1st part: Introduction

 

If you love music, take a few minutes of your time and read attentively what is following and discover one of the greatest inventions based on a new musical perception. Everything started when the inventor associate together the diatonic scale and the chromatic scale by using numbers to indicate each degree (see Fig.1). By looking at the numbers that correspond to the intervals that constitute a Perfect Major Chord, you can see appear the legendary Fibonacci sequence (the golden section - PHI - or the divine proportion). With the discovery of a “Musical Universal Key”, M. Sylvain Lalonde, the inventor, demonstrates where this revolutionary easy approach method begin.

Fig.1

2nd part: Diatonic scale vs Chromatic scale

Let's look at the same graphics on a 360-degree platform.. The use of black and white is used to represent the notes of a piano, to help understand this new perception.

Select and print  Fig. 3 (picture) cut the two discs, then cut down the 7 windows that correspond to the intervals on disc 1 (Item 32). Overlap disc 1 over the second disc (Item 30) and then position the 1st degree (“Tonic”) on C,

you’ll get the “C-D-E-F-G-A-B” sequence.

 

Fig.3

Now move the “Tonic” on the “Fifth”, the G, this way you obtain the alterations that constitutes the key frame of our tonal system and so on. We call this:

The Cycle of the Fifths

 

( F0 x 1.5 ) / 2*

(Ascendant = Sharp order = F#, C#, G#, D#, A#, E#, B#)

 

 

(Descendant = Flat order = Bb, Eb, Ab, Db, Gb, Cb, Fb)

 

3rd part: the natural vs temperate harmonics

PHI : IT’S THE HALF OF EVERYTHING

Each note is made of natural multiples called harmonics

At each degree of the scale, there is a three fondamental sound chord

The chords of three sounds consists of a fundamental

a third party (major or minor) and a fifth just.

« THE THIRD CIRCLE »

« C, E, G, B, D, F, A »

« Natural progression of 25 % »

The notes of a chord can be duplicated at the octave or arpeggiated without altering the identity of the chord.

Note that the ratio between La 440 Hz and Do 264 Hz has a proportion of

1.66666666666667

either: 440/264 = 1.66666666666667

this proportion will never change ... whatever the frequency chosen:

... 328 - 432 - 440 - 442- 444 ...

it's a good way to find your C

then divide it by 24 to get what I call the unit of measure

this unit of measurement represents the 24 hours of a day

because music it’s space and time

« Listened different A »

P: S. The tuning frequency of  A at 426.7 Hz also called Scientific range

 or Range of physicists, with a Do at 256 Hz

either : 426.6666666666667 / 256 = 1.66666666666666667.

Pythagoras was not wrong, the golden ratio always right ...

« Analog vs digital »

( 10 / 12 ) * 2 = 1,666666666666667

« HDS Temperate scale Hz »

What is important here is that no matter the tone (tonal height) in which

we play,the intervals will always be the same :

Major (which constitute the key frame of our tonal system) or minor.

HDS-Prélude en LA mineur

For more information on the universal musical key see R & D section