1. Scientific Theories and Laws
2. The First Decade (1936-1946)
4. The Second Decade (1946-1956)
6. The Third Decade (1956-1966)
8. The Fourth Decade (1966-1976)
10. The Fifth Decade (1976-1986)
12. The Sixth Decade (1986-1996)
14. The Seventh Decade (1996-2006)
15. The Theory of More than Everything
16. The Eighth Decade (2006-2016)
18. The Ninth Decade (2016-2026)
Appendix A Paintings
Appendix B TTOMTE and a Steady State Universe
Appendix C Musical Compositions
Appendix C-Page 418
SONATA ---- A Sonata, meaning sound piece, can have three or four movements (or speeds). Beethoven composed thirty-eight piano sonatas; I managed to write one. This particular composition suggests the four elements as indicated in the subtitles.
08 Mvt 1 Earth
09 Mvt 2 Air
10 Mvt 3 Water
11 Mvt 4 Fire
MONOCHROMATICS ---- At first, keyboard instruments were tuned so that certain intervals (like C to G) vibrated without iritating beat frequencies. (See chapter 3, page 30.) However, this meant an instrument sounded good in only one key. Some genius about the time of Bach, found that by accepting a slight beat frequency and tuning all notes so they were equidistant (tempered tuning), a single instrument could play in all keys. Bach wrote forty-eight preludes and fugues in all different keys to demonstrate this great idea. Together, the pieces were called "The Well-tempered Clavichord." A prelude is simply a piece that leads into another. A fugue is a chase, as in the word fugitive . A melody begins; and before it is completely finished, the same melody starts again in a different voice, something like "Row, row your boat."
Monochromatics is a set of preludes and fugues that doesn't care about keys. Instead, each piece is based on an interval. For example, the first prelude and fugue are both based on the minor 2nd, the shortest distance between two notes. Because of this, the prelude and fugue have somewhat the same "color" hence the name Monochromatics. Some of the preludes suggest the subtitle indicated below.
12 Prelude I (minor 2nd) Mime
13 Fugue I (minor 2nd)
14 Prelude II (major 2nd) Guilt
15 Continued next page
Appendix C-Page 418