fig.1:
A greatest material.

fig.2:
A sound experience distributes, it is to past and to future, from a [0, 0]time_accord_interval.
As for imagination, for example, I draw the to-past and the to-future meets in the dark blue in fig.3, as the time-distributed experience meets.

See also:
Practice for [0, 0]time_accord_interval to synthesize of dimensions.
https://kyonissho.com/kyos-blog/blog/2023/06/04/practice-for-0-0time_accord_interval-to-synthesize-of-dimensions/

And when the time accord is observed on a meet of two tops of sound, it is the black point in the fig.3.

fig.3:
In the temperament, when Cn’s frequency is 1, Cn# is 1x(2^(1/12)), Dn is 1x(2^(1/12))^2, Dn# is 1x(2^(1/12))^3, … , Bn is 1x(2^(1/12))^11, the next is Cn+1 ((1x2^(1/12))^12 = 2xCn). I.e. each key pitch on a musical keyboard is 2^(1/12) from the previous frequency, these can be drawn mathematically. E.g. the two frequencies are the orange and the red in fig.2.

fig.3.1:
Fig.3.1 is shown in order to observe how the new time accord will emerge, but there is no orange. frequency.

fig.3.2:
The new [0, 0]time_accord_interval is found on crossing frequencies of the red and the orange.

fig.3.4: [0, 0]time_accord_interval is applied to {8, 13}wavelength_set, | | of fundamental difference is found between {8, 13}wavelength_set and {13, 17}wavelength_set.

Naturally, the scheme methods of the Glass Bead Game are applied to any [0, 0]time_accord_interval.

I enjoyed it for 40 minutes today, with Piano sound, and with a synthesizer sound of Animoog Z with below setting.

I thought Brahms Symphony Nr.4 has been made with two different potential symphonies, but I think it is with one more at least, i.e. it is the three dimensional symphony.

I haven’t seen Schönberg’s score yet, but I think it has might be made from five potential symphonies to one symphony, i.e. it is the five dimensional symphony.

A next higher sound isn’t a higher velocity, but an acceleration, i.e. (2^(1/12))^n is the nth acceleration of dimensions.

fig.6:
I’ve put the beads on the accelerations I felt as characteristics in the score.

Higher velocity of the spins dominates smaller space of the wavelength, it becomes × 1/((2^(1/12))^n); caught in time, as human space.

fig.7:
In case of C3 and C6, C6 isn’t C3 × 3, but C3 × (2^(12/12))^3 = C3 x 8.
When the frequency changes from C3 to C6, the space where C3 had is released as room where can be used imagination. When it changes from C6 to C3, a ubiquitous measurement of sound is given to all the previously released space, and can be used to confidence.

fig.8:
any bead and any sound space.

Link:

The new music theory, as music and mathematics are common denominator, of the novel Glass Bead Game (2)
The new music theory, as music and mathematics are common denominator, of the novel Glass Bead Game (2) – Kyo’s Blog (kyonissho.com)

The new music theory, as music and mathematics are common denominator, of the novel Glass Bead Game (3)
The new music theory, as music and mathematics are common denominator, of the novel Glass Bead Game (3) – Kyo’s Blog (kyonissho.com)

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