Planetary Art Network 


THE MAIN OCTAVE IS A CONTINUATION OF THE RESEARCH ON THE VIBRATIONAL UNIVERSE THROUGH THE I-CHING done by the author of this computer software Marysol Gonzalez Sterling since 1988.  All of this knowledge is in the I-CHING AND TRANSPERSONAL PSYCHOLOGY book  that has been  published by Editorial Edaf in Spain in 1992 and by Samuel Weiser publishers in 1995 in the USA. This research will show us that the trigram of earth shows in the Human Reality that the middle line or octave is the Personal Knowledge, the Visible Body and the Traveller walking the path of undertanding oneself, through all that occurs in a physical reality.
The first line or the line bellow the central line is the Hidden Subconcious, the inner body the cellular blood reality that belongs to all the organic processes that occur in a deeper level, as well as all that is not available for our conciouss mind to recognize or be aware of,  that anyway influence in a very deep level.  Meanwhile the outer or upper line is the Recognition Outside the Auric space, the emotions we project outside that attracts the experiences we need with others to learn the impact we do in the outside reality. All the other Octaves of the voice are portrayed in the upper trigram and are related to the way we interact with our exterior reality, our emotions and thoughts been projected outside and being picked up by others creating our reality and experiences in the world. Having created this reality with much time, all has been imprinted there. This will be further studied with the next module of the program using an FFT Fourier Frequency Transform.


In the 1980ís computer technology entered a new challenge, voice recognition, speaking to the computer to write as one speaks and also to be able to give the computers commands and orders to execute.  In reality this has not yet found an adequate  solution, it  is still one of the most interesting  machine human relationships to conquer.  A new profession appeared; computer voice recognition specialists, and just later another interesting technology appeared, how to recognize vibrational imbalances and health conditions in the voice. :

From the article:
G. Fant, Speech Wave Analysis, page 158:

"The natural range of the voice fundamental frequency and of formant
frequencies for non-nasal voiced sounds uttered by average male subjects
is as follows:
fundamental, 60-240 cycles / second
formant 1, 150-850 c / s
formant 2, 500 - 2500 c / s
formant 3, 1500 - 3500 c / s
formant 4, 2500 - 4500 c / s

"Females have on the average one octave higher fundamental pitch but only
17 percent higher formant frequencies...children about 10 years of age
have still higher formants, on the average 25 percent higher than adult
males, and their fundamental pitch averages 300 cycles / second. The
individual spread is large."

 Sharry Edwards was a leading specialist, among others like Peter Guy Manners that followed all the Cymatics research about how sound affecting matter can be related to health, from the studies started in the earlier  part of this 20th century by Hans Jenny,  Manners transformed that knowledge  into healing. Robert Bloy of SoundEnergy created spectacular software to analyze the voice and talked about the Primary octave as the first concept to be taken into account when analyisng the voice.
Sharry Edward recognized the difference between menís, or womenís voice just looking at the notes from the voice with a Chromatic tuner like a Korg piano tuner.  Kathy Thompson from Bioharmonics continued that concept personalizing it more to the individual person, distinguish between one voice from another.  After  Marysol Gonzalez Sterling continues this concept joining it to the work she had done with the I-Ching and color and took it even further been able to see how it also changes at different times in the same person, not only distinguishing between female, male or childís voice, or individualized to each person, but been able to tell how happy a person is at the moment of the analysis.  From this study maybe later we will be able to differentiate from one emotion to another. In her search to understand RHYTHMIC COHERENCE or how all the body rhythms and pulses would synchronize and enter in harmony by becoming coherent or harmonic to one another, which mean becoming  the same frequency at different octaves. She uses the voice as well as EKG and EEG as a way to understand how vibration plays a role in boosting and expressing the natural healing system of our organism when we become vibrationally coherent. Sharry and Kathy  thought of coherence as having equal amount of hits of frequencies belonging to all the musical notes,,, but Marysol demonstrate that coherence is much more than just having all notes, or all functions of the physical plane working properly. Coherence always shows up when a person is really truly happy, with joy, feeding love to all his organs, and has discovered how happiness and good spirits would show in the voice.

by Marysol Gonzalez Sterling
Each person's voice has a specific tone and a voice pitch that comes from the vocal chords, from which one can study the emotional changes between one moment and the following, through vocal coherence.  Maybe we reach to distinguish between one emotion and another with  the computer as well as we do with our senses..

The Main Octave  is where most of the hits of the frequencies of the voice enter for each note. This was done by Sharry Edwards with  the Korg piano tuner, and it was preliminary type of voice analysis.  From this first start, joining it to the voice recognition research we diescovered that most of the voice is in a whole octave for everyone, we fill more or less all the notes in one octave.  This  is MidC and -1 octave for women, -1 and -2 octave for men and MidC and +1 octave for kids.   The hits of frequencies in the Korg like Chromatic musical note analysis, shows the vocal sounds and that is what the Biosonic computer program also shows with more resolution.   This analysis is not taken from the FFT (Fourrier Frequency Transform), but this is taken from the wav audio file itself. This is revolutionary to find a way to recognise the fundamental frequencies without using an FFT spectral analysis.  I started doing it with FFT but there are so many frequencies that to distinguish the fundamental frequencies  by the most ample frequency was erroneous .  Because many times the mos ample frequency was not the fundamental, as could be seen with a non porecessed FFT in real time...The FFT will show the most ample frequency,, many times the 3rd and 5th harmonic are more ample than the first or fundamental frequensy.

The Main Octave as shown in the Chromatic grid of notes and octaves, always coincides that it starts in C in one ocatave and then it comes down to another, it can only come down once to the octave bellow, and seen in a spiral circle it will complete a full octave from C to B, see it in a graphic.
It always completes a full spiral so that the  fundamental frequencies of the voice complete a whole octave in all notes.  Sharry Edwards pioneering  sound therapy with voice analysis says that if CC#D is in MidC and then the rest in -1,,, so for her the main octave for women and for men is -1 octave, one bellow MidC of the piano,,, then after Kathy Thompson from BioHarmonics calles it Bodyline,,,, and takes into accout that many times it starts in one octave and falls to another. she personalized it to the person more, or to the pitch of their voice, but still did not see emotions and happiness depending on that in the same individual, as what the BioSonic method is taking into account. Once we have the Main Octave,  we have defined where most of the energy coming from the vocal chords are for every note, and then we can say bellow is cellular above is emotional, the same as the first  vibrational concept of humnity teaches us through the trigram of the I[Ching, as I have assotiated this to many vibrational descriptions of the universe.  ,,,  So according to all of voice analysis experts, the fundamental frequencies of the Main  Octave is where most of energy should be when we are in our body, or wake state, not the same for the sleep state.  In our wake normal state our most energy goes to the organs, muscles and is where our physical strength is. That is Kathys concept,,, which  also was taught  by Sharry, only not personalized to each person like Kathy does. I believe Robert Lloys ( primary octave is the same but do not know if it is taken from the Wav or from the FFT analysis, because it is very hard to distinguish the fundamental frequencies coming from the vocal chords from the FFT, more on this on the FFT vowels page.

This concept is taken further in the BioSonic method because the parameters of coherence are  studyed from this,,, if the progressions of the hits in notes are consecutive like a  Bell curve, meaning rising on one side with 6 stressed notes and falling on the other with 6 weak notes, like the Yin Yang concept of the I-Ching. Because we can analyse how this progression is happening and it should be like a even tide with smooth growing and smooth decrease.. Seeing inconsistencies in this perfect Bell curve will show a certain degree of non coherence,,,, the cosecutive of theamount of frequencies as well as the amplitude of certain  frequencies seen in the FFT is an important part overlooked in voice analysis that relates to the states of health . The Chromatic module of the BioSonic computer program is just the beginning and it has more to do with the basic principles of voice analysis and is taken us many steps beyond what  was inspired by Kathy and Sharry, due that all meanings are a continuation of the I-Ching research done by me and published by Editorial Edaf in 1992 and Samuel Weisser editors  in 1995 in the book I-CHING AND TRANSPERSONAL PSYCHOLOGY.   Other new concepts  will be develpped even further  in the other modules of FFT, and Coherence analysis to compare one analysis with the other, one moment with another.  We  had to start with what is already common ground, mostly because it fits perfectly the metaphysical concept of vibration portrayed in the ancient treatise of the I/Ching and the knowledge of Yin and Yang. Once one defines the Main octave, portraying the physical energy,  the conciouss self, below is the subcouncious, the inside of the body or cellular and above is our projection to the outside world to recognize and learn of who we are through the emotional interaction with others,,, then one can personalize all the placements of the harmonics going up from the vowel sounds, and look at which harmonics are missing or are high in those other octaves that can be interpreted as emotional, astral, mental th oughts and spiritual karmic realities... this is something that Lauren Gardfield from Bioresonance and I started to look at  in the FFT and interprete it,,, but if one does not take into account the Fundamental frequencies from the Chromatic module as shown in the BioSonic program we cannot  personalized these 3 Main octaves. This also help us to study how coherence is gained or lost.

So Kathy Thompson started the  idea to personalize the Main Octave  to the individual,, but I discover how it changes when we become more coherent and fill out more evenly all the notes... how some notes rise up to the higher octave,,, say in my voice when I am really happy not only do I have C and C$ in the Mid C octave, but the  fundamental frequencies are all the way to  E or F in Mid C, then all the notes are filled because the level of energy has risen higher and the voice shows it,,everything  turns around,, meaning the 3 low notes become the high notes and viceversa. So this  is taken from the Main Octave of Fundamental frequencies,,, Kathy also took into account if there are  many hits in the octave bellow it talks of cellular deteriorating problems, eventhough  Sharry also was teaching this . The Body Line Kathy divide in 6/6 like the I-CHing shows everything in the univers as a  Yin Yang principle of compensation,,,it  is a known factor in the way everything is reflected in this universe. This continues in the BioSonic research as two spirals that through this dynamic communication relate one side to the other, meaning that 3 notes are responsible for one, and viceversa, that all energy relationships occur in a spiral,  one Yin 3+1- and Yang 3-1+.

With the fundamental frequencies of the vowel sounds from the Chromatic and the same window sampling we will look at the FFT in the second module. Then we will fill up in a spiral circle all the frequencies that are in the voice as harmonic cascades rising up octaves from these few fundamental frequencies that we now have.

The I-CHing vibrational parameters has helped me to define the three main octaves as the low  trigram of fundamental frequencies given in the korg type chromatic module, and all this study is clearly stated in the page of Octaves..
1st octave, red BLOOD/Cellular,
2nd octave orange SKIN/body,,, Main Octave
3rd octave yellow EMOTIONAL LIGHT/aura,,, outer emotional projection,
4th octave cyan ASTRAL/emotional,,, relationships with the outside
5th octave blue MENTAL/intelectual and thoughts reality.
5th octave violet SPIRITUAL/karmic inherited reality.

The green and the magenta are from the wood element and are the synthesis of  the Biopsychic resonance of the human being, humans being in between heaven and earth, fuse through the metabolic and hormonal synthesis of emotions and thoughts the resonance of the Gravitational Earth with the resonnance of Electromagnetic Heaven.  Both rays the Yang red-yellow of the Spirit  is reflected in matter, representing the Gravitational resonance and the Yin Cyan-violet ray is reflected in the Electromagnetic resonance of Heaven.  As we know the Yin ray reflected is absorbing the Yang ray and viceversa, to reflect cyan, red is absorbed, and to reflect red, cyan is absorbed. This represents the synthesis of chemistry that belongs to the world of light, and affects us directly in all metabolic and hormonal functions. The three octaves, belonging to the upper trigram or 3 upper lines of the hexagram (6 lines of the I-Ching to represent a completed vibrational aspect) is yet to be filled with the harmonics picked up by the FFT module of the BioSonic program. This is now already seen in the Chromatic grid of the BioSonic program, even if few frequencies are in those octaves and  is the quality of the Electrmagnetic Heaven and the octaves are cyan, blue and violet..This shows the principles and   law of complementaries and opposites which are the most entangled to explain but it is the same law as radiation and absorption of light., that we use also to locate complementaries in sound. By relating sound to light doing  the octave shift,  multiplying by two we go up octaves, dividing by two we come down octaves..

We can see more on this in the page on Photonics and the one on Colors, the meridians and the I-Ching. The whole synthesis of how humans fuse through their glands heaven and earth  is shown in the color green that influences the liver and pancreas appears when fusing the cyan from Kidney Bladder and yellow from Lung and is all due to the experiences of the interaction of the 3rd and 4th line of the hexagram of the I-Ching and it is the light aura of the person with the astral emotional of the relationships and experiences it attracts that affect the person emotionally. If we join the spectral color on the other side we have the Magenta color which is the other way the two rays fuse  through the red and violet, creating magenta and that is the Spirit Karma with the Blood  Cellular, and thid trepresents the sythesis of the liver in the physical plane with the  inmunological and nervous systems relating to the Thyroid and small intestine synthesis.  The enthymes and immune deficiencies of the blood are all related to ancestors and genetical karma.


Lieberman, Philip. Speech physiology, speech perception, and acoustic
phonetics. Cambridge: Cambridge University Press, 1988. ISBN
0521308666 (hard), 0521313570 (soft). pages 34-36.

"During phonation, the vocal cords rapidly open and close in a
quasi-periodic fashion. As they open and close, air flows through the
opening. More air will flow through when the opening is greater, and
less air when the opening is smaller. Figure 4.1 shows three cycles of
this air flow pattern." [A wave form is shown in this figure]. "Note
that the period of the complex waveform is 0.01 second or 10
milliseconds. The fundamental frequency of this periodic glottal air
flow is thus

1 / time = 1 / 0.01 second = 100 Hz

"The spectrum of this glottal air flow is plotted in Figure 4.2." [A bar
graph of the fundamental frequency and upper harmonics is shown]. "Note
that the glottal spectrum shows that the waveform of Figure 4.1 has
energy at the fundamental frequency and at higher harmonics. Note also
that the amplitude of the harmonics gradually falls. This is a general
property of the laryngeal source. We have not drawn the complete
spectrum, but there is perceptible acoustic energy up to at least 3000 Hz
present in the typical glottal air flow of a male speaker phonating at a
fundamental frequency of 100 Hz."

"The rate at which the vocal cords open and close during phonation
determines the period and, hence, the fundamental frequency of the
glottal air flow....Adult male speakers can phonate at fundamental
frequencies that range between 80 and 300 Hz. Adult females and children
normally phonate at fundamental frequencies that range up to about 500
Hz, although the fundamental frequency can go up to 1.5 kHz. The longer
vocal cords of adult males, which are a consequence of secondary sexual
dimorphism in Homo sapiens, yield a lower range of fundamental
There is a wonderful chapter titled "Spectrum Analysis" (chapter 8) in
the book:
Decker, T. Newell. Instrumentation: An Introduction for Students in the
Speech and Hearing Sciences. White Plains, NY: Longman, 1990. ISBN

In this chapter, on P. 111:

"Formants and Formant Transition"
"The cavities that exist above the level of the vocal folds (i.e.,
throat, pharynx, mouth, etc.) act as a set of acoustic filters. As any
filter does, these act to suppress the flow of acoustic energy at certain
frequencies and to increase the flow at other frequencies. The bands of
frequencies that are allowed to pass through these filters are termed
formants and may be observed on the spectrogram as dark bands"...
from a book called
Acoustics Source Book, p. 271 ff.

"Most of the energy in the sound waves of speech falls in the frequency
region from 50 to 10,000 Hz. Of this, the region from about 200 to 7000
Hz carries most of the information for speech perception. Vowel sounds
are characterized by bands of energy concentrated at certain frequencies;
these energy bands are known as formants. The spectral location of the
formants correspond to resonances in the vocal tract. The formants are
numbered in order of increasing sound frequency: first, second, third,
and so on. In general, the first three formants - especially the first
and second - are most important in identifying vowels"...

"It is common for for communication systems to truncate the sound waves
at high amplitudes; this type of distortion is known as peak clipping"...

"Although most of the energy in speech comes from vowels, most of the
information comes from consonants. For this reason, as much information
is lost if all frequencies above 1900 Hz are removed as if all
frequencies below 1900 Hz are removed, despite the fact that the
frequencies above 1900 Hz contain only about 2% of the average energy in
a speech signal: sound frequencies above 1900 Hz are largely devoted to
consonants, frequencies below 1900 Hz to both consonants and vowels."

Page 295
"The discovery in 1930 of the synchronized response of the VIIIth nerve
to sounds of different frequency led to a revision of hearing theory
encompassing aspects of both resonance and frequency was
first observed that some sounds produced synchronized electrical response
of the [8th] auditory soon became cleat that nerve-impulse
frequency synchronized with frequency of sound only up to about 4000-5000
Hz and became a synchronous for sounds of higher frequencies"...

All of the references in this post come from a book with articles in it.

First I'll give the name etc of the book. The article name will be given
with each quote.

Baken, Ronald J., and Daniloff, Raymond G. Readings in Clinical
Spectography of Speech. Jointly published by Singular Publishing Group
(San Diego) and Kay Elemetrics (Pine Brook, NJ), 1991. ISBN 1879105047.

Eguchi, S. & Hirsh, I.J. Development of Speech Sounds in Children.
Uppsala, 1969.
page 328:

"Fundamental frequency, starting from about 300 Hz at 3 years, decreases
slightly with age. However, the largest decrease of fundamental
frequency seems to occur between the ages of 3 and 6 years.
Thirteen-year-old boys had an average fundamental frequency of 221.1 Hz,
still an octave higher than that of adult males (124.2 Hz).
Thirtenn-year-old girls, on the other hand, had an average fundamental
frequency of 239.8 Hz, not very different from that of adult females
(220.9 Hz)."

[A table is then given, I will only list part of it].

Fundamental frequency averaged across all vowels, for the different age
Age Mean freq.
3 297.8
4 285.6
5 288.7
6 271.2
7 262.5
8 261.0
9 262.5
10 261.9
11, M 244.2
11, F 252.5
12, M 243.2
12, F 248.6
13, M 221.1
13, F 239.8
adult M 124.2
adult F 220.9

"It is well known that the fundamental frequencies of children and adult
females are higher than those of the adult male. The fundamental
frequencies of the vowels of an adult female are about one octave higher
than that of the adult male. Children have a fundamental frequency of
about 300 Hz even up to the age of 8 and 10 years. There is no
significant difference of fundamental frequency of speech between 7 and 8
years, or between boys and girls of those ages"...

"It is also well known that regulation of fundamental frequency in voice
is dependent on many factors, including the length of vocal cord, and the
regulation of movement of peripheral voice and speech musculature by
central nervous system"...

"The present study shows that fundamental frequency was about 300 Hz at
age 3, then there is a remarkable decrease of about 30 Hz between 3 and 6
years, then a gradual decrease after 6 years to 220 Hz in 13-year-old
boys. Thirteen-year-old girls have an average of 240 Hz, which is not
significantly different from that of adult females (220 Hz)."

"There is a strong correspondence between the fundamental frequency
reported here and the changes in length of vocal cords reported by Negus
(1949)....In summary, fundamental frequency decreases markedly between
the ages of 3 and 6 years, after which the decrease is gradual. At 13
years, girls have almost the same value of fundamental frequency as adult
females, while that of boys still decreases after 13 years rapidly
reaching the value of the adult male, and corresponding to the
development of the larynx."


return to first page on Voice Analysis & Coherence.

Sound Therapy with voice analysis and treatament of brain resonance with sound frequencies.

Sonic therapy with unwinding in the water accompanied by dolphins. Cranio- Sacral Osteopathy with tuning forks. Voice analysis of brain frequencies.

Energetic Osteopathy based on the movility of the cranium bones.

Sacro-Cranial therapy with sound and tuning forks.

Diagnosis and therapy of the missing color with prisms and solar light.

Holophonic Recording as Biosonic Cranial Therapy private session.




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