This is no ordinary mix. The songs have been carefully arranged to coincide with an old, almost forgotten concept developed in ancient Greece by Pythagoras. You may remember Pythagoras from geometry class. His theorem “a2 + b2 = c2” made him famous in his time and in ours. However, the most sublime but least known of all the Pythagorean works was what he called “The Music Of The Spheres.” In this concept, the distance between the Earth and each of the other planets was considered to be a diapason—the most perfect harmonic interval. From the sphere of the Earth to the sphere of the Earth’s Moon, one tone; from the sphere of the Moon to that of Mercury, from Mercury to Venus, one-half; from Venus to the sun, one and one-half tones, and so on…
It was said that Pythagoras could actually hear the heavenly bodies joining in a cosmic chant as they moved in stately manner across the sky. To Pythagoras, music was one of the dependencies of the divine science of mathematics, and its harmonies were inflexibly controlled by mathematical proportions. The Pythagoreans averred that mathematics demonstrated the exact method by which the good established and maintained its universe. After discovering these harmonic ratios, Pythagoras gradually initiated his disciples into this, the supreme arcanum of his Mysteries. He divided the multitudinous parts of creation into a vast number of planes or spheres, to each of which he assigned a tone and harmonic interval. He then proceeded to prove the accuracy of his deductions by demonstrating them upon the different planes of intelligence.
He further declared that the soul could be purified from its irrational influences by solemn songs. In his investigation of the therapeutic value of harmonics, Pythagoras discovered that the seven modes—or keys—of the Greek system of music had the power to incite or allay the various emotions. It is related that while observing the stars one night he encountered a young man befuddled with strong drink and mad with jealousy who was piling sticks about his mistress’ door with the intention of burning the house. The frenzy of the youth was accentuated by a flutist a short distance away who was playing a tune in the stirring Phrygian mode. Pythagoras instructed the musician to change his air to the slow, and rhythmic Spondaic mode, whereupon the intoxicated youth immediately became composed and returned quietly to his own home.
Pythagoras cured many ailments of the spirit, soul, and body by having certain specially prepared musical compositions played in the presence of the sufferer. Pythagoras did not hesitate to influence the mind and body with what he termed “musical medicine.” In his university at Crotona it was customary for the Pythagoreans to open and to close each day with songs—those in the morning calculated to clear the mind from sleep and inspire it to the activities of the coming day, those in the evening of a mode soothing, relaxing, and conducive to rest. At the vernal equinox, Pythagoras would gather his disciples in a circle around one of their number who led them in song with an old school guitar.
So little remains, however, of the Pythagorean system of celestial music that it is only possible to approximate his actual theory. The names given by the Pythagoreans to the various notes of the diatonic scale were derived from an estimation of the velocity and magnitude of the planetary bodies. Each of these gigantic spheres as it rushed endlessly through space was believed to sound a certain tone caused by its continuous displacement of the æthereal diffusion. As these tones were a manifestation of divine order and motion, it must necessarily follow that they partook of the harmony of their own source.
The Pythagoreans believed that everything which existed had a voice and that all creatures were eternally singing the praise of the Creator. Man fails to hear these divine melodies because his soul is enmeshed in the illusion of material existence. When he liberates himself from the bondage of the lower world with its sense limitations, the music of the spheres will again be audible as it was in the Golden Age. Harmony recognizes harmony, and when the human soul regains its true estate it will not only hear the celestial choir but become part of that Eternal Good. Here is my attempt to put his theory into action. Each song represents either a concept related to this music or the sounds of the individual planets, with the whole being greater than the sum of its parts. Be sure to check out the track list so you can see how each song correlates with this idea. Enjoy!