Looking into the depth of soul —
Breaking through the superficial
Black and white to all the colors
Duality tends to argue and fight
Why not just simply all together
Such a great force of evolution
Not the fittest or the strongest
But the one cooperating most
An ever new consciousness
Like a phoenix from ashes
Does the old have to burn
Or can it just step aside
Make room for the new
Generation merry go round
Heaping not just much trash
But the unfoldment of all
Consciousness and love
Appreciation and care
For oneself, others, all
A world that is home
Such beauty of nature
God has made the earth
We can plant a few flowers
Or trample them—too often
For black and white views
Too prevalent in humanity
Until able to perceive colors
Appreciate them all together
The spirit of life and of love
All free beyond the surface
Big round eyes open so wide
Looking into the depth of soul.
“HexaNa Gita” — harmonic six-pack
The tonality HexaNa is remarkable in that its pitches are the first six overtones or harmonics of its fundamental. Though our hearing may only perceive the first few harmonics of a fundamental with relative clarity, further overtones or harmonics contribute much to the feel and timbre of a sound, of an instrument or a composition.
The initial six harmonics or overtones in their distinct sequence are: 1) fundamental, 2) quint or fifth, 3) major third, 4) minor seventh, 5) major second, and 6) tritone. Their actual order of appearance in the series of harmonics shows their prevalence and relative importance: 1) fundamental, 2) octave, 3) quint, 4) octave, 5) major third, 6) quint, 7) minor seventh, 8) octave, 9) major second, 10) major third, 11) tritone, 12) quint, etc. Thus, within the first twelve harmonics, the fundamental or octave occurs four times, the quint three times, the major third twice; and the minor seventh, major second, and tritone each appear but once and in this order of decreasing prevalence.
The tritone — the sixth distinct harmonic
Generally in Western music, the tritone, which is the sixth overtone in their distinct sequence or the eleventh in appearance, tends to be suppressed. In exact tuning it does not fit well into the grid of tempered twelve-pitch tuning. As such, the hammers of a piano apparently strike their strings exactly and purposely in the place where this harmonic originates, in order to suppress it.
Finally, from Wikipedia a historical glimpse on the tritone:
“The tritone is a restless interval, classed as a dissonance in Western music from the early Middle Ages through to the end of the common practice period [the era of the tonal system, roughly to 1900]. This interval was frequently avoided… because of its dissonant quality… Until the end of the Renaissance the tritone was regarded as an unstable interval and rejected… The name diabolus in musica (Latin for ‘the devil in music’) has been applied to the interval… designated as a ‘dangerous’ interval… That original symbolic association with the devil and its avoidance led to Western cultural convention seeing the tritone as suggesting ‘evil’ in music.”
— This is an example of how humans kept and keep falling into entanglement with duality, separating and excluding instead of unifying and embracing what is in front of us.