harmony with nature and with the human body.
[0069] In yet another embodiment, the present invention provides for a
device for
practicing sound healing, said device configured to generate sound frequencies
22
CA 02813225 2013-03-20
WO 2012/037653
PCT/CA2011/001053
comprising 174 Hz, 285 Hz, 396 Hz, 417 Hz, 528 Hz, 639 Hz, 741 Hz, 852 Hz and
963
Hz.
[0070] The use of electromagnetic frequency devices is widely used
throughout
Western Medicine, for diagnosis and treatment purposes. Here are just a few of
the
electrical frequency instruments in present therapeutic medical use today.
Muscle
stimulators which relieve pain, reduce spasms and edema, tonify weak muscles
and assist
the healing process, run at from 1 to 130 Hz. The TENS machine, used to block
pain runs
at about 80-100 Hz. Interferential Therapy units, which are a type of muscle
stimulator
runs at 3000 to 4000 Hz. Biofeedback instruments used to modify behaviours and
retrain
the nervous and muscular systems, run from below 1 Hz to 40 Hz. Bone growth
Stimulators, used to heal broken bones ran at frequencies from about 40 to 80
Hz.
[0071] The 9 frequencies of the Harmonious healing device of the present
invention may be used to improve and simplify technologies used today in this
field.
[0072] The middle frequency of the Harmonious Scale is 528 Hz. As
previously
stated, biochemists use this frequency for DNA repair. To sound healers and
musicians
528 Hz is regarded as the heart of the entire electromagnetic spectrum of
sound and light.
Harmonious Music Notation
[0073] Implementing the Harmonious Scale in written music may be done with
the following method as illustrated in FIG. 3. Using today's manuscript paper,
the
Harmonious Scale of 9 frequencies may easily fit on a staff 30 of five lines
(lines 21, 22,
23, 24 and 25) and four spaces (26, 27, 28 and 29) using every line and space.
The pitch
may be shown by placement of notes on the staff and duration may be shown with
different note values and additional symbols such as dots and ties, basically
utilizing the
same notes that are already used in the study of music, such as quarter notes,
half notes
whole notes etc. and their corresponding tests.
[0074] The lines and spaces in staff 30 may indicate the frequencies the
placed
notes have. Line 21 (the lowermost line) may indicate a first note with a
frequency of 174
Hz. Space 26 immediately above the first line may indicate a second note with
a
23
CA 02813225 2013-03-20
WO 2012/037653
PCT/CA2011/001053
=frequency of 285 Hz. Second line 22 may indicate a third note with a
frequency of 396
Hz. Space 27 immediately above the second line may indicate a fourth note with
a
frequency of 417 Hz. Third line 23 may indicate a fifth note With a frequency
of 528 Hz.
Space 28 immediately above the third line may indicate a sixth note with a
frequency of
639 Hz. Fourth line 24 may indicate a seventh note with a frequency of 741 Hz.
Space 29
immediately above the fourth line may indicate an eighth note with a frequency
of 852
Hz. Fifth line 25, being the topmost line, may indicate the highest ninth note
with a
frequency of 963 Hz.
[0075] A staff of written music generally begins with a clef and the
Harmonious
Clef 32 is demonstrated in FIG. 3 utilizing an H with the 528 Hz line crossed
with the
middle of the H. Following the clef may or may not be a time signature
depending on the
nature of the piece. In the case of a time signature, measures or bar lines
will divide the
piece into regular groupings of beats, according to the time signatures
specification. A
piece may change time signatures during the piece by indicating a new time
signature,
and any bars following, would be in the new time. Directions to the player
regarding
matters such as tempo and dynamics or mode may be added above or below the
staff For
vocal music, lyrics may be written in with the words or sounds under the
corresponding
notes.
[0076] FIG. 4 illustrates how rhythms and time signatures may be used,
single
notes are shown in the first bar 41, clusters in the second bar 42 and
strumming of all the
notes is indicated in the third bar 43. Notation for ensembles and orchestras
is a score
showing music for all players together, while parts contain only the music
played by an
individual musician.
An Example of the Harmonious Scale System in Music Education and Sound Healing
[0077] The following may be used as a guideline for teaching others how to
use
instruments or devices with the Harmonious Scale and Tuning System of the
present
invention.
24
CA 02813225 2013-03-20
WO 2012/037653
PCT/CA2011/001053
[0078] (1) Align yourself with your heart, come into a space of love, state
a
prayer of intention: Decide as an individual or as a group, the purpose behind
the sound,
what is it you are trying to create or heal. This intention is very important
as the energy,
Or your purpose is transmitted through the sound. Use positive words and
affirm your
words in the present tense, For example: "We live in peace"; "we live in joy";
"we live in
harmony and love'; "I am healed on all levels"; "you are totally balanced and
in good
health"; "the waters of the earth are clean and pure, a perfect ecosystem".
With the use of
your 5 senses, and emotions, visualize, taste, smell, hear and feel what this
intention
looks like, feels like, tastes and smells and sounds like, affirming that it
is done.
[0079] If it is your custom to ask for higher guidance and assistance in
fulfilling
this intention, the philosophy of this practice recognizes "ALL IS ONE",
therefore there
is no dogma and it is not a religion. Everyone around the world, regardless of
religious
affiliation or faith can join together for a common purpose.
[0080] (2) Align yourself totally and become "one" with the instrument.
Whether
an individual, instrumentalist or orchestra is reading music or improvising,
it does not
matter. Each musician will learn to get in the "zone" or become "one" with the
instrument, allowing the music to flow through them, allowing the breath to be
the
vehicle through which the sound moves. This is a meditative state in which
higher levels
of intuition and higher guidance can be accessed.
[0081] (3) Offer gratitude that your intention is fulfilled.
[0082] As with anything in life, the more energy we put into our projects,
and the
more people working on the same goal, the closer we come to fulfilling each
dream, and
all is possible. Sound Healers and other Energy Medicine Practitioners know
that one
session can produce the results in some instances; some others take 2 or 3 or
maybe 10 or
more. This methodology recognizes that the only limitations we have are those
that we
impose upon ourselves and others. Within school education systems, this
methodology
system will teach children to align, themselves with a purpose and to live
intentionally. It
teaches children the original powerful purpose of sound and music and how they
can
make a difference in the world, it reminds us all to think before we speak,
before we
CA 02813225 2013-03-20
WO 2012/037653
PCT/CA2011/001053
produce the sounds and vibrations we put out into the world which will have an
affect on
everything else. This methodology reminds us of our true soul purpose to make
a
difference in the world (hopefully for the better), to find that power and to
live and
practice it. Within the medical/healing systems, this methodology will teach
practitioners
to align themselves completely with their job, as their intention to heal, and
from a place
of love must be present. It will simplify the technology used for treating
illnesses and
economically be more advantageous. It will heal on all levels of our being:
body-mind
and soul rather than just body-mind. It will heal more deeply and completely,
therefore
reoccurrences of disease and illnesses are less likely, and the speed of
recovery will be
profound, which allows people to get on with living, and practitioners free to
help others.
This may dramatically help health care systems.
[0083] Disclosed herein is a new category of musical instruments or devices
which may be used in methods for tuning, teaching, therapy and healing. The
Sacred
Harp and Sacred Chime described in the Examples provided below, are two
examples of
instruments constructed with the Harmonious Scale and Tuning System and they
may be
used in Sound Healing. The methodology in using this Harmonious Tuning system
may
enable us to teach and promote awareness of intentional use of our sounds and
music
through the understanding and teaching of physics of vibration, resonance
vibrations
theory and vibrational entrainment. Through this understanding of how powerful
vibrations are, we may all make a difference affecting the health and wellness
of
ourselves, our families, our communities and the world. The methodologies of
the present
invention may promote creativity, intuition, meditation, sacred sound and
healing and
unity among all people, regardless of age, race, religion or anything else
that has in the
past, kept us divided. This atonal Harmonious Scale and Tuning System may be a
reflection of the sounds that will unite the world in peace, joy, love and
harmony.
[0084] The above disclosure generally describes the present invention. A
more
complete understanding can be obtained by reference to the following specific
Examples.
These Examples are described solely for purposes of illustration and are not
intended to
limit the scope of the invention. Changes in form and substitution of
equivalents are
contemplated as circumstances may suggest or render expedient. Although
specific terms
26
CA 02813225 2013-03-20
WO 2012/037653
PCT/CA2011/001053
have been employed herein, such terms are intended in a descriptive sense and
not for
purposes of limitation.
EXAMPLES
The Sacred Harp
[0085] FIG. I shows a musical instrument incorporating the Harmonious Scale
in
accordance to one embodiment of the present invention. The harp depicted in
FIG. 1,
which may be referred to as the Sacred Harp, may include a body portion 12,
which may
be made of a hard wood such as cherry, for better resonance. The resonator or
sound box
14 may be formed in the body portion 12 and it may be hollow so as to maximize
the
sound generated by nine (1-9) strings 16 mounted adjacent thereto. Strings 16
may
essentially be similar to standard guitar or harp strings. Each of the strings
may be of
different length, The Harmonious Harp of FIG. I may include dimensions from
point A
to point B of about 68 cm and may be about 16.25 cm from point H to point I. A
person
of ordinary skill in the art would understand that other dimensions are
possible so long as
the 9 strings 1-9 generate the 9 frequencies of the present invention. There
may be a
sound hole 15 on the front hand-carved, which may have 9 cm (3 cm radius). Any
suitable decorative feature, such as the Star of David 17, or 2 triangles
overlapped, one
pointing up and the other pointing down, may be added. The strings 1-9 may
feed in
through the back of the instrument each through a separate entry. The strings
1-9 may be
held by a traditional knot inside the sound box 14 and thread through the
front of the
sound box 14, each through their corresponding holes where the string may be
pulled
tight across a wooden bridge 18 and then across the length of the sound box 14
and
secured to tuning pins 20.
[0086] In one embodiment, the harmonious harp of the present invention may
include 9 strings, each string may be configured to vibrate at a different
harmonious
frequency of the Harmonious Scale. The frequency generated by each string may
be a
function of the strings length, gauge and the tension applied to the string.
Strings I
through 9 may get progressively longer, and their thicknesses (gauge) as well
as the
tension applied to them may be selected so that together the strings produce
all of the
27
CA 02813225 2013-03-20
WO 2012/037653
PCT/CA2011/001053
notes (frequencies) of the harmonious scale of the present invention. The
highest tone
(frequency) may be generated by the shortest string, string 1. String I may
preferably
have a gauge of 0.012 and may be tensioned sufficiently to generate a
frequency of 963
Hz when plucked or strummed. String 2 may preferably be longer and may be
thicker that
string 1 having a gauge of 0.014. String 2 may be tensioned to vibrate at a
frequency of
852 Hz. String 3 may preferably have a gauge of 0.015 and may be tensioned to
vibrate at
741 Hz. String 4 may have a gauge of 0.018 and may be tensioned to vibrate at
639 Hz.
String 5 may have a gauge of 0.018 and may be tensioned to vibrate at 528 Hz.
String 6
may have a gauge of 0.018 and may be tensioned to vibrate at 417 Hz. String 7
may have
a gauge of 0.020 and may be tensioned to vibrate at 396 Hz. String 8 may have
a gauge
of 0.020 and may be tensioned to vibrate at 285 Hz. Finally, string 9, which
may be the
longest string and may preferably have a gauge of 0.20 and may be tensioned
sufficiently
to vibrate at 174 Hz.
[0087] With continued reference to FIO. 1, the harp 10 is an acoustic
instrument
which may be plucked or strummed. It may be held with the base (B) in one's
lap if
sitting or in one's arms if standing and held upright and slanted slightly to
the left with
the sound hole facing away from the performer. Strings 1 through 9 may act as
sound
actuators which, when physically manipulated by a user, such as by plucking or
strumming, may cause the harp to generate the frequencies associated with the
strings.
The strings, each being coupled to the resonator (sound box), may transfer
their
vibrations to the resonator, which permit the musical instrument to generate
audible
musical tones even when the strings are manipulated gently.
[0088] The calming and healing properties of the Harmonious Scale may be
particularly effective when the instillment tuned to it takes the form of a
harp, as the
musical properties of music emanating from a harp are generally more relaxing
and more
calming than other instruments. The harp may therefore be well suited to the
harmonious
scale and in particular for use in sound/music therapy.
The Sacred Chime
28
CA 02813225 2013-03-20
WO 2012/037653
PCT/CA2011/001053
[0089] HG. 2 shows a musical instrument incorporating the Harmonious Scale
in
accordance to another embodiment of the present invention. The chime depicted
in FIG,
2, which may be referred to as the Sacred Chime, may include elongated
suspender 21,
which may be in the form of a rod, from which nine (22a-22i) of sounding
bodies or
chime bells 23 are suspended and dangle at a distance from each other.
Sounding bodies
23 may made substantially tubular or in other shapes. Bodies 23 may be made of
materials such as metal, wood, glass, bamboo, shell, stone or porcelain. The
shape,
material, thickness, hanging method of the sounding bodies 23 may have a large
impact
on the sound each body 221-22i produces.
Each of the 9 bodies 22a-22i of the Sacred Chime is designed to produce
one of the nine frequencies of the Harmonious Scale, such that when struck,
each body
22a-22i of the Sacred Chime produces each of the 9 frequencies of the present
invention.
[0091] A specific embodiment of the present invention has been disclosed;
however, several variations of the disclosed embodiment could be envisioned as
within
the scope of this invention. It is to be understood that the present invention
is not limited
to the embodiments described above, but encompasses any and all embodiments
within
the scope of the following claims.
29
