Pop Music and the Kabbalistic Tree of Life

Popular musicians and composers sometimes plagiarize from one another. Here are just a few examples of what happens when derivative works are mashed up together and interpreted through the musical Kabbalistic framework described in Astromusik and Audiomancy (located here).


Bowser’s theme was derived from Mussorgsky’s Night on Bald Mountain, which was also featured in Earthworm Jim. They are all in the same key signature.



A musical tribute to synchromysticism. This short video is the first of its kind – a musical path working along the tree of life using the correspondence system taught by Paul Foster Case and the Hermetic Order of the Golden Dawn. It highlights the correlation between Tifa’s Theme (Final Fantasy VII – released 1997) and The Lonely Man’s Theme (Incredible Hulk – 1978 TV Series).



This second video looks at the other major female figure in Final Fantasy 7, Aeris, who is famously murdered by Sephiroth in what is often considered to be one of the most startling and significant moments in gaming history. The name Aeris is an anagram of Aries corresponding to the Emperor tarot card and sharing the same tone color attribution as Mars, god of war.

Mars and Aries both correspond to C-Red. It just so happens that John Williams took sections of the Imperial March (Darth Vader’s Theme) directly from the “Mars Theme” by Gustav Holst, composer of the Planets Suite. The words March and Mars are etymologically connected, as are the use of trumpets, which have always been an instrument of war, from the rams-horn shofars used by Jewish priests to bring down the Walls of Jericho to the cornet horns used by the British imperial army in old school military warfare. It just so happens that the line John Williams lifted from the Mars Theme consists of a series of trumpet blasts on the C-Note. I’ve written about this in greater depth in my second book, Audiomancy.

This film also looks at the career of Harrison Ford and shows how his roles in both the early Star Wars films, Blade Runner, and the newest film (Force Awakens) intersect in a peculiar way with the motifs featured during key opening sequences in Final Fantasy 7. Perhaps the strangest of all is the use of the bridge stretching over the abyss in Force Awakens, which looks remarkably similar to the one created and featured in FF7 almost 20 years ago.

Aeris corresponds to Venus – the empress. She is the flower girl who caretaker the church and who is symbolically murdered by Sephiroth, who represents something equivocal to the antichrist. Sephiroth’s intent is to summon a meteor that will destroy earth. By murdering Aeris (Earth) he forshadows his attempt to murder the planet at the end of the story.

The RED/GREEN polarity set up by Darth Vader and Aeris correspond to Mars and Venus, the Emperor and the Empress, Mind and Body.


This third video in the Kabbalistic Musical Themes series takes a look at “Saria’s Song”, a motif from the best-selling Zelda game “Ocarina of Time”. This game deals with the idea of musical melodies that have magical powers and this song in particular is interesting because of its mythological undertones, which to my knowledge have never before been outlined.

Saria is the name of Greek sister island to Karpathos, the island where the legendary Greek figure Prometheus was born. Prometheus was punished by Jupiter for defying him and stealing fire from the gods, choosing to give it to mankind. This notion echoes the serpent-devil’s temptation of Eve with the fruit of knowledge.

The melody featured in Saria’s song was “stolen” from the Jupiter theme by Gustav Holst, echoing the theft of fire by Prometheus. Saria herself resonates with Eve, who initiates Link into the mysteries of the forest. In learning the melody, Link becomes an analog of the greek god Pan whose pipes similarly had magical powers over the nature spirits. We see Peter Pan dressed in a green tunic like Link, holding the pan pipes.

Saria’s song is special because of the augmented fourth interval, known in early church music as Diabolos en Musica (the Devil in Music). Author Richard Merrick has highlighted that this interval has a close historical and scientific relationship to the planet venus, which as we saw in Kabbalistic Musical Themes Pt. 2 is the planet that corresponds to the Empress, goddess of nature.


And last but not least, Street Fighter vs. David Byrne’s theme for the Last Emperor!

You Might Also Like...