The writer starts out complaining that the distinction between "chord" and "scale" is arbitrary. He then proceeds to derive the major chord and major scale using a bunch of arbitrary decisions. For example, why does he stop adding notes to the major chord when he has three of them? And look at what he does when he starts constructing the major scale from the major chord:

> Well, we like the Major Triad, so let's make another one, but starting with a different note as the fundamental. To preserve as much theme with the previous triad, let's start with the "closest" notes to the C that we have in our first triad: The first note other than C that we hit was 3/2 times the Root, also called the Perfect Fifth; therefore let's build a triad using 3/2 times C4 = G4 as the fundamental.

And then

> Ok, that was so much fun let's go in the other direction as well.

Why not just continue with the harmonic series, rather than construct a new chord from the fifth? Why continue with a fifth below the root, and not continue in the established direction? Because these changes would lead to a completely different answer. He knows which answer he wants to end up with, so he picks a path that will lead there. This is numerology.