Alchemy involves Music, or at least a weird succession of sounds. Maybe more of all this. Atorène provides a course on musical, or ponderal, proportions.

fludd utriusque cosmiHow many researchers in Alchemy are familiar with the music theory? They are most likely accomplished in philosophy and chemistry. And, again, the Last Cooking has always been kept aside for adepts. But he/she who doesn’t know the basic on music theory will fail to understand why sometimes the Philosophers Stone has been called “Cosmic Resonator”. And perhaps a new alchemical world will open up in front of us.

Time has come to give the new category “Alchemy & Acoustic-Musicology” an autonomous path, independent from the Western Cabbalah classification which so far has protected and hidden it.  There is a reason if this article opens the new category: the sounds discharged by the Philosophical Egg represent a non-philosophical but objective physical element, in fact those whistles could be heard by anyone attending the event. Thus, for the moment, let’s start with what we experimentally know, before getting towards a Terra Incognita I haven’t the slighted idea where will take us. My research does’t  mean to remain confined to authors who have a reputation for Alchemy. Among them Francesco Zorzi, Heinrich Khunrath, Robert Fludd, John Dee and Johannes Reuchlin were perhaps the ancient authors who have more than others undertaken this path with decision. But also Michael Maier and René Schwaller de Lubicz have given some hints.

I don’t know if that was also the intention of Atorène, surely the Canseliet’s apprentice here wanted to lay the theoretical foundations to go beyond his Master. The pages I have translated from “Le Laboratoire Alchimique”, 1981, are a real and comprehensive music theory course to provide solid foundations to figure out the variations of sounds from Canseliet’s Philosophical Egg during the famous  seven whistles, and the philosophical and mathematical implications of the resulting musical scale, through the ponderal (weight) accretions. Atorène had already presented and integrated the work of his teacher in Brouaut’s Frontispiece, the Organ Pythagorean Proportions,  and promised to make even the reader less familiar to music theory to understand what was so thrilling in the detection of the weights difference ratio.

The course starts with the presentation of the Philosophical Week, which is the musical interval of the Last Cooking, then continues with the musical notation and Law of Attraction. Before getting to the Egg’s Densities Variations, and Degrees of Fire, Atorène provides the reader unfamiliar to the mathematical laws of the sounds proportions with the construction of notes, intervals and scales, and Pythagoras, as well as Zarlino’s, range. Readers unaware of music theory are recommended  not to skip the theoretical parts to jump to the chapter on the Rhythms of the Universe, as, incredibly, the egg behaves just like a music resonator. And only knowing the music theory we might come to understand what Canseliet did not say.

Music Theory Course for Alchemists: The Week

roman calendarWhere do the days of the week come from?

From the ancient Egypt, answers Dio Cassius Cocceianus (Nicaea in. 155 – in Bithynia. 230). He’s right, Egypt is the melting pot of the Week and the passage of the witness up to our civilization was carried out mostly by Jews.

Monday is the day of the Moon, Lunae dies; tuesday day of Mars, etc. Saturni dies is very deformed and was adapted by the Jews on the Sabbath (latin: sabbatu, greek: sabbaton, Jewish sabbath, the day of rest, Spanish: sabado) and Sunday is the Lord’s day (latin: dominica, implicit diem: day of the Lord, Dominus). The English here is clear: for Saturday: Saturday, day of Saturn; and on Sunday, the day of the Sun: sunday; or, in German, sonntag (day: dies in latin, day in English; tag in German. Sole: solis, in latin; sun in English; sonne in German).

zwierzyniec_niebieski_i_planety gnosis artSo we have the sequence of the celestial bodies Moon, Mars, Mercury, Jupiter, Venus, Saturn and the Sun. A priori it seems to be before a common disorder, as the progression gives heliocentric Mercury, Venus, Earth, Mars, Jupiter, Saturn etc, while the classification using the ancient wisdom is: Moon, Mercury, Venus, Sun, Mars, Jupiter, Saturn.

A large number of investigators question on this point. We will provide them an explanation from the range of Pythagoras on.

We have the planets in the order in which, according to the Tradition, they dispense their influences on the athanor, and associate the sounds emitted by the philosophical Egg. To simplify, let’s call them according to the usual succession of notes in the solfeggio (without seeking a rigorous value).

Day of Moon                 1 sound do    C

Day of the Mercury     2  sound re    D

Day of Venus                3 sound mi    E

Day of the Sun              4 sound fa     F

Day of Mars                  5 sound sol    G

Day of Jupiter               6 sound la     A

Day 7 saturn                 7 sound si      B

Let’s continue now, as the master of Samos, the great Pythagoras, by successive fifths, with  reduction of octave. We get, starting from do:


do     x    3/2     =      sol

sol   x      3/2    =       re

re    x      3/2    =       la

la    x      3/2    =       mi

mi   x      3/2   =        si

si    x       3/2   =        fa ( being strict, fa sharp)

And ordering the planets that govern the area in relation to the succession of fifths, we immediately obtain the exact order of the days of the week. They are, in some way, the “chorded days” of the  Hebdomas Hebdomadun, the week of the weeks:

do  = Lunae dies      =  Monday
sol = Martis dies      = Tuesday
re  =  Mercurii dies = Wednesday
la   = Jovis dies         = Thursday
mi  = Friday dies     =   Veneris
si   = Saturni dies     = Saturday
fa  = Solis dies          = Sunday

We have seen that the seven notes indicated by Canseliet in his letters do not match what we have read above. So let’s go on to find out.

The Musical Notation and the Law of Attraction

guido d'arezzo theobaldus with monochord xii vienna national bibliothekEven if not doing a complete history of musical notation, we say that for a specified period, following the principle inherited from the Greeks, some letters were used to describe sounds:

A   B   C   D   E   F   G.

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