Antikythera Mechanism secret solved as a Musical Computer

•December 27, 2009 • 3 Comments

Author B Billy Mars – Professional Geologist

Writer of the H2onE2 and H3onE3 works

NOTE: I am adding directions on how to use the music computer to the bottom of this page.


directions on how to use the music computer………………………………

Every song is built off a Root Scales, you can shift your root scale in a song but it might not sound good. Because if you do this you are taking the song out of possible, or away from being harmonic and, you end up making the Jazz.

So, all the “Scale Disks” are listed with root scales from A to G# and to the right are Roman numerals ( I, ii, iii, IV, V, iV iiV) which are the chord progressions. Your song will be built from one of the scales, as the Root and work off the chord progressions.  A common chord progression is (I) as the Root note and (V). About 50% of songs are writing in a two chord progression following (I) to (V) over and over and over. Blues commonly uses (I) than (IV) than (V) only to start back over. Or, mixing things up all only the way, like here, (I) to (IV) to (I) to (V) repeated over and over.

Songs wont sound good with a (I) to (ii) chord progression. A good learning exercise will be to get some sheet music and start writing down every note in the song. Do this in a descending list, just like the 12 note lists on the Scale Disk.

For an example “Ode to Joy”

NOTE: remember to include to bass notes from the Bass clef, which in notation looks like a happy face on its side. Music is so easy the ruling elite have to add completely unnecessary complications so it confuses the simple folk. This is why the bass notes are written 2 notes lower then treble clef. Sharp and flat notes are also another level of confusion and complication that are unnecessary and left out of the Circular Musical Commuter. I just use sharps and decipher any sheet music that is in a flat notation, into sharp notes.


First measure     Second measure               Third Measure   Forth Measure

C bass tab             G bass tab                             C                              G

–                                –                                   –                               –

–                                 –                                 D                               –

E                                –                                  –                                –

F                                 –                                 E                               –

–                                  –                                  –                               –

G                                 –                                  –                               –

–                                  D                                  –                               D

–                                   –                                   –                                –

–                                   E                                   –                               –

–                                   F                                   –                               –

12                                12                                12                            12

This one is kind’a easy but some Classical music will fill in a lot more blanks when you decipher their measures. Although, the simpler the song the more attractive they are to the human ear and personal stimulation.

Now grab your scale discs and start looking for the notes in the first measure C, E, F, and G. I can tell you now there are no sharp or flat notes so most likely it is in a major scale and a natural major root scale like a C, not an A#. Many scales might match up, like G and C Ionian, but you want the simplest one with the correct chord progressions. Start looking at your scale disks. Disks one and two are the most important.

Your first guess at the scale Root will be wrong here, if quickly come to the conclusion it is C, as the root scale, from “Scale Disk 1” Ionian.

Like I said earlier most 50% of songs follow the chord progression of (I) to (V) and back over and over.

Here is what you see on your scale C with the Chord Disk of the Major chord form, through the window

C Ionian (V) Scale           Chord Disc (Maj) window

From the triplet C, E, G

C                                              R = Root

–                                               –

D                                             –

–                                               –

E                                              5

F                                              –

–                                               –

G                                             8

–                                               –

A                                             –

–                                               –

B

C root in Ionian is wrong because the triple does not work. On the C root Ionian the chord (V) chord progression starts with a G, skip a note than B, skip a note and you land on D.  The G and D in the triple are ok but the B in the triplet is the red flag. There are no B’s in the first 4 measures of the song. B might be part of the scale but not an import part that would find its self in the triplet. No way Jose.

So, I think the song is in a G root scale that progresses to the C as the (V) chord progression. The song appears to be following the chord progression of (V) to the (I), over and over, well at least for the first 4 measures. And, now I am going to check G as the Root from the Ionian scale.

Here is what you see on your scale G with the Chord Disk of the Major chord form, through the window

G Ionian Root Scale        Chord Disc (Maj) window

G                                             R = Root

–                                               –

A                                             –

–                                               –

B                                              5

C                                              –

–                                               –

D                                             8

–                                               –

E                                              –

–                                               –

F#                                            –

The next thing I do is, count the triplet down from the C note on my G root scale. And, you get, C skip a note, E skip a note and G. So, C, E, G is the triple and check if it is a major or minor by placing the “Chord Disk 1” over the C Ionian scale. This is a hit. I know “Ode to Joy” now is in G as the root with (V) as the C major and not the other way around. Smacks tricky little Beethoven.

You will use the Chord Disks from the musical computer to check the Triples to see if they are in major, minor or sharp. I already said this song smelled major / major but on complicated music you will spin the hell out of the Chord Disc to help decipher the music. Especially, when the song is using a more complicated chord progressions like (I=Root), (IV) and (V).

See how the B is still there in the scale but at the bottom when using G as the Root. The B is less import in position and influential to the sound of the song; of this song. And, in the G Ionian Root Scale, the F# at the 12th note also holds a weak position and will not influence the song; this song.

Now, when you write your own song let’s say using the same scales and chord progression. When you strum the G chord you can use any notes on the G scale to carry your tune or perform lead work.  When you strum the C chord you can use only the notes from the C scale. This is how you will stay harmonic and sound good. Now on guitar, you can slide or bend up, from a note not or the scale but you better land of a scale note and do it with speed.

I had some problems figuring out the Chord progression notation on the scale discs, mostly on the wacky Spanish and gypsy scales. Until, I write a song in each scale, I might not total figure it out. But, most scales are built off majors and minors. A minor would be Root and the 4th note (IV) and a major as the Root and 5th note or (V). Sharps are worked mostly off the 7th note.

Most of my songs are in Aeolian “Scale Disk 2”. You want to sound like me write in Aeolian, it is dark and sad but not too dark or too sad.

You need to now start decipher songs yourself, to get a better feeling for the progression of music and produced sounds. And, you need to work on more complex songs.  Ones that have you studying the forms and shapes of the scales and chords using the Circle Computer.

You also need to practice writing songs or fixing some of your older songs that are not fitting into a root scale and following a normal chord progression or, are harmonic.

Another great exercise is taking a song and changing it into another scale.

I have my music videos posted here http://www.youtube.com/H3onE3

In the video called “H3onE3 Antikythera Mechanism Musical Computer Locrian 9th key E” the music is my attempt at taking Beethoven’s 9th from the Major Ionian and transcribing it into the unstable Locrian E scale.

I did this by making the list of Beethoven’s scales like the G Ionian scale next to a E Locrian and lined things up with a ruler. So, when Beethoven’s played a G note, I lined up the rule and replace it with an E, and so on through the sheet music working up and down the scale. When it came to the notes that did not line up, I would pick the next one up or down at random mostly. I mean I knew I would be harmonic and whatever I did it would sound good regardless.

It was fun it see what came out, the end product, but you also learn a lot about music when you do this exercise. So to master the Circle Computer you need to perform at least one song scale transition exercise.

I am not sure what else to say here, there is just not that much to this. Feel free to post comments or questions or hate mail if you are a Music teacher. Love to laugh my way through some good old hate mail.

Lastly, don’t share or steal the music computer from a download on another website, because it could be altered with a few notes and made to not work properly. I have made it cheap enough $1.99 for even a person in a third world country to acquire. Buy it from my website and it will be the same one I use to make music.

I am not 100% sure the scales and chords are perfect. And, I still have to figure out the Chord progressions of some of the wacky scales, which would require a lot more time than I am willing to commit at this point. Well, I might not actually get around to ever doing this to be honest.   I am a Geologist and try and work on science junk, music is just to easy; I mean 12 notes right. I don’t even know why or how people would even get a degree in music or require someone to teach music.

Image Text posted below if you can’t read the pictures on your screen………………..

To uncover the true importance to the Antikythera Mechanism we must start the investigation by scrubbing our programmable minds of the current beliefs, previously acquired descriptions; this is always the hardest part. Derek Price, a science historian at the University of Yale, concluded that the device was an astronomical computer designed to predict the positions of the sun and moon in the zodiac on any given date and used for navigational purposes.  First we cannot trust anyone from Yale, second let’s explore why a navigational devise in the Mediterranean is ridiculous at best.

Lets talk about the Mediterranean Sea, to start it is not very big, more like a continental lake, something on the scale of lake Michigan.  At no place in the Mediterranean Sea are you ever more than 300 chartable miles from land or an island. Sailing the Mediterranean Sea requires no navigational tools other than charts / maps because all sailors would use dead reckoning. A captain would Dead reckon (DR) his current position based upon viewing land masses and verifying his position on a map. Since you are never farther than 300 miles from land you would never be farther than a 2.5 day sail to the next island, most trips between islands would be less than a day.  Seeing the next island and its contours a captain would look at his charts and Dead reckon an angle off to the next island, the course or direction of the boat mostly chosen by the direction of the wind.

Since a map would estimate a distance between departure and arrival destinations, a captain will only require the rate or speed to estimate the trips length. Sail boats have actually two speeds slow in “light winds” and something called hull speed which is achieved in “stronger winds”. A sailboat travels no faster than its hull speed, wind over about 15 mph your sailboat will only go about 7 mph consistently faster winds, 25 to 45 mph do not increase the speed of the boat due to the limitations of hull speed. Sailors would know exactly how fast there boat reminded by the hum or resonating sound produced by their ship’s hull as it glides through the water. No local sailor or fisherman in the Mediterranean relies on sophisticated navigational tools like a GPS.

Now we need to talk about the ship, which by no means is impressive; it was small when compared to its massive cargo. Also a treasure of this size and wealth should be moved by a warship, armed with soldiers. At least 30 or so swords and suits of armor “helmets, breast plates” should be found included with this wreck. These people would be the soldiers required to defend this treasure. The wreck should be similar to finding an armored bank truck, except it is missing its armor, shotguns or security personal. The boat that carried the Antikythera Mechanism was more comparable to a large fishing vessel, open decked designed to pull a large net and fish catch into the hull. The Elm wood hull planking carbon dated, to 220 BC ± 43 years.

The important historical event that fits into the time frame of the vessel’s construction and period of utilization occurred with the transfer of power and control of the Mediterranean Sea from Ancient Greece to Rome. The Macedonian army was practically annihilated by the Romans at the battle of Pydna in 168 BC and the Antigonids were dethroned. The Antigonid dynasty was a dynasty of Hellenistic kings, direct descended from Alexander the Great and the wealth was massive.

The Battle of Corinth fought between Rome and Greece in 146 BC resulted in the complete and total destruction of the state of Corinth, which was previously famous for its fabulous wealth. All the men of Corinth were put to the sword, the women and children were sold into slavery, and the statues, paintings and works of art were seized and shipped to Rome. Corinth was then reduced to ashes but most importantly this event is marked by the largest transfer of wealth in ancient history. To not describe the treasure in association to this historical event is like removing the true history from the general population.

Next let us explore the total treasure to find some information on the whole collection.  In October 1900, a sponge diver surfaced, incoherent, shocked, disturbed and afraid, rambling on about a pile of dead woman on the sea floor. Over 1,000 items were discovered including Greek vases, jewelry, lavish table ware along with bronze and marble statues. The second most interesting find was a bronze bed. Everything you would expect to find in the home of a wealthy ancient Greek. All items were fine and rare in quality. Two superior bronze statue one of a nude hero, one broken philosopher, 8 young male marble statues “diffidently Greek”, and 36 horse and human statues in marble.

The bronze bed is a clear give away, what we have here is one wealthy Greek, fleeing the Roman army with his prized personal treasures. He placed his treasure on the largest ship he could commandeer, a fishing ship because the Greek war ships were all destroyed, captured or in a pitched battle with Roman ships. This means that the treasure is a window that can determine if there was a level of knowledge separated between the elite upper class population and the common or working lower class population. More interesting is does this separation of knowledge still exist today in the modern world and did it influence the evaluation of the Antikythera Mechanism? If this separation of knowledge still exists in modern times, today, now would an ivy league Professor from Yale such as Derek Price, tell the public the truth about the Antikythera devise or provide a ridiculous interpretation?

The Antikythera Mechanism is so advanced it was first thought to be a modern devise that fell onto the wreck site at a later date. The devise consisted of many wheels and discs that could be place onto the mechanism for additional calculations. The circular mechanism to the Greeks was a general computer to them and would serve many duties as a calculator.  A circular calculator or slide ruler could do a number of different functions, similar to adding games to your X-box or play station. The first rockets that reached space were not propelled there by fuel, but by the slide rules.  All Nasa calculations in the early years up into the 1970’s were preformed on slide rulers not electronic calculators. Slide rulers are even better than calculators because they solve solutions like area, volume and perimeter of a circular when calculators still require the forums to be punched into the devise to be solved.

So what does the 1963 Corvette, AK 47 and the Stradivarius violins all have in common.

Slide rulers were used in there construction.

So the Greeks would have a general circular rotating devise and they would add discs, as games able to solve many different objectives. Today we are interested in an objective that need to be re-discovered and has nothing to do with MATH or geometry. And will change society’s general knowledge and public education as we know it to be.

This is not the first time I discovered a use for a circular calculator. As a geology student in a class called “structures” I discovered my first near ancient circular computer lost to modern society. The structures class required a set of geometry problems that were not difficult they were just presented in a confusing nonsensical fashion. All students found themselves solving over and over the wrong answer because the math was intentionally made difficult to understand. All Professors of structures classes should be beaten black and blue, black and blue being the new green.

Since I have a well established distrust of teachers and institutional educational systems, I left the class and went straight to the library. I was not looking for the newest book on the shelf. I was on a typical treasure hunt for lost knowledge. My University “if you could call it that” held the entire states collection of geology books, some even written by my professors. I wasted no time opening these stupid books or anything new. No, I looked for the oldest books, with no color on the cover and primitive type set. This would be an archeology mission of grave importance because this professor did not like me at all and would later call me a loose cannon. In fact I take great honor in being intellectually referred to as a canon and then one that is willing to fire, all the better.

I found the circular strike and dip calculator in an impressively small book on structures from the 1960’s which instantly provided me with all the knowledge I could have ever learned in a structures class, minus all headaches. I made photo copies of the circular computer and the next morning handed them to all the class members and the teacher; grinning as I remember from ear to ear.

Since the owner of the treasures appeared to love art and statues, mathematical calculations seem to not fit into his personal interests. Greeks loved sex with young boys, drama plays with naked boys, naked boy art and music performed by naked boys, so could it be possible to have a circle computer that would provide deep knowledge into any of these topics. Well, the answer is yes but not with naked boys just music. Since there are only 12 notes in music a computer, a circular computer could be used to match two important things, what scales go to what chords. If you know what scales go to what cords you can compose high quality complex music. In fact the Greeks began to record the world’s music and even certain regions of ancient Greece are named after scales such as the Ionian, Dorian Phrygian, Lydian, Mixolydian, Locrian regions. These regions favored certain sounds and musical styles.

Also a circular musical computer that matches what cords go to what scales can do an important function, it could act similar to a recording devise. With a musical computer, a wealthy ancient person could tell a hired musician or slave with a flute to play a specific song, in a certain key and tell them what chord progression to utilize. Do not except that a wealthy Greek would spit out some Da Da da tune at a hired musician and expect him to play a certain song as he enjoyed it. Although the music could not be recorded in ancient times, it could be remember and altered to a personal taste.

The Antikythera Mechanism is not a lost treasure, there are many but in the hands of wealthy elite, it represents hidden knowledge separated from the common, slave, working class.  The lineage of the Antikythera Mechanism shows up in musical pieces, in their titles as a specific key note and or scale, an example can be found here in Beethoven’s, The Symphony No. 5 in the key of C minor. I think what Beethoven is saying is, I will be performing a work in the five note minor scale, in the key of C, check your Antikythera musical computer for the notes.

The H2onE2 Musical Antikythera Mechanism can be used to compose music, decompose music or rapidly change the key to piece of music. As far as composing music it can define the key, matches chords to scales and shows the common chord progressions in a scale. Basically a 4th grader will be able to write a 12 bar blues or any music, choose the scales required to carry a harmonized melody and be able to rapidly change the key. Music is about two things one being taste and the second musical knowledge, this devise removes the required knowledge factor; it is knowledge from the gods.

Composing music and actually playing an instrument are two separate entities. To compose high quality harmonic music, to your personal tastes does not require the need or skill set to play an instrument. Computer programs like pro tools, Cubasis or my favorite Mixcraft provide all the instruments, sounds, effects that can make and adjust created music to personal taste. The reason I recommend Mixcraft is it is the easiest to use, works with most sound cards and is the least expensive. Music you create yourself will always sound better than store bought music regardless if it is good or not. Now you can randomly compose music with computer programs but to add depth, a correct chorus, natural movement and a full harmonic sound you will have to have musical knowledge.

The current method to learn music requires endless hours of memorizing scales and chords until a natural, almost godly or supernatural understanding of musical theory develops. To get the most out of music production with the least amount of time or personal input the musical computer scale and chord discs will replace the futile “Rain Man” memorization. With the discs the memorization is not required and music production and composition can begin instantly. Basically, if you can count to 12 you will have all the musical theory knowledge of Mozart, Beethoven or RCA records.

The musical computer consists of Scale Discs and Chord Discs. The holy grail of music creation requires knowing what chords should be applied to what scales. To physically solve this problem the Chord Discs are designed to be laid over the Scale Discs and the cut out window provides evaluation of scales to chords.

Music is built off scales so the first element of musical creation requires selecting a scale that fits the music style you are attempting to create, aka rock, rap, classical, Spanish, Jazz or ethnical. Changing the scale will change the musical piece until you find the sounds you are interested in creating. You will also be able to rapidly de-compose music and change that music from let’s say classical to jazz, blues, Spanish ext. or vise-versa. The importance of having every scale at your disposal is essential to being a master composer, so every scale is provided in the down load; some 45 scales. The Scale Discs provide the notes of the scale and the roman numerals at the beginning of each scale annotate the natural harmonic chord progressions. The chord progressions indicate what chords should be played within the musical piece.

Most chord progressions are based around chord “I” the root or key, but any chord in the scale can be used as the main chord of the song. A common chord progression is “I-IV-V-I”. When applying the “I-IV-V-I”to the normal major Ionian scale to the key of “a”, the scale notes are (a – b – c# – d – e – f# – g#). The chord progression list is (a = I, b = ii, c#= iii, d= IV, f#=iV and finally g#=iiV). Applying the notes to the common chord progression “I-IV-V-I” in the key of “a” results in (a – d – e – a) as an example the key of “b” will produce (b – e – f# – b).

The last and most important element to understand is whether to play the chords as major, minor, 7th, augmented, dim, ext., to make a full harmonizing chord progression; without this your song will sound slightly off. The original Antikythera music Mechanism most likely simplified this concept by having each ring hold 3 notes as in a Triad. Aligning all the rings would provide the scale, the chords and determine the Triad or if the chord should be played in a major, minor, 7th, augmented, dim, ect. mode. Using the ancient Greek Antikythera system, a circular system of music will not be practical when linear Roman notation has been accepted and utilized over the last 2,000 years. Rebuilding the Antikythera musical wheel at this point is not practical. So we must use the linear Roman system and mathematically simplify it so anyone can understand the musical theory.

How the chord mode is played “major, minor, 7th, augmented, dim, ect.” will be determined by the Triad. Utilizing the Ionian major scale from Disc One the “a” key reads (a – b – c# – d – e – f# – g#). The Triad is uncovered by mathematically selecting every other note in the scale. So for the “a” chord the notes are (a  – c# – e). Placing the Chord Scale over the major Ionian scale in the key or root of “a” will match the major “Maj” chord shape. This makes sense because in a major scale the primary notes “I, IV and V“should all be major chords and in a minor scale the “I, IV and V “ notes should all generate minor chords. If the “I, IV and V “ chords are represented correctly this system is proven to work correctly.

The next chord to be evaluated is IV =”d”. Determining the Triad, “every other note” for the “d” chord produces (d  – f# – a); note “a” is chosen because you are climbing / repeating the scale through the octaves.  Notice only the Ionian and Lydian scales on Scale Disc One have all three notes (d  – f# – a) in the scale, in the root of “d”. Placing the chord scale over the major Ionian or Lydian scale in the key or root of “d” will match to a major “Maj” chord.

Determining the Triad, for the “e” chord produces (e  – g# – b); next place the Chord Disc over the “e” Scale Disc that maintain these primary notes (e  – g# – b). Both the major Ionian or Lydian scale have the 3 Triad notes (e  – g# – b) and the last major chord is represented. So here the system proves itself to be correct and fully functional.

In the major Ionian scale (a – b – c# – d – e – f# – g#) the (I-IV-V) are all your major notes so let us lastly apply the notation to the ii = “b” note and iiV = g# note to locate the minor (min) and diminished (dim) chords.  Determining the Triad, for the ii = “b”chord produces (b  – d – f#); placing the Chord Disc over Scale Disc One, only the Phrygian and Dorian scales in the key of “b” hold the (b  – d – f#) notes. Lining up the Phrygian and Dorian scales to the chord wheel demonstrates that you will need to play a minor chord when playing a ii = “b” to make the musical piece harmonic.

When evaluating the iiV = g# the notes are (g#  – b – d) and on Scale Disc 2 the Locrian scale maintains the (g#  – b – d) notes. Placing the chord scale over the (g#  – b – d) will demonstrate that a diminished (dim) chord is required to be played.

So let’s get funky and write a 12 bar blues in the Gypsy Hungarian Minor scale of Disc 8 and make it harmonic. This is a common 12 bar blues progression where these chords need to be played [  I – I – I – I than IV – IV – I – I and V – V – I – I ]. So we need to find the I, IV and V chords to implement the Gypsy Hungarian Minor to the 12 bar blues chord pattern and lets use the key of a# just because we can. The scale in the key of a# has the notes (a# – c – c# – e – f – f# – a), this makes the chord progression as I = a#, IV = e and V = f. The first Triad I = (a# – c# – f) and Chord Disc 1 confirms a# should be played as a minor chord.

The second Triad IV = (c# – f – a) where Chord Disc One states c# should be played as a major 7#5 chord. This chord was found by placing Chord Disc One on top of the Enigmatic Scale from Scale Disc 8.It is possible other scales on other discs will match up, if so, you can try uses all the scales that match the Triad IV = (c# – f – a) to write your guitar lead or songs melody. This is like counting cards in poker and being able to see all the hands, but if you win every time eventually you will understand how the system works.

The last Triad V = (f – a – c) where chord Disc 1 states f should be played as a major chord located when placing Chord Disc One on top of the double harmonic Scale Disc 8 or the Minor Lydian Scale from Scale disc 13.

12 bar blues in the Gypsy Hungarian Minor scale of Scale Disc 8 in a common chord progression of [  I – I – I – I than IV – IV – I – I and V – V – I – I ] in the key of a# should be [  a# min – a# min – a# min – a# min than c# major 7#5 – c# major7#5 – a# min – a# min and f maj – f maj – a# min – a# min ].

If you don’t like 12 bar blues in the Gypsy Hungarian Minor scale in the key on “a#” you can change it or what interests me is take a good piece of music like Beethoven’s 9th de-compose the work and re-compose it in some crazy flamenco or blue scale.

Antikythera Mechanism secret solved Event

•December 16, 2009 • Leave a Comment

12/26 4pm SLT Antikythera Mechanism secret solved, blow your mind, bring a bag to put your brains in, Come one, come all, event in voice, picture flip box, text for translation Where Here -> http://slurl.com/secondlife/Ch

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•December 16, 2009 • 1 Comment

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