Easily seen in the guitar neck.   7 notes,  12 steps to the octave, familiar to all guitarists. 

5 lines can be the "circle of 5ths",  another very primary music concept, and the frets on the neck related to Fibonacci series. 

Remember also that a gap has to be adjusted here and there to "temper" the scale to the human ear, i.e.: tempered scale. 

If you see the image as a guitar neck, wound like a Mobius strip (twists), and the intervals of the lines, then it seems to show 4 octaves. 

The frequency would be getting higher as you move to the centre.

My previous email to you follows:  All these notions seem to indicate a relation between moving between levels of vibrating particles or quantum clusters that are seen from the perspective of spheres, and that music has the key to the movement.  As if music were the proper language to communicate amidst the arrangement of material via frequency. Music also has the potential of kindness, manners so to speak, or the proper protocol. 

A unit sphere ("100") can be surrounded by 12 spheres ("120") but they do not all touch (very close). With just a tiny difference in size, 13 spheres could fit round the central sphere.This is a very very primary or central aspect of the sphere. The Mobius styling of the ribbon-like design seems to indicate a tunnelling, probably Fibonacci related (because of the motif of the 5 lines, and their progressive intervals), is related to the difference between the 12 sphere packing and 13 sphere packaging.  There is a sort of "gap" here, conceptually, get it? where there would be room to move in towards or away from, the central sphere.  IE., the path or whorl spirals in or out in this manner through the most basic of circular or spherical geometry. There is a similar type of "gap" between a spiral motion of Fibonacci or golden rule type, and the spiral called the "light in the meeting tent" by Stan Tenen in his decoding of the Torah 3 dimensional code. Of course, such gaps are also evident between the sphere shape and the cube, as in the estimate of PI. In all sacred geometry, there is this slight difference which under various arrangements, leaves a sort of

gap for freedom of motion, for "vibration" between the two different configurations) that would not be available if the sort of "lack of perfect ortho" was not there... A simple analogy might be the gaps between guitar strings, or even a baby rattle. How all this relates, I am not sure...   But maybe this will help someone.