Since Lee has chosen not to respond, as you commented by:
Let me tell you something about the harmonic Pi that our Ancient Egyptian Architectonic Masters did interpret it geometrically, using the language of the two eyes. RMP#48 shows an example of interpreting geometrically that kind of Pi, i.e., it shows the geometrical correlation between two musical notes in the same musical octave, with a gap of two notes interval, e.g., between Do and Me. The upper note is equivalent to 4 and the lower note is the harmonic Pi = 256/81. It is one of the basic architectonic rules in the pyramids design philosophy. Thus we say this is the horizon of the two sounds Me-Do or the Per-Me-Do. Identifying which two musical notes should be used, in the numeric term, for designing such pyramid follows another rule.
** Music's relationship to geometry was a Greek innovation. Plato, in The Republic, spoke of music as one of five mathematical disciplines, and detailed a few of its methods. However, Ahmes, nor any Middle Kingdom scribe , spoke or wrote of music and its octaves in the Greek manner.
That is, your introduction of Greek ideas of music into 1,500 year older Egyptian scribal math methods reminds me of others that have attempted to introduce Fibonacci's False Position methods into 2,800 older Egyptian scribal methods.
My view is, the RMP says what it says, as it is read (decoded, line by line) as required by the Egyptian texts written in nearly the same time period, or hopefully, a few years earlier. **