There are two quite different sides to Gann analysis, the deeply theoretical, seeking to understand the essence of the science behind Gannís market theory, the Law of Vibration, and the outright practical, looking for working tools and techniques that will help with applied trading. Though our greatest interest is in the cosmological theory behind Gannís work, and the universe in general, we also specialize on the practical tools that traders need to specifically analyze and trade the markets. Some Gann experts excel at theory, while others are simply practical traders who are less focused on ideas in deference to trading techniques. This category will specifically focus upon the books and courses that provide very specific and applied tools from Gannís toolbox used for real time trading. Some may explore deeper theoretical principles and some may just focus on pure trading tools, but this category will give working techniques to better fill the arsenal of any trader. We often recommend that new Gann students focus first on developing a practical trading ability, so that they can fund their future research with profits from their trades, and then also apply new insights from their theoretical study to their practical trading as they advance. This section will help to identify those most practical tools.
Dan Ferrera is one of the most respected market analysts and educators in the Gann field. For 20 years his works have been some of the most popular in our catalog. Aside from being one of the clearest interpreters of Gann, he also has produced his own advanced work, The Spirals of Growth & Decay, developed prior to his analysis and presentation of Gannís theories. For those seeking a solid, Masterís Degree level education in technical Gann analysis, we cannot recommend anything more highly than Ferreraís works.
Ferrera has written detailed course on every angle of Gannís work and provides a fast track into a deep understanding of each field of Gannís work as well as advanced topics in technical analysis. He has works on cycles analysis, Gannís Square of 9, Gannís Mass Pressure Charts, one on risk management and Gannís swing trading system, another on the details of Gannís complex geometrical and mathematical tools, one on astrological Bible interpretation, on teaching how to create yearly forecasts like his own yearly Outlooks, which give a prediction for each year, and more. If you are wanting to get a first taste of Gann and to save yourself years of hard work putting together his ideas, Ferrera is a perfect place to start, and walking through his series of fantastic is like getting a Masterís degree in Gann and technical analysis.
W.D. Gann Works
W. D. Gannís private courses represent the most important of all of Gannís writings, and go into much greater detail than his public book series, with which most people are only acquainted. They should be carefully studied in their full detail, as they contain the deepest insights into Gannís theories ever presented. Stock traders must be sure to study all the commodity courses and vice versa, since Gann often put techniques that applied to all markets in only one or another course.
We stock the complete collection of the works of W.D. Gann, both his courses and books. Our set of Gannís courses were initially collected and compiled by Dr. Baumring and Donald Mack in the 1980ís from dozens of original rare private course that were distributed by Gann throughout his career. Many people mistakenly think that Gann just wrote two courses called the Master Stock Course and Master Commodity Course. This couldnít be further from the truth! Each of Gannís ďcoursesĒ were actually small, ďsectionsĒ of a few pages to a few dozen pages, individually bound in paper folders. These various pieces were then compiled into different sets which he sold as various collections at different prices to different students over the decades. Some were more commonly sold to all students, while other were more secretive and sold only to close private students who often signed non-disclosure agreements, and paid exorbitantly high prices. It is these rarest pieces that make the difference between one collection and another.
The later courses Gann sold in the 1940ís and that he ďcalledĒ the Master Courses were nothing but various compiled collections of these smaller pieces, and would vary according to who purchased them and what price they paid, and were never set until after Gannís death when purchased by Ed Lambert. For instance, there are pieces that Gann advertised in the 1950ís as ďnewĒ like his Master Mathematical Formula for Market Predictions, or his rare #3 Master Time Factor Course which were never included in his ďMaster CoursesĒ, and similarly were never included with any of the Lambert Gann courses sold by Lambert or the Jonesí from the 60ís until now. So these ďmasterĒ courses are and have always been incomplete collections. Further, the Lambert Gann courses sold by Billy Jones through the turn of the century, were retyped and re-edited by Billy so that they did not provide the original unadulterated content that Gann produced, making them unreliable, edited versions. Our editions are exact facsimiles of the original copies sold by Gann, with no editing or adulteration of any kind.
Our 6 Volume set of Gannís Collected Writings was further supplemented by new finds of rare pieces, like those mentioned above, rediscovered by the Institute over the past 30 years since Baumringís death, and comprises the most complete and the only properly organized set of courses that are available. Gann has very particular sets that he sold only to his higher end clientele, placed in specific order to provide a particular logic to his work. Our collection maintains this order and includes a further collection of rare and historical courses, letters and private materials which make our collection the most complete and important collection available. Serious students of Gann should beware most ďsupposedĒ collections of Gannís writings as most are unauthorized, incomplete, and distorted representations of his work, and cannot be trusted. Our set it the most reliable set of Gannís unadulterated and most important work availableÖ
While W.D. Gannís own original work is a critical element for any Gann researcherís collection, most people will find Gannís work to be extremely vague, complicated and difficult to penetrate on their own. In our experience, it can take many years, if not decades for the ordinary analyst to, by themselves, digest and apply the deeper techniques of Gannís, without significant help by well-seasoned analysts and traders who have dedicated years to decoding and creating practical tools from Gannís techniques. This is why there is a fundamental and valuable secondary market of works presenting and developing Gannís ideas, and making them accessible to any trader. We believe that the best teachers in this field are not competitors, but are fellow contributors to an ongoing field of research, and that their work is mutually supportive and will provide expanded insights when more material is understood.
We maintain the largest collection of secondary works on Gann Theory of anyone in the field. Many of these books we publish ourselves, and are written by top Gann experts and experienced Gann traders from across the world. However, we also review works written by other Gann experts across the field, and add to our catalog any material we consider to be of high quality and importance from the global community of Gann analysts. With our experience in the field, we are well qualified and to provide a peer review of these materials, so as to filter out the best quality work from that of a lower caliber, and then present these to our clientele who demand the highest standards. So any book or course that you find in this catalog can generally be considered to be of the upper echelon of works on Gann analysis. We have new authors submit their research to us ongoingly, so that we are always adding new items to our catalog with fresh insights, alternative techniques or new ideas. In this way we are able to save our clients significant wasted funds in exploring the territory at their own cost.
Hans Kayser's Textbook of Harmonics - Excerpts §34. Tone Spirals And Tone Curves
A Translation Society Edition
By Hans Kayser
§34. Tone-Spirals And Tone Curves
In §27, we discussed the three characteristic curves of the second degree (parabola, hyperbola, and ellipse) within the configuration of the “P”, i.e. using as a basis only the plane “P” system or its quantitative and logarithmic numbers, to which values naturally always correspond.
§34.1. Tone-Spirals on the Basis of String Lengths and Frequencies; the Decimal Tone-Spirals
We will now examine a few typical curves that are encountered in the angle (vector) diagrams of the “P”.
We already know these decimal tone-spirals from §33.3 and §33a. (I have called this type of tone-spiral “decimal” and the one based on tone-logarithms “logarithmic,” but this can easily lead to errors in terminology—see §21.) We will now recapitulate them in Figures 290 and 291, in two variations: Fig. 290 with ratios according to string lengths and Fig. 291 with ratios according to frequencies. If we create such reciprocal diagrams, we must maintain some kind of order. Here, the common element is established as the progression of tone-steps upwards within 1 octave (= the circle), going clockwise from 360° = 0°. Thus, the two spirals necessarily go in opposite (reciprocal, mirror-image) directions; their forms are exactly reversed. Not so with the geometric intervals of the tone-steps. Here, in the string length diagram, the direction of the diminution (the interval shortening) is clockwise, from left to right; in the frequency diagram, it goes counterclockwise, from right to left. We know that this diminution is the characteristic element of the law of harmonic quantization, and we find it, among other things, in dividing the monochord, where the division steps grow continually closer together as they ascend. The question now is: which type of diminution is in agreement with the diminution of the string length, if we think of the circle’s circumference as a monochord? Clearly, we must now use as a basis the diagram of the string length spiral, Fig. 290 (which emerges from the comparison with Fig. 274), where we find, for example, the note e in the second circle of index 5 at the correct place of string division (5/5c 0°, 6/5a 72°, 7/8xfis 144°, 8/5e 216°), i.e. at 216°. An instructive overview of the reciprocal relationship of the above diagrams 290 and 291 is given in Fig. 292, where we have noted the tones es, e, f, g, as, and a. The reciprocity is very noticeable here, as well as in the intervals, the corresponding angles, and their differences.
As for the mathematical character of these tone-spirals, it is based on an Archimedean spiral. Which variant we use (string length or frequency) depends, regardless of their autonomous meaning, on how we can use them for ektypic analyses. The angles of both variants are noted in the table of ratios at the end of this book; other tables show only the frequency angle, since we are mostly working with frequencies.
§34.2. Tone-Spirals on the Basis of Logarithms (the Logarithmic Tone-Spiral)
In anticipation of the next chapter, we now discuss the logarithmic tone-spiral. Comparing it with the decimal tone-spiral allows us to see its differences and peculiarities properly. Refer to Fig. 293 for the following. Since the circles, distances, and angles here correspond not to the quantitative sizes of string lengths and frequencies, but instead to the qualitative tone-values, the octave circles 1/1c2/1c¢ 4/1c¢¢ 8/1c¢¢¢ ... must be equidistant; because, indeed, we hear the octaves as tone-spaces of equal distance. The tone-angle is calculated according to the formula at the bottom left in Fig. 293. The distances between the remaining tone-circles are always between 0 and 1000 (with 3 logarithmic spaces) and can most easily be indicated with millimeter paper as an underlay, using 10 cm for each octave 0–1/1–2/1 etc. Three octaves are sufficient, and just one for the position of the angle, as for all polar diagrams. However, several octave circles have the advantage that they produce several rotations of the spiral, and thus show their physiognomy more clearly. As for the division of tones on the circular periphery of the logarithmic tone-spiral and the logarithmic polar diagram, this is oriented according to “psychical” distances, i.e. according to intervals as we hear them, not as we count them. The “perspective” element of diminution falls away here, and the eye sees the intervals distributed in the same way as the ear hears them. It is interesting that this “logarithmic tone-spiral” is actually not a logarithmic spiral, but an Archimedean one; therefore we must differentiate it from “logarithmic spirals” in the purely mathematical sense. We will discuss this further in the next section.
§34.3. The Tone-Curves of the Polar Arrangement
In sections 1 and 2 we constructed tone-spirals starting from the fixed center of a circle. If we now allow this center to “wander” regularly along the monochord string, a most remarkable curve appears, which I call the “partial-tone curve” (Harmonia Plantarum, p. 127) and which is shown in Fig. 294. Consider the entire length of the curve as a monochord string of 120 cm. For the angle, we use only the string-length angle. Halfway along the string, at the point 60 (cm), we place the angle 0° (= c), whose vector will correspond to the upper half of the string. The next tone is 16/15h (always string length ratios). We first divide half of the monochord string into 15 parts, add 1/15 below, and find the string position for 16/15h (the vector for this tone was erroneously omitted in the drawing). Its angle is found according to the scheme (x/y · 360) – 360, i.e. 16 · 360 = 5760 : 15 = 384 – 360 = 24° (16/15h). This angle, with the corresponding vector, is missing from Fig. 294, as noted. The next value is 12/11 °h. To find the place on the string, we can now divide the half of the string again, in 11 parts, and add 1/11 to it. Or else we calculate: 60 : 11 = 5.454 · 12 = 65.44 cm, and subtract this amount from the 120 cm monochord string, getting the length 54.5 cm as a result, which we measure from the bottom up, thus yielding the remainder of 54.5 cm for the tone 12/11 °h. Now we calculate the corresponding angle analogously to the above (12/11 · 360) – 360, yielding 32.7°. We add this angle (to the left or right), draw the vector (ray), and add to this the remainder of the string, measured from below (therefore always diminishing with the following ratios), from 54.5. We proceed in the same way with all the remaining tones, and so construct the partial-tone curve of Fig. 294. The tone-values can naturally be chosen arbitrarily from any partial-tone diagram; only they must be reduced to one octave first, and must be selected so that the vectors are distributed upon the curve as evenly as possible, i.e. so that this curve, as the line connecting the end-points of the vectors, can be constructed as accurately as possible. Like the circular periphery of the preceding tone-spirals, the partial-tone curve contains all possible tones, and therefore an infinite number of tones reduced by octaves.
§34.3a. The Tone-Cycloid
Instead of the shorter remainders of the string, we can also remove the longer ones. That is, we take the upper, longer segment of the monochord string in the circle, instead of the lower, shorter segment, and draw it along the vector. If we do this in the same way for all tones, the result is an even more interesting curve, which I call the “tone-cycloid”—an irregular ellipse almost circular in form (see Fig. 295). The partial-tone curve, to which it is reciprocal in terms of the monochord string, is drawn inside the cycloid for better comparison. This tone-cycloid is especially interesting in various ways. Assuming that it is indeed an ellipse, I have first constructed the ellipse from the narrowest and widest diameters of the cycloid—a process that can be found in every mathematics textbook. If one lays this regular ellipse upon the cycloid, one can see that with a few widenings and indentations, the cycloid aligns with the ellipse. In Fig. 307a the ellipse is printed on transparent paper, allowing comparison with the cycloid. If we had simply derived and established the cycloid as a curve drawn from observation data, as the expression of some natural phenomenon (e.g. the paths of the planets), without knowledge of its regular harmonic information, then obviously the ellipse would be highlighted as a mathematical relation. For the deviations of the ellipse, one would doubtless look for “disturbance factors”—to stick with the example of planetary orbits—in this case accepting gravitational effects from other planets, etc., as an explanation. However, in the cycloid we have a legitimate clarification of these irregularities in the harmonic emergence of the curve itself.
Between cycloid and corresponding ellipse, however, even closer relationships exist. The monochord axis is divided by the cycloid into 3 equal “octaves”: the 2 octaves of the monochord itself and an additional octave of the segment lengthened below from the monochord. This “octave” appears again in the ellipse as the distances of the two focal points F and F1 from the two axis points B and A of the ellipse curve. The angles at which the major (A B) and minor (C D) ellipse axes intersect the monochord line at E and G are both 45°, and with the center of the ellipse, S, an isosceles right triangle SEG is constructed, whose height E G (at the tone f) divides in half. I hardly believe that these relationships could be merely coincidental. Remarkable above all is the vertical position of the monochord line that produces the cycloid, and the center S of the corresponding ellipse, apparently existing in complete isolation. Assuming that we can see the prototype for the paths of the planets in this harmonic cycloid—a figure that the ancient harmonists must have known of, considering the Greeks’ great talent for geometric constructions, even if they intentionally kept their other important harmonic theorems secret—then from the Pythagorean viewpoint, the center S of the ellipse must be given the name of the secret Pythagorean “antihelion” or “central sun”—a concept with which no one has been able to do anything up to this point, and which emerges inevitably and obviously from the harmonic cycloid and its ellipse. If we pursue this astronomical-symbolic ektypic further, then we come to further important “sphere-harmonic” realizations regarding the Pythagorean octave that played such a great role in ancient times. Here, inside the cycloid, we see this as a generating element. Modern literature always mentions the “scale” and the “7 planets” as the two fundamental concepts of the ancient harmony of the spheres. This is understandable on the basis of the existing exoteric ancient sources, whose writers had no knowledge of the true esoteric backgrounds. But if we return to
ancient Pythagorean thought and begin to study in Pythagorean terms, it is everywhere apparent that Pythagoreanism was a very different and exquisitely harmonically ramified domain of thought and observation, which absolutely did not bow to such primitive idols as people today imagine. Thus it is evident to me that the generating space for the ancient harmony of the spheres was not the “scale” that occupies the octave space, but instead the “octave” itself, and that the corresponding important diatonic steps and their tone-values and vectors (circle-spheres) were chosen within this space, so as to arrive at a comparison and an interpretation of the bodies visible in the skies. Now we see, in Fig. 295, that there are significantly more than seven important tone-values within the octave. In future harmonic study, however, this tone-cycloid with its ellipse is not only valuable for historical analyses, especially those arising out of the harmony of the spheres, but far more so for a prototypical interpretation of the planetary orbits. To develop each planet’s harmonic vector, its distance from the sun, and its characteristic ellipse from the tone-cycloid would require a specialized and intensive harmonic undertaking on the part of a learned astronomer, for which the above can only serve as an encouragement. If this were to succeed, a complete union between modern astronomy and Pythagoreanism would be achieved—something that Kepler attempted in his Weltengeheimnis, partially realized in his Third Law, and in which he believed with every fiber of his being during his lifetime.
§34.3b. The Primordial Leaf
If we now take the angles that we have previously set on one side of the monochord (here the left, but one can also use the right side, obtaining a mirror image of the same figures) for the partial-tone curve and the cycloid, and place them symmetrically on the middle of the axis, then the result is the tone-curve of the “primordial leaf”—a description that will be retained here for simplicity’s sake, since it has already been shown in Harmonia Plantarum (p. 125) as the harmonic prototype of the leaf in general. Here again we can construct two different figures, depending on whether we use the longer or shorter—“plagal” or “authentic” (see §29.1)—remainders on the vectors of the respective tone-locations on the monochord string. Both figures are shown together in Fig. 297. For reasons of exactitude, the inner figure of the primordial leaf is printed separately, and its development is described (Fig. 296).
The first small square at the top contains the tone-values and angles of the partial-tone plane of index 7, based on string lengths, which have a reciprocal relationship to the vibration numbers (frequencies). The second square at the top gives the corresponding string lengths, reduced by octaves—calculated for a monochord 120 cm long—and the remainders of these string lengths. For example: 1/3 of the string length will produce the duodecimal (2nd upper fifth) g¢, and 2/3 of the string length produces a tone an octave lower, thus the 1st upper fifth g. 1/2 of the circumference of the circle, i.e. the string bent into a circle (360°), yields 120°, 2/3, since we reduce all the tones within one octave, i.e. all g-values are on the vector 120°. The same goes for the position of tones on the monochord, if I wish to bring them all into one octave. 1/3g¢ is 40 cm of the 120-cm monochord string, and the remainder of the string is 80 cm long. 2/3g is 2 × 40 = 80, the octave below g¢; but since we want to bring all tones into an octave of 1-1/2 (0-60 cm string length or 0°-360° of the circle’s circumference), all g-values remain at a string length of 40 cm and a remainder of 80 cm. Fig. 296 is now easy to construct. Draw 40 units from the bottom up on a middle axis of 60 units to fix the tone g. Set the corresponding angle 120° symmetrically on this point, and set the lengths of the two angle legs equal to the corresponding string length—likewise 40 units. One proceeds analogously with all tones, thus getting the primordial leaf as the line connecting all the endpoints of the angle legs obtained. The greater the partial-tone coordinate index one uses, i.e. the more one fills out the octave with tones, the more precisely the primordial leaf can be constructed. Its form, however, always remains the same. But this means nothing other than that the primordial leaf is a form-expression of the very nature of tones—a discovery that deepens and confirms the fundamental ideas of Goethe’s morphology of plants in a completely new way.
The construction of the outer curve of the primordial leaf (Fig. 297) emerges of itself according to what is said above and in §34a. As one can see in Fig. 297, the outer and inner curves of the primordial leaf, in contrast with the partial-tone curve and the cycloid, have a morphologically reciprocal relationship, except that the apex of the smaller inner curve points upwards, while the outer curve’s apex points downwards.
In many of my works, I have discussed the nature of the spiral extensively, and here I will only recapitulate fundamental matters and summarize the ektypic data. Mathematically, the spiral is imagined as a point P, moving at a given speed along a straight line which is continually rotating, at another given speed, around a center-point Z. Depending on the magnitude and ratio of those two speeds, the various spirals—Archimedean, logarithmic, etc.—then emerge with their various formulae. Even in this definition, one can recognize a certain paradox of the spiral: it is, so to speak, the geometric symbol of two divergent, opposing movements, a kind of frozen time-geometry, a capturing of the temporal in the spatial. As we consider it further, the concept of “speed” separates into two components: something reaching outward, in one direction, a vector, and something that holds itself in, with a circular tendency. Or one can also say that in the point moving on the spiral, two elements constituting the spiral meet: an element of direction (angle) and an element of distance (from the central point), whereby temporal turns into spatial in both cases. Thus the more or less “dynamic” behavior of all spirals is understandable. It arises from those two divergent tendencies of the linear striving forward and the circumpolar circling, the expansive and attractive.
Characteristic for the harmonic developments, then, are the spirals that result from the thought processes just described, which can also be found in both halves of the “P” diagram. Think, also, of the very significant spirals of the cochlea in our inner ears! On the basis of harmonic developments, as we have seen and will see again in §36, there are characteristic tone-spirals (taking this term generally), and the same appears as in harmonic number analysis: all tone-values have a psychical evaluation, and allow for analyses of a certain type, especially through their octave reductions (a typical harmonic operation not known to mathematics or the mathematical sciences). (See “Tonspektren” and the atom model therein.) These analyses can only be arrived at with great difficulty, if at all, by means of the familiar mathematical spirals.
The ektypics of the spiral in nature can be seen in so many examples, from almost all areas of knowledge, that we will give only a few examples here: the spiral cloud as the prototype of galaxies, spiral movements and laws in physics, the spiral of the harmonic atom model (tone-spectra) as the “motor” of the optical emission of the spectra, spirals in the morphological construction of diatoms, plants, and animals (the curves of blossoms, snails, the construction of the helix, the spiral vascular structure of plants), the idea of “spiral” developments of historical-morphological isotopes, the idea of the spiral as a universal religious symbol (P. Sarasin: Helios und Keraunos, 1924, p. 67 ff.), and many others.
People have tried, if not very often, to figure out the universal morphological significance of the spiral. But apart from the various mathematical spirals, which have no advantage over each other in terms of their formulae, all these attempts have remained mired in the mathematical concept of quantity, similarly to those attempted by means of the golden section, etc.—and from this viewpoint, no one can see why the spiral in particular should have such universal significance. However, if we trace the tectonics of this form back to certain psychical values, as we can do in harmonics, and if we see this form not only physiologically (the cochlea) anchored in the “filter” of this psychical value, but also in one of its most important modifications, namely the tone-spiral and logarithmic spiral (see §18.3b) as a morphological expression of this psychical value, then we see something completely different and much more authoritative in every regard; and we now understand that such a pronounced value-form must also have its value-formal counterparts in all of nature, and that it ties in with our spiritual and religious image-concepts.
H. Kayser: Hörende Mensch, 89-92 and Tables IV and V; Klang, 81-84; Abhandlungen: “Tonspektren,” pp.111-189 and the relevant tables; Grundriß, 120, 121, 240-253 (group-spiral); Harmonia Plantarum, 124-127, 142 ff., 152 ff., 270 ff. Harmonikale Studien II (the violin scroll).
Dr. Goulden takes a different approach to market analysis than most normal traders and educators. As a Cambridge educated scholar, Goulden is interested in deep principles and in exploring the foundations and implications of both trading techniques and the systems behind them. Before he was ever interested in the markets, he was asked by a friend why Gannís tools and system are considered to be based upon metaphysical principles. He found this question intriguing and engaged in deep research in the field to answer this question. In this process he recreated a new set of tools based upon principles of Ancient Geometry and Celestial Mechanics. His tools are taken from the same sources as Gannís and are quite powerful, but are slightly different from Gannís, so that traders often use them as non-correlated cross-confirmation tools giving similar technical indications but from different perspectives.
His work is deep and has many layers of application and exploration that can be derived from it. His latest work on financial astrology, The Secrets of the Chronocrators, looks back to the astrological and astronomical systems of the ancients, reviving the more mathematical and technical astrology of the Great Masters of the medieval and prior times. Exploring principles like Spherical Astronomy and subtle movements of the Solar System, it seeks to develop a more advanced and scientific system of astrology determination as distinguished from the simpler forms that are generally known. It represents a new movement to re-explore the deeper scientific systems of the ancients that were lost in the press towards the development of a purely mechanical science.
Goulden is a superb educator and the most active Forum moderator that we have seen, with each of his Forums for his courses having 1000ís of posts with detailed questions and answers, deviling deeply into further and new fields of research beyond what is presented in his courses. His Online Forums serve as an advanced classroom where the details of his theories are discussed and elaborated and where students share their research and work with each other while overseen by Goulden, who continually presents new ideas and suggestions.
Hasbrouck Space and Time
One of our great historical discoveries is the Hasbrouck Space-Time Archives, a collection of rare research materials and forecast letters lost for over 30 years. This research develops a new theory of market influence based upon Solar Field Force Theory that was developed during the birth of the space age. The Hasbroucks were deeply connected to the esoteric and financial market communities from the 1920ís through the 1970ís, and contributed a new and recontextualized presentation of information taken from older original esoteric sources. They present a new field of study of solar phenomena, space weather prediction, earthquake prediction and market forecasting.
Muriel Hasbrouck was the inspiring force behind the research, which a foundation in Theosophy and trained as a classical pianist, she pursued an interest in original source works in astrology, through the turn of the 19th century into the early 20ís. She studies with greats like Walter Russell, Paul Foster Case, Aleister Crowley, and Israel Regardie within the esoteric fields. In the market realms she was close with many of the great analysts of her day like Edson Gould, Edward Dewey, Hamilton Bolton, SA Nelson, and more. She and her husband Louis produced a well-received forecasting letter for 30 years called Space Time Forecasting of Economic Trends, and are now quite famous for forecasting the exponential bull market of the 90ís and subsequent crash 50 years in advance! Their theories of Solar influence upon human and earthly experience through geomagnetic influences still lie at the cutting edge of scientific speculation.
Dr. Jerome Baumring
The work of Dr. Baumring is the core inspiration upon which this entire website is based. Baumring is the only known modern person to have cracked the code behind WD Gannís system of trading and market order. However, even further, Baumring rediscovered and elaborated the system of scientific cosmology at the root of Gannís Law of Vibration. There is absolutely no other Gann teaching that goes anywhere near as deep as Baumringís work, or that even so much as attempts to approach the core ideas developed by Baumring. This study is for those who are interested in the mysteries behind the markets and the ordering system behind the universe itself. This is the study of cosmological theory on its deepest level, and of the interaction between man and the cosmos in which he lives, explored through an examination of causation and propagation of forces in the financial markets.
Dr. Baumringís course program is not easy, and should not be approached without the willingness to commit at least a few years to the study. It is a long and detailed course, requiring the equivalent level of research and difficulty as most PhD programs, but in the field of Gann Analysis, which is not taught at any university. It requires many years of challenging work including the reading of many dozens (if not 100ís) of books required to develop the foundations needed to understand Gannís approach to the markets. It is a very serious study that should only be approached by those willing to dedicate themselves to intense thinking and vast research across many fields of knowledge including: astronomy, biology, physics, finance, cycles, wave mechanics, geometry, mathematics, astrology, numerology, number theory, numerous esoteric and alternative scientific theories, and much, much more. Baumring summarized his system by the term ďNumerical AstrophysicsĒ in an attempt to give a modern name to an ancient theory that Gann himself had discovered.
Of all the analysts and traders we have known, the most advanced have all come to their understanding through following the lead of Dr. Baumring, or through having gone through a similar and parallel study and path of research to his. His teachings represent the ďbest of the bestĒ of all material on Gann publicly available, but it will not give up its secrets to a mere superficial perusal. Baumring does not spell out simple explanations of how Gannís techniques work, but rather leads his students into the depth of the science behind the system, while slowly elaborating how the techniques build upon this deeper science. For those seeking a fast path to the application of Gann exoteric trading principles, this is NOT it! Baumringís work is not merely some market trading program, and indeed if approached this way may be found to be dissatisfactory.
Baumring himself often said to his students, ďIf you only are looking to make money, donít bother studying Gann, itís too difficult. Simply study swing trading systems, risk management and options strategies, and you can make all the money you want to make.Ē (Note: we have excellent books on these alternativesÖ) There are much easier and more direct methods to learn to effectively trade the markets than studying Gann. Those in more of a hurry to apply Gannís work to trading may want to begin with the work of Ferrera or one of our most applied analysts, like Prandelli or Gordon Roberts, and save the Baumring work for a later time to explore at your leisure.