This text is written in Common and is entitled The Music of the Multiverse, written by Oriam Trascalia. The author describes themselves as sage and planeswalker, with this volume describing the author’s theories on the connection between musical order and the arrangement of the different planes of the multiverse. A key passage reads as follows:
Many mythologies among the different cultures and species of the known worlds of the cosmos often hold that the cosmos was formed and shaped out of the void by an act of speech: will made manifest through the spoken word. Perhaps a great being or a collective of beings in the time before time Spoke and it was so. However, as I am inclined to argue and as many others also hold, the most superior form of speech comes in the form of song—the creation of elegant and melodic tones in a pleasing and ordered rhythm that engages both the senses and the spirit. Might it not be held that perhaps our world was quite literally Sang into being?
Such a suggestion is not a new one. Many scholars speak of a so-called “Song of Creation,” a master melody that birthed the multiverse as we knew it into shape and form. This Song, these scholars contend, was sang by the first gods and dragons of the new world. Among the gods and dragons so theorized to have sang this great song, of prime importance are those that are dragon and god both: the one dragon god that became two, Bahamut and Tiamat.
Other theorists hold that even older beings brought this great work about, the Ancient Brethren (otherwise known as the Elders) that predated known existence and spoke—or sang—our world into being. The identity of these Elder beings is unclear, though several scholars have theorized some of the truly enigmatic figures of our world may figure among them. Perhaps no less that the dread lady of the City of the Doors, the Lady of Pain herself, may rank among their number? It is at any rate one among an innumerable array of theories as to the Lady’s origins, to which we may well never know the answer.
But in this, I digress. Regardless of which conception of our world’s creation is true (and perhaps after a fashion neither or both may well be!), it cannot be denied that such a concept continues to have enduring significance. The power of this Song of Creation is sang by bards throughout the worlds to perform magnificent acts of magic, and those that seek that the speech and tongue of the Elders may well be able to alter the very fundaments of reality itself as they may well have at the beginning of all things.
Now, if the world was shaped by speech and by song most specifically, one would expect the nature of the song to inform the nature of the cosmos. And in this regard, there is strong evidence to support this from the arrangement of the planes and their relation to the canonical notes of music. As scholars and fellow planeswalkers and travelers of the planes have well noted, for the various canonical planes of existence, there exists a specific combination of both material and musical note needed to serve as a tuning fork to that plane. For example, a tuning fork to the Prime Material Plane can be formed out of a tuning fork of steel attuned to the musical note C.
Investigation of the different musical notes corresponding to the different planes along the Great Wheel reveals a striking and elegant pattern to the structure of the multiverse. In this regard, I shall concern myself with the various musical notes associated with the planes; other scholars and theoreticians have waxed on more than enough regarding the peculiar substances associated with each plane. As for musical notes, as I have stated, we can find a rather striking and curious pattern.
The Prime Material Plane, as aforementioned, is associated with the musical note C. However, as we pass out of the Prime Material Plane and out into the various elemental Inner Planes, the associated pitch decreases to that of the note A. And as we pass into the various Transitive Planes (in this scholar’s reckoning, including the planes of Faerie and Shadow among them), the pitch rises once more to that of the note B.
Now that we have reached the Outer Planes where concept is made manifest, we find a truly unique and wonderful pattern. Supposing one were to start at the plane of the Clockwork Nirvana and work our way clockwise around the Upper Planes in the canonical order all the way to Limbo, the notes start with C, but then ascend in pitch with each plane in turn. Beginning with C for the Clockwork Nirvana, the notes for the Upper Planes from that point on proceed as (in order): C#, D, E♭, E, F, F#, and G.
And as we reach the plane of Limbo, the opposite of the Clockwork Nirvana, we circle back around to the note C. As one then follows the declension of the planes along the Lower Planes moving from Limbo towards the Clockwork Nirvana, we find the same pattern repeats itself! Beginning with C for Limbo and continuing to descend clockwise, the notes for the Lower Planes from that point on proceed as (in order): C#, D, E♭, E, F, F#, and G.
Finally, for the region of Concordant Opposition, the associated note is C.
This array of musical notes follows a specific and pleasing pattern that corresponds, startlingly, to musical theory as it is traditionally understood. This, among other pieces of evidence I shall discuss below, provides further credence to the view that our world was quite literally sang into existence, as the bards both old and new have long held.