11:11

This paper will deal exclusively with the connection between the 11:11 swap over point

within the vibrations, scales and numbers, and the work regarding the 11:11 gateways

that are at present occurring. For me it is comforting that the very vibrations confirm the

existence of such a phenomena. In my book “Music and Numbers through the Looking

Glass” there is ample evidence of the perfect symmetry occurring around the 11:11

position. Within scales it is hidden within the center at both sides of the mirror. Within

numbers it is evident when they are combined with the music scales, and so all seems to

be married together.

Admittedly it will be hard fort non-musicians to really get the picture regarding this 11:11

as found within the vibrations. Therefore this short paper will dip into the above-

mentioned book, pulling out only the essential information, and will hopefully provide a

non-musician with some info they can remember. The whole idea here is to give one a

sense of awe, to strengthen the faith that there is the same info out there as there is in

our hearts. Nothing can replace the imagination and intuition that exists within the heart.

In that respect what is the point in providing empirical evidence that there exists a

perfectly symmetrical point within the vibrations, a swap-over point that can be

designated an 11:11 axis? Well, for me it is no more than playfulness, a laughing within

that (putting on cowboy accent here) “Yip, that there Creator sure has it manifest in

them there vibrations”! And anyway, if I were to have faith in something, it would

strengthen my heart no end to see confirmation of what I see within without.

I call the hidden structure that emerges when one deals within vibration in a symmetrical

way a Merkaba, or star of David. When perfect symmetry is found this Merkaba is like

the glint of light that appears at that point. The book deals with how this Merkaba

structure is found again and again. Coming up in this paper are only the 11:11

connections.

How does division and multiplication find ways to interact? The Lambdoma is seen to

create structure between divisions and multiplication, as in the reciprocal ratios 1:9 and

9:1, or 11:1 and 1:11. An interesting relationship between division and multiplication

exists within the overtone series, and the mirror of those overtones. Here is a typical

Lambdoma showing the relationships overtones have amongst each other.

Each ratio is taken from the perspective of the C axis. But with careful inspection it will

be seen how F#/Gb can also be considered an axis for all the reciprocal ratios. It is

important to know that the F# is also a Gb here. The Gb was used in order to make

things look tidier. I prefer using F# after that because it is generally known that there is a

chamber within the Great pyramid that resonates to this note, and also the human voice

has a register shift at the F# point.

1:1 C

2:1 C

3:1 G

4:1 C

5:1 E

6:1 G

7:1 Bb

8:1 C

9:1 D

10:1 E

11:1 Gb

12:1 G

13:1 Ab

14:1 Bb

15:1 B

16:1 C

1:2 C

2:2 C

3:2 G

4:2 C

5:2 E

6:2 G

7:2 Bb

8:2 C

9:2 D

10:2 E

11:2 Gb

12:2 G

13:2 Ab

14:2 Bb

15:2 B

16:2 C

1:3 F

2:3 F

3:3 C

4:3 F

5:3 A

6:3 C

7:3 Eb

8:3 F

9:3 G

10:3 A

11:3 B

12:3 C

13:3 Db

14:3 Eb

15:3 E

16:3 F

1:4 C

2:4 C

3:4 G

4:4 C

5:4 E

6:4 G

7:4 Bb

8:4 C

9:4 D

10:4 E

11:4 Gb

12:4 G

13:4 Ab

14:4 Bb

15:4 B

16:4 C

1:5 Ab

2:5 Ab

3:5 Eb

4:5 Ab

5:5 C

6:5 Eb

7:5 Gb

8:5 Ab

9:5 Bb

10:5 C

11:5 D

12:5 Eb

13:5 F

14:5 Gb

15:5 G

16:5 Ab

1:6 F

2:6 F

3:6 C

4:6 F

5:6 A

6:6 C

7:6 Eb

8:6 F

9:6 G

10:6 A

11:6 B

12:6 C

13:6 Db

14:6 Eb

15:6 E

16:6 F

1:7 D

2:7 D

3:7 A

4:7 D

5:7 Gb

6:7 A

7:7 C

8:7 D

9:7 E

10:7 Gb

11:7 Ab

12:7 A

13:7 B

14:7 C

15:7 Db

16:7 D

1:8 C

2:8 C

3:8 G

4:8 C

5:8 E

6:8 G

7:8 Bb

8:8 C

9:8 D

10:8 E

11:8 Gb

12:8 G

13:8 Ab

14:8 Bb

15:8 B

16:8 C

1:9 Bb

2:9 Bb

3:9 F

4:9 Bb

5:9 D

6:9 F

7:9 Ab

8:9 Bb

9:9 C

10:9 D

11:9 Eb

12:9 F

13:9 Gb

14:9 Ab

15:9 A

16:9 Bb

1:10 Ab

2:10 Ab

3:10 Eb

4:10 Ab

5:10 C

6:10 Eb

7:10 Gb

8:10 Ab

9:10 Bb

10:10 C

11:10 D

12:10 Eb

13:10 F

14:10 Gb

15:10 G

16:10 Ab

1:11 Gb

2:11 Gb

3:11 Db

4:11 Gb

5:11 Bb

6:11 Db

7:11 E

8:11 Gb

9:11 A

10:11 Bb

11:11 C

12:11 Db

13:11 Eb

14:11 E

15:11 F

16:11 Gb

1:12 F

2:12 F

3:12 C

4:12 F

5:12 A

6:12 C

7:12 Eb

8:12 F

9:12 G

10:12 A

11:12 B

12:12 C

13:12 Db

14:12 Eb

15:12 E

16:12 F

1:13 E

2:13 E

3:13 B

4:13 E

5:13 G

6:13 B

7:13 Db

8:13 E

9:13 Gb

10:13 G

11:13 A

12:13 B

13:13 C

14:13 Db

15:13 D

16:13 E

1:14 D

2:14 D

3:14 A

4:14 D

5:14 Gb

6:14 A

7:14 C

8:14 D

9:14 E

10:14 Gb

11:14 Ab

12:14 A

13:14 B

14:14 C

15:14 Db

16:14 D

1:15 Db

2:15 Db

3:15 Ab

4:15 Db

5:15 F

6:15 Ab

7:15 B

8:15 Db

9:15 Eb

10:15 F

11:15 G

12:15 Ab

13:15 Bb

14:15 B

15:15 C

16:15 Db

1:16 C

2:16 C

3:16 G

4:16 C

5:16 E

6:16 G

7:16 Bb

8:16 C

9:16 D

10:16 E

11:16 Gb

12:16 G

13:16 Ab

14:16 Bb

15:16 B

16:16 C

I am sure this kind of grid may not make sense to some, so here is , hopefully, a simple

explanation of how this grid describes sound within material objects. The work of

Barbera Hero on the Lambdoma is wonderful and for those not familiar with her it would

be a good thing to key her name into a search engine and see what is out there.

When one strikes a string one will hear a fundamental note. If we had ears to hear the

note in its entirety we would find that there are infinite notes all dancing around this one

fundamental note. These notes would be like slices of an infinite onion. The grid above

shows how C is the fundamental note. This is shown as a 1:1 ratio. Imagine also that the

vibration here is seen as One Cycle Per Second. The next ratio is that of 2:1, or Two

cycles per second. This first overtone from the fundamental produces the same note.

However the second note is one octave higher in pitch, and more faint than the

fundamental. Most musicians can hear this octave of the fundamental when they pluck a

string that produces the main note C.

The next ratio is that of 3:1, or Three cycles per second. The overtone produces (the

pitch) is that of the note G, which is one octave plus a 5th above the fundamental. Again

most musicians can hear this pitch. Therefore each ratio in the grid above is showing the

dance of all the pitches around the fundamental. So far we are dealing with

multiplications, 2:1, 3:1, 4:1 etc. What about the divisions? This is where a different

perspective would help understand about axis (access) points. And it would also help

one to look at what I term Mode Boxes within my book. Here is the fundamental note C

set as an axis, with the multiplication ratios on the right of it, and the division ratios on

the left:

Overtone series of C with symmetrical reflection applied: 11 10 9 8 7 6 5 4 3 2 1 2 3 4 5 6 7 8 9 10 11 F# Ab Bb C D F Ab C F C C C G C E G Bb C D E F#

What is confirmed here is that at one point after the C there is another axis point. That

point occurs at the 11:11. This 11:11 is the same note, that of F#. The fundamental also

is an axis point at 1:1. In my book I show how one axis point is Visible (the C axis), and

the other axis point is Invisible (the F# axis). So here is the scale of C major having been

mirrored:

Mirror point

3 4 5 6 7 1 2 3 1 2 3 4 5 6 7 8

C Db Eb F G Ab Bb C D E F G A B C The note F# sits in the very center of both sides of the mirror, in between the F and the

G. For musical reasons the C on the mirror side starts its cycle on the number 3, and on

the number 1 on the right hand side. The F#, therefore lives at the numbers 4.5 and 6.5.

This of course equals an 11. The main point is that F# is still an axis point within the

mirroring of the major scale. My book will give many insights into the beauty of this

musical system, which in fact is caused by numbers, or we could say ‘cycles per

second’.

Around the C note axis appear note pairs, C/C D/Bb E/Ab G/F etc. The F# is not part of

the scale, lying at the Tri-tone positions in both scales, between the notes F and G. So

F# =F# through the mirror (it symmetrically reflects itself) The note C is an axis point

because C = C in the mirror. Also of interest is that a Major/Male scale always mirrors to

a Minor/Female scale, as do triads and other chords. The scale on the left is a minor

scale and can be associated with feminine tonality. The scale on the right is a major

scale. How often does one stare into a mirror and see their opposite sex staring back?!!

That’s because we should be staring into our own inner mirror and seeing the place

where we are One.

On the right is born the major triad of C E G, on numbers 4 5 6,whilst on the mirror side

is born the minor triad of F Ab C (same numbers moving anti-clockwise). Again one triad

is a major triad and the mirror triad is a Minor triad. This is always the way with mirroring.

It is only at one point where there is perfect symmetry, where the male and female seem

to be united. That point occurs within the Dorian Mode. This mode has always been

associated with mysticism, like the Dorian Monks, or Egyptian beliefs that this mode was

access to our ‘twin’ on the other side. At this Dorian mode position one will come to see

how Light and Dark marry together and cause a perfectly symmetrical system. Take my

word for it or read my book. The book is free for you to read so I am not coming at you

with a Sales Rep mind.☺

There are two axis points because there are double circles that are motivated to

movement from the root axis point. One circle travels clockwise and the other anti-

clockwise. At the semi-circle stage of both journeys happens this second axis point

(musically known as the tri-tone position).

The F# at the centre of the C Major scale is an invisible axis, whilst the C is a visible

axis. This Tri-tone position axis that produces (like a tonal fountain) the Duality of

male/female pairs as expressed in vibration.

Whatever the result is at the root axis there is a similar result at the Tri-tone axis. The

central tri-tone axis is a way that we can be at full potential with the root again. The

Male/Female qualities marry up again at this uninvolved point and it is led by the 45%

angle within the mode Boxes that are shown in my book.

11:11 is very much the gateway of the invisible axis, passive and not up to anything. It is

the "world" at large that seems to be up to everything else except focusing on it. And I

feel it is because human nature cannot focus on it. To focus and go within is to loose our

secret desires, for they will not pass through if they are not based on the law of One.

As a younger man I used to understand the actions of a lot of people were actually

designed to allow them to remain "blind". I didn't know then what it was they were trying

to resist. And of course also observing that urge within myself to become embroiled in

the deception of the ego.

Invisible axis falls on 11:11 (F#/F#) within the overtones either side of the visible C axis

that joins the two evolving sides of the duality.

The 11:11 is the invisible aspect. The visible tri-tone occurs at the 4/7 and 7/4 either side

of the mirror. On the right it is F/B which is the visible tri-tone, and C/F# the invisible tri-

tone. On the left it is Db/G as visible, and C/F# as invisible. Again the 4/7’s give rise to

an 11:11. The Dorian Mode connection is on the number 2. One octave higher and this

2 becomes a 9. The 9 resides over the 2 and forms an 11, with the mirror 9 on the mirror

2 forming the second 11. The 2/2 is also the only place the numbers match up wither

side of the mirror. The 6 mirrors to the 5 and creates one more 11, whilst the 5 mirrors to

the 6 and creates its partner.

So the journey to the center from the bottom C is C D E and then into F#. To meet that

movement is an invisible journey from the top C consisting of C Bb Ab and then F#.

C D E F (F#) G A B C

The above meets the below at this point and the point of convergence imitates the same

symbology as the Tau signifies. The H used to signify the note B and could represent the

diatonic tri-tone reflection which exists between the F and B. This is a 4/7 relationship

within the major scale, Lydian/Locrian, perfect Light/Dark. The F and B would be a

visible tri-tone point. The C to F# leads to the invisible point. In truth they switch from

one function to the other at the completion of every cycle.

One could mention the Greek way of producing scales using Tetrachords, and it would

be seen that it is at the centre where two tetrachords are merged that there exists this

invisible axis point.

All this comes together as a triple tone, 9:8 three times, and 9+8 = 17, which number is

representative of the meeting point between light and dark.

Regardless of the past, and what may or may not have been written, this Creative force

that permeates the universe will always be speaking its Word. It comes forth every

moment a living testimony unto itself, no need to record it in some book, or give

credence to someone for having invented it. With that in mind one can always compare

this living word against any written word. Let's see if there is an unbroken thread in the

logic contained in the written word.

Nothing is actually male or female until in a masculine or feminine position. One cannot

describe a note as masculine without betraying the rights of the female triangles, as

shown in my book. At a male position on one side of the mirror is a female position in

symmetrical reflection to it. They will not be vibrating at exactly the same number,

because they are different notes. Those notes do not really matter as much as their

position at that time does. For in any other key those notes may be in an opposite sexual

position (yes, as shown by the number 69). The implications eventually become quite

non "musical" and more a question of superstring theory perhaps!

So how does a male become a female at the swap-over moment. Perhaps they need to

hop on a triangle and it gets them there through the tri-tone gateway. Why not?!

Quantum mechanics says it’s a crazy world deep in the heart of an atom. Thinking of this

gateway leads us to the 11:11 gateway within the overtone duality. Thinking of this 11

may well render a quick detour into dividing numbers by 11

110/11 = 10

111/11 = 10.09090909090909

112/11 = 10.18181818181818

113/11 = 10.27272727272727

114/11 = 10.36363636363636

115/11 = 10.45454545454545

116/11 = 10.54545454545454

117/11 = 10.63636363636363

118/11 = 10.72727272727272

119/11 = 10.81818181818181

120/11 = 10.90909090909090

121/11 = 11

There are two main things happening in these totals. There are the number partners of

the Vedic square 1/8 2/7 3/6 4/5, and there are what in music are known as Inversions,

and again they happen to be the same as the number partners. Because it is the number

11 that produces this, one is led back to the overtones and wonders if at the 11 point

either side of the duality it uses the tri-tone to continually shift from a clockwise number

to an anti-clockwise number. This would be the same as traveling on side of the mirror to

the other continually, infinitely on each inversion.

I hope this little meandering has helped some of you to see the wonder of this 11:11

being a gateway. My book will give a lot more scientific kind of proof as to why this

conclusion is simply irresistible. If anyone would like to know more then I welcome any

feedback.

Many thanks and Love to All

Lui Di Martino