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Dominant

noun: more important, powerful, or successful than the other people or things of the same type
noun: a dominant person or animal is stronger than others in a group and wants to control them
noun: more noticeable than the other parts or aspects of something
noun: a dominant gene causes someone to be born with particular genetic features, even if it is only present in one parent
noun: (music) the fifth note of the diatonic scale
adjective: exercising influence or control ("Television plays a dominant role in molding public opinion")
adjective: of genes; producing the same phenotype whether its allele is identical or dissimilar


The term "dominant" is used throughout the Keely literature. It has several meanings or uses depending on the context. Also called celestial attractive, celestial current, "prime third of the triune electric flow".

"..the dominant being the leader and associate of the celestial." [Keely and His Discoveries, POLARIZATION AND DEPOLARIZATION]


MUSIC: The fifth tone of the major or minor scale. A D. chord or triad has the dominant as its root.

1) The fifth degree of the scale.
2) The reciting note of Gregorian chants.
3) The note next in importance to the tonic, having a dominating influence over the entire key. A fifth above the tonic.


Keely
"The aerial propeller has a sympathetic polar accumulator and disperser in one instrument, which is entirely distinct from any of the devices intended for terrestrial use; also other mechanical adjuncts not needed on land nor water.

All forms of non-sympathetic machinery have, associated with them, conditions of centrifugal force on the ratio of the velocity induced; the diverging power from the center of induction being governed specifically by its gravital weight according to the diameter it occupies in its circle of rotation.

In a sympathetic negative circuit this order of conditions is reversed; for the power of neutral attraction draws the molecules of any mass, no matter what the weight, toward the center of rotation (instead of toward its periphery) according to the intensity of the negative vibration that is induced upon that particular circle.

Our earth, in its routine of revolution, is governed by the same law in every particular; its mass tending toward its centre of neutrality with a force that is equivalent to the character and velocity of its rotation.(3) If its rotation were increased, the tendency of everything associated with it would be increased toward its centre of neutrality on the same ratio. That is, a pound in weight would, under certain conditions of increased velocity, become two pounds in weight. The laws governing the sympathetic rotation of vibratory machinery are the same laws that govern planetary suspension. To those who have not witnessed the operation of my devices, my theories must indeed seem wild; but the laws of nature are the same yesterday today and forever. They know no change; and sympathetic physics, demonstrated mechanically, must triumph over all ridicule and opposition in the end. To contradict the laws governing sympathetic rotation is to contradict the laws governing planetary suspension, as I am prepared to demonstrate.

If the earth were rotated on a shaft by mechanical force, the present condition of its rotations would be reversed; everything on its surface would fly off at a tangent, on the ratio of the velocity induced. The equilibrium of all things would also be changed.

The gyroscope reveals astounding facts in relation to this philosophy, even when operated mechanically. No other known device is so nearly associated with sympathetic vibratory physics.

The vitalization of the disks for the polar and depolar field is established on the ratio of thirds, sixths, and ninths; the ninths being the circuit occupied by the polar field, must represent, in the scale of vitalized focalized intensity, 100 in my system: sixths in the depolar field, or 66 2/3; and in the neutral field, or thirds, 33 1/3. The triplets must represent one true chord of equation. The sympathetic transmitter transfers any degree of intensity desired from zero up to disintegration; all the transfers being made above the line of the first inaudible, as associated with my resonating system of transfer. On the sixths and ninths, in the progressive triple subdivision of the elements (4) of water, the nearest sympathetic approach is made to the high luminous, which is the main sympathetic link to the earth's polar negative envelope, and the one whereby coordination is effected for commercial work. In short, this progressive condition establishes the necessary association between celestial radiation and terrestrial outreach, in regard to controlling the polar negative attractive force in mechanics; whether for aerial navigation or for terrestrial commercial work, in all its multiplied forms.

The atmospheric envelope of our earth owes its activity and its volume entirely to celestial radiating forces.(5) Reception and dispersion are kept up by atomic and interatomic conflict between the dominant and enharmonic currents of the triune polar stream. The harmonic and enharmonic current with the dominant (in the electric stream) by their sympathetic association evolve the energy of matter.

The mechanical proof of the correctness of my theories, in sympathetic or spiritual physics, is so overwhelming in its simplicity that it needs but to be witnessed to convince the most learned or the most simple mind that this system will place both science and commerce on a platform which will elevate each to a level far higher than those they now occupy." [The Operation of the Vibratory Circuit]

"The polar current is a triune flow, in which the dominant is the controlling element." He sought to demonstrate through instruments the sympathetic association of the polar stream with the "luminiferous track" or "compound etheric field." [POLAR CURRENT]

All the forces of nature, writes Keely, proceed from the one governing force; the source of all life, of all energy. These sympathetic flows, or streams of force, each consists of three currents, harmonic, enharmonic, and dominant; this classification governing all orders of positive and negative radiation. The sympathetic flow called "Animal Magnetism" is the transmissive link of sympathy in the fourth, or interatomic, subdivision of matter. It is the most intricate of problems to treat philosophically; isolated as it is from all approach by any of the prescribed rules in "the orthodox scheme of physics." It turns upon the interchangeable subdivision of interatomic acting agency, or the force of the mind. The action of this etheric flow, in substance of all kinds, is according to the character of the molecular interferences which exist in the volume of their atomic groupings. These interferences proceed from some description of atomic chemical nature, which tend to vary the uniformity of structure in the atomic triplets of each molecule. If these groupings were absolutely uniform there would be but one substance in nature, and all beings inhabiting this globe would be simultaneously impressed with the same feelings and actuated by the same desires; but nature has produced unlimited variety. Since, as yet, has not made so much as an introductory attempt to solve this problem of "the mind flow," but has left it with the hosts of impostors, who always beset any field that trenches on the land of marvel. [Vibratory Physics - The Connecting Link between Mind and Matter]

"Science will in time classify the important modifications of the one force in nature as sympathetic streams, each stream composed of triple flows. Keely maintains that the static condition which the magnetic needle assumes when undisturbed by any extraneous force outside of its own sympathetic one, proves conclusively that the power of the dominant third, of the triple combination of the magnetic terrestrial envelope, is the controlling one of this sympathetic triplet, and the one towards which all the others coordinate. All the dominant conditions of nature represent the focal centers towards which like surrounding ones become sympathetically subservient. The rapid rotation of the magnetic needle of a compass shown in his experiments rests entirely on the alternating of the dominant alone, effected by a triple condition of vibration that is antagonistic to its harmonious flow as associated with its other attendants. A rapid change of polarity is induced and rapid rotation necessarily follows. [Snell Manuscript - The Book, DISTURBANCE OF MAGNETIC NEEDLE, page 8]

"Electricity is the result of three differentiated sympathetic flows, combining the celestial and terrestrial flows by an order of assimilation negatively attractive in its character. It is one of Nature's efforts to restore attractive differentiation. In analyzing this triple union in its vibratory philosophy, I find the highest order of perfection in this assimilative action of Nature. The whole condition is atomic, and is the introductory one which has an affinity for terrestrial centers, uniting magnetically with the Polar stream, in other words, uniting with the Polar stream by neutral affinity. The magnetic or electric forces of the earth are thus kept in stable equilibrium by this triune force, and the chords of this force may be expressed as:

1st.: The Dominant
2nd.: The Harmonic
3rd.: The Enharmonic. [WHAT IS ELECTRICITY]

The value of each is, one to the other, in the rates of figures, true thirds. E flat- transmissive chord or dominant; A flat- harmonic; A double flat- enharmonic. The unition of the two prime thirds is so rapid, when the negative and the positive conditions reach a certain range of vibratory motion, as to be compared to an explosion. During this action the positive electric stream is liberated and immediately seeks its neutral terrestrial center, or center of highest attraction." [Vibratory Physics - The Connecting Link between Mind and Matter]

"Reception and dispersion are kept up on the atmospheric envelope of the earth by the atomic and interatomic conflict as "between the dominant and the enharmonic". This is brought about by the reception and dispersion of sympathetic streams, the ruling mode of whose vibration is the dominant, and the density of the coarser grades of matter, whose ruling vibratory mode is the enharmonic.

As every mass consists of vibrations in thirds, balanced in harmonic equilibrium without cancellation or diminution of energy, it stands therefore in harmonic relation to every other mass. All forms of matter and of motion are thus interrelated and interchangeable. Through resonance, increasing this sympathy, we can control the states of matter." [Mass Action, Snell Manuscript - the book]

DOMINANT CONDITIONS or Modes
"All the dominant conditions of nature represent the focal centers towards which like surrounding ones become sympathetically subservient." [Keely and His Discoveries, page 179]

"The dominant is Electricity luminous or propulsive positive." The Snell Manuscript

"..LOVE, the dominant chord of the cycles." [Keely, Amplitude of Force]

"By use of the dominant mode, which is allied to the "order" of etheric vibrations, we can induct, "sympathetic negative attraction" or "sympathetic positive propulsion" in any mass, according to its mass chord." [SYMPATHETIC INDUCTION - Snell]

"All the forces of nature, writes Keely, proceed from the one governing force; the source of all life, of all energy. These sympathetic flows, or streams of force, each consists of three currents, harmonic, enharmonic, and dominant; this classification governing all orders of positive and negative radiation." [Vibratory Physics - The Connecting Link between Mind and Matter] [See Laws of Being]

DOMINANT ELECTRIC CURRENT
"Magnetism is of the atomic order? and not molecular? then it is not electrical in nature; so what then is the influence in an electromagnet? The Dominant current of the electrical stream." [Keely and His Discoveries]

"The Dominant (of the Electrical Stream) creates or governs Magnetism on the atomic Order of Vibration (High Vibratory)." [Keely and His Discoveries]

"The third point of the triangle or triple flow, establishes the polarity of the chord or flow; also called Diaphonic." [Dale Pond]

"Keely classes the cohesive force of molecular masses as the dominant order of the electric stream, the molecule owing its negative attractive quality to the magnetic element." [Keely and His Discoveries]

"The Dominant current of the electrical stream is the Electricity luminous." [Keely and His Discoveries]

"..the magnet is an indicator of the diversion of the attractive flow of the dominant current of the electrical stream.." [Keely]

"Disturbance of equilibrium and sympathetic equation constitute the dual power that governs all the varied forms of life and motion which exist terrestrially, of which the electric or magnetic is the prime mover and regulator. All electrical action, no matter of what character, has its sympathetic birth by the intervention of that current of the triune flow, which I call the dominant, with the Polar harmonic current; all sympathetic flows being composed of three currents. They become associative one with the other only near the junction of terrestrial interference. The great vacuous field which exists between the planetary ranges holds this portion of the etheric flow free of all antagonism, molecularly or otherwise, till the associative point is reached; so wonderfully planned by the Great Creator, for instant electric evolution and assimilation with terrestrial centers of attraction. I call this intervention, atomic intermolecular and molecular density. The combination of the action of the triune sympathetic celestial stream with the same intervening medium induces heat and light as the resultant of these corpuscular conflictions with sympathetic celestial and terrestrial focalized centers of neutral radiation. I do not recognize electricity, nor light, nor heat as coming from the sun. These conditions, according to my theories, emanate from atomic and interatomic interference on induced molecular vibration, by sympathetic etheric vibration, the celestial attractive being the prime mover." [Vibratory Physics - The Connecting Link between Mind and Matter]

"In analyzing this triple union in its vibratory philosophy, I find the highest order of perfection in this assimilative action of Nature. The whole condition is atomic, and is the introductory one which has an affinity for terrestrial centres, uniting magnetically with the Polar stream, in other words, uniting with the Polar stream by neutral affinity. The magnetic or electric forces of the earth are thus kept in stable equilibrium by this triune force, and the chords of this force may be expressed as 1st, the dominant, 2nd, the harmonic, and 3rd, the enharmonic. The value of each is, one to the other, in the rates of figures, true thirds. Eb, - transmissive chord or dominant; Ab - harmonic; Abb - enharmonic. The unition of the two prime thirds is so rapid, when the negative and the positive conditions reach a certain range of vibratory motion, as to be compared to an explosion. During this action the positive electric stream is liberated, and immediately seeks its neutral terrestrial centre, or centre of highest attraction." [True Science]

DOMINANT, DIATONIC THIRDS
"The fundamental mode of vibration changes as we reach the fifth subdivision, to the dominant, the diatonic third of the mass chord, which controls the vibratory states of both etheron and interetheron." [Keely and His Discoveries]

"The sympathetic acoustic impulses are:
"the DOMINANT - a diatonic third -
"the HARMONIC - the connective "sixth" - and
"the ENHARMONIC - or diminished seventh - which Keely calls a ninth -
"inducing "infinite trajective velocity" or "neutral radiation" from neutral centers. [Snell Manuscript]

DOMINANT ETHERIC
"The magnetic cannot lead the electric, nor the electric the gravital, nor the gravital the magnetic. All are subservient to the dominant, as a train of cars is subservient to the locomotive which pulls it along; the only difference between the two is that one is sympathetic, the other mechanical. Though this is a crude illustration, it conveys a great truth in sympathetic philosophy. All sympathetic flows have this triune condition associated with them, the same as the molecular, atomic and Etheric aggregations of all forms of visible matter; the compound Etheric, or dominant, being the leader and yet one of the constituents of the molecule itself. The dominant we may call the Etheric portion of the molecule; the harmonic, the atomic; and the enharmonic, the molecule itself. The dominant parts of the triune combination of the sympathetic streams are the leaders, toward which all co-ordinate to make up the sympathetic terrestrial envelope of the earth; the cerebral being the high dominant, or compound Etheric, the luminiferous proper." [Keely and His Discoveries]

"the cerebellum being the dominant, and the triplets (gravital, electric, and magnetic) following in its train." [Newton of the Mind]

Dominant Polarity
"In this manner we have "sympathetic negative attraction", and "sympathetic positive propulsion", with reference to the "Outreach" of the third or dominant current of the stream, which is allied to the order of etheric vibrations." [Laws of Being, Laws of Being - Annotated, The Nature and Dynamics of Vibration and Toroids]

Dominant Etheric, Etheron
Harmonic atomic, Atom
Enharmonic Molecular, molecule

see Etheric Elements, Subdivision

"All sympathetic flows have this triune condition associated with them, the same as the molecular, atomic and etheric aggregations of all forms of visible matter; the compound etheric, or dominant, being the leader and yet one of the constituents of the molecule itself. The dominant we may call the etheric portion of the molecule; the harmonic, the atomic; and the enharmonic, the molecule itself. The dominant parts of the triune combination of the sympathetic streams are the leaders, toward which all co-ordinate to make up the sympathetic terrestrial envelope of the earth; the cerebral being the high dominant, or compound etheric, the luminiferous proper." [Newton of the Mind]

""All diversions from the polar terrestrial envelope are but nodal outreaches, induced by the proper order of sympathetic vibration; not dissociations and associations of sympathy ; but operating on the same principle as the outflow, or nodal outreach of the mental organism (brain) toward the physical, in its control over it. The latent conditions are in a state of neutrality, as regards action, until the exciter -mental outreach is brought into sympathetic play. If we dissociate the sympathetic mental from the latent physical, it would be equivalent to beheading it; consequently, the physical would cease to exist as a thing of life; but the dominant - the cerebral would remain in its unchanged form, viz., the high etheric." [Bloomfield-Moore, Newton of the Mind]

Keely does not give an analysis of the structure of the etheric, but from the fact that he was able to subdivide it through the same process of "triple subdivision" into "interetherons" we may assume that three interetherons, each with its etheric capsule whirling about it, existed within the envelope of the etheron, vibrating with an oscillatory frequency greater than any of the lower subdivisions.

The fundamental mode of vibration changes as we reach the fifth subdivision, to the dominant, the diatonic third of the mass chord, which controls the vibratory states of both etheron and interetheron. The awful might concealed in the depths of the etheric and interetheric subdivisions utterly transcends anything Science has ever known. Even the theoretical energy value of radium now accepted by Science, pales into insignificance in comparison to the energy value of an equal amount of water subdivided to the etheric or interetheric state. [Snell Manuscript - The Book]

Molecular terrestrial masses, composed of the "ultimate ether" bound latent in substance, are sympathetically drawn to the earth's neutral center according to the density of their molecular aggregation, from which must be deducted their celestial sympathetic outreach. In other words, molecular weight consists in the difference between these forces. Either one can be intensified by polar or antipolar vibrations, giving either one predominance. If the celestial (repulsive) predominates, the mass will rise, its velocity proportionate to the concentration of the dominant or the "negative thirds of its mass chords" inducing high neutral radiation together with "celestial attraction." The "terrestrial propulsive" and "celestial attractive" cause ascension and the "celestial propulsive" and "terrestrial attractive" cause descension or increased weight. [GRAVITY - Snell]


Professor Daniel Brinton
"The rhythmic relations in which force acts are everywhere, under all conditions, and at all times, the same. They are found experimentally to be universally expressible by the mathematical relations of thirds.

"These threefold relations may be expressed with regard to their results as,

I. Assimilative (Concentration, Gravitation)
II. Individualizing (Radiation, Entropy)
III. Dominant or Resultant

"From these three actions are derived the three fundamental LAWS OF BEING:

I. Law of Assimilation: every individualized object assimilates itself to all other objects.

II. Law of Individualization: every such object tends to assimilate all other objects to itself.

III. Law of the Dominant: every such object is such by virtue of the higher or dominant force which controls these (above) two tendencies. [14.09 - Brintons Laws of Being]


Schauberger
Precisely the opposite dissociation is inaugurated when the suctional component prevails or is dominant. This is because suction, which produces higher-grade coolness, increases in proportion to the centripetating rotational velocity. This invigorating (quality-enhancing) suctional effect can only be created when a tripolar mass of water or air is radially->axially rotated at high speed about its own axis. [The Energy Evolution - Harnessing Free Energy from Nature, Magnetism - Electricism]


MUSIC, RAMSAY
Dominant - The fifth above the tonic in a key. [Scientific Basis and Build of Music, page 63]


The subdominant, or lowest chord in the key - F, A, C, is the natural product of the first combination of the three primary ratios (2, 3, 5). Their second combination develops the tonic or middle chord C, E, G. The third combination develops the dominant or highest chord G, B, D.

keynote or root of F
F A C subdominant
C E G Tonic
G B D Dominant
The Scientific Basis and Build of Music, [Dougald Carmichael Ramsay]

"lower effect than the fifth; the seventh, B, has a higher effect than the sixth; but the eighth, C, has a lower effect than the seventh. If the effects of notes or chords depended wholly on the mathematical primes by which they are measured and located, or the ratios inherent in them, then the effects of the tonic, subdominant, and dominant chords would have been alike, for these chords are measured by exactly the same primes, and have exactly the same ratios. It is the position of the tonic chord which gives it its importance and not any special primes by which it is produced, nor any special ratios inherent in it. Notes by the power of 2 have a pure unmixed and invariable character. Notes by the first, second, and third powers of 3 have different degrees of centrifugal force; and the character of the notes produced by the first power of 5 depends on the character of the notes from which they are derived. The final character of notes and chords is determined by the amount of force which they have acquired from the way in which they have been derived, and from their position in the system. And no matter where these notes may be afterwards placed, like chemical elements, they never lose their original forces and tendencies. What Tyndal says of the inorganic chemical elements of the brain is true of the inorganic notes of music, "They are all dead as grains of shot." It is the organic state which gives the notes and chords their gravities and levities, and these two tendencies, the one upward and the other downward, constitute the vital principle of music. It is true that the mathematical operation is required to give birth and life to music, and that the mathematical system gives the knowledge of causes down to the law of gravitation, yet the artistic effects are fully realised from the tempered system deriving its organic harmony from this vital principle of music. The centrifugal tendencies of the notes of the subdominant, are too strong to be at all disturbed by the system being tempered. The enormous power of these chords corrects the effect which might otherwise arise from tempering, as the enormous power of the sun corrects the perturbations of the planets." [Scientific Basis and Build of Music, page 29]

When the major scale has been generated, with its three chords, the subdominant, tonic, and dominant, by the primary mathematical ratios, it consists of forms and orders which in themselves are adapted to give outgrowth to other forms and orders by the law of duality and other laws. All the elements, orders, combinations, and progressions in music are the products of natural laws. The law of Ratio gives quantities, form, and organic structure. The law of Duality gives symmetry, producing the minor mode in response to the major in all that belongs to it. The laws of Permutations and Combinations give orders and rhythms to the elements. The law of Affinity gives continuity; continuity gives unity; and unity gives the sweetness of harmony. The law of Position gives the notes and chords their specific levities and gravities; and these two tendencies, the one upward and the other downward, constitute the vital principle of music. This is the spiritual constitution of music which the Peter Bell mathematicians have failed to discern: [Scientific Basis and Build of Music, page 37]

If the effects of notes and chords had depended entirely on their mathematical ratios, then the effect of the subdominant, tonic, and dominant would have been alike; for these three chords have exactly the same ratios. It is the law of position which gives the tonic chord its importance, and not any special ratios embodied in its structure. The ratio of 2 to 1 has a pure, unmixed, invariable character, always realized in the interval of the octave. The notes produced from 1 by the first, second, and third powers of 3 have different degrees of centrifugal force. The character of the notes produced by the first power of 5 depends on the character of the notes from which they are derived, namely, 1, 3, and 9. The final character of the notes and chords derived by the same ratios is determined by the amount of force which they have acquired from the way in which they have been derived, and from their position in the system; and no matter where these notes may afterwards be [Scientific Basis and Build of Music, page 37]

The major scale is composed of three fifths with their middle notes, that is to say, their thirds. And as three such fifths are two octaves, less the small minor third D to F, taking the scale of C for example, so these three fifths are not joined in a circle, but the top of the dominant and the root of the subdominant are standing apart this much, that is, this minor third, D, e, F. Had they been joined, the key would have been a motionless system, with no compound chords, and no opening for modulation into other keys. [Scientific Basis and Build of Music, page 38]

In the progression - that is, the going on from one to another - of these triplets in harmonizing the octave scale ascending, Nature goes on normally till we come to the passage from the sixth to the seventh note of the scale, whose two chords have no note in common, and a new step has to be taken to link them together. And here the true way is to follow the method of Nature in the birthplace of chords.1 The root of the subdominant chord, to which the sixth of the octave scale belongs, which then becomes a 4-note chord, and is called the dominant seventh; F, the root of the subdominant F, A, C, is added to G, B, D, the notes of the dominant, which then becomes G, B, D, F; the two chords have now a note in common, and can pass on to the end of the octave scale normally. In going down the octave scale with harmony, the passage from the seventh to the sixth, where this break exists, meets us at the very second step; but following Nature's method again, the top of the dominant goes over to the root of the subdominant, and F, A, C, which has no note in common with G, B, D, becomes D, F, A, C, and is called the subdominant sixth; and continuity being thus established, the harmony then passes on normally to the bottom of the scale, every successive chord being linked to the preceding note by a note in common. [Scientific Basis and Build of Music, page 49]

In just such a manner, only by more obvious leaps, the middle of the dominant in the advancing major scales is raised a sharp - i.e., four commas. When D27, the dominant top of the key of C, is multiplied by 5, it generates F#135; so, taking it one octave lower, F64 in C major is F#67 1/2 in the key of G. C96 in the key of G is C#101 1/4 in the key of D; G72 in the key of D is G#151 7/8 in the key of A. And this raising of the middle of the dominant goes on through all the twelve major keys.[Scientific Basis and Build of Music, page 62]

In the same way, but inversely, and still under the Law of Duality, the middle of the subdominant minor is lowered a flat. F#67 1/2 in the key of E minor is F64 in the key of A; B45 in the key of A is B♭42 2/3 in the key of D; E60 in the key of D is E♭56 8/9 in the key of G. This lowering by flats of the subdominant middle in the minors, responsive to the raising by sharps of the dominant middle in the majors, goes on through all the twelve minor keys.1 [Scientific Basis and Build of Music, page 62]

Dominant - The fifth above the tonic in a key. [Scientific Basis and Build of Music, page 63]

Now we come to a remarkable arrangement of Nature. The minor does not grow in the same way out of this third chord's top. Two features come before us: first the minor chord grows out of the major, but it is taken not from the top but from the middle, from a rib out of his side. B, the middle of the major dominant chord; B, the last-born of the major genesis; B is the point of departure in the outgrowth of the minor mode. The feminine is a lateral growth from the masculine. Another feature: it grows downward, like a drooping ash or willow. Its first generated chord is its dominant, and its last is its subdominant. Its middle chord, like the middle one of the major, is its tonic. Still further, it is generated by division, not multiplication; B45 is divided by 3 and by 5 for the root and middle of this highest chord, E and G. E15 is divided by 3 and 5 for the root and middle of the tonic chord, A and C. A5 is divided by 3 and 5 for the root and middle of the lowest chord, D and F. Thus we have the whole generation of the elements of music, six generations of harmony, like the six days of creation. Up to this point the whole process and aspect is inverse; growing from a middle; growing downward; growing by division;- while the major is growing from the top; growing upward; growing by multiplication. But here the inverse aspect ends. The generating primes of the major are 3 and 5; 3 and 5 are also the generating primes of the minor. In this essential phase of their creation their comparison is direct, not inverse. [Scientific Basis and Build of Music, page 67]

The number of Diatonic Chords. In the major there are three simple chords, two compound chords, and two double compound, seven in all - subdominant, tonic, dominant, subdominant sixth, subdominant fourth, dominant seventh, and dominant ninth. In the minor there are the same number and order, making fourteen. It is not normal to the tonic chord to compound, but it may, in exceptional instances; the major tonic may, in a certain cadence, assume the top of the minor subdominant; and the minor tonic may assume, in a cognate case, the root of the major dominant.1 [Scientific Basis and Build of Music, page 70]

common, to mingle with more chord-society. So those added thirds which constitute compound chords are like accomplishments acquired for this end, and they make such chords exceedingly interesting. The dominant assumes the root of the subdominant, and so becomes the dominant seventh that it may be affiliated with the subdominant chords. Inversely, the subdominant assumes the top of the dominant chord that it may be affiliated with the dominant. The major tonic may exceptionally be compounded with the top of the minor subdominant when it comes between that chord and its own dominant; and the minor tonic may in the same way assume the root of the major dominant when it comes between that chord and its subdominant. The minor subdominant D F A, and the major dominant G B D, are too great strangers to affiliate without some chord to introduce them; they seem to have one note in common, indeed, but we know that even these two D's are a comma apart, although one piano-key plays them both, and the F G and the A B are as foreign to each other as two seconds can be, each pair being 9 commas apart, and G A are 8 commas apart. In this case, as a matter of musical courtesy, the tonic chord comes in between; and when it is the minor subdominant that is to be introduced, the major tonic assumes the top of that chord, and then turns to its own major dominant and suavely gives the two to enter into fellowship; for the tonic received the minor subdominant through its semitonic E F, and carries it to the major dominant through its semitonic B C, along with C in common on the one side and G in common on the other. When it is the major dominant that is to be introduced to the minor subdominant the minor tonic fulfills the function, only the details are all reversed; it assumes the root of dominant, and by this note in common, and its A in common with its own subdominant, along with the semitonic second B C on the one hand and the semitonic E F on the other, all is made smooth and continuous. The whole of this mediatorial intervention on the part of the tonic is under the wondrous law of assimilation, which is the law of laws all through creation; but when the tonic chord has fulfilled this graceful action, it immediately drops the assumed note, and closes the cadence in its own simple form.1 [Scientific Basis and Build of Music, page 71]

How far does this compounding process go? The dominant seventh has the first note of the subdominant; the dominant ninth has the second; if we should add a third note, where are we? G B D F A C; here would be the dominant with the whole of the subdominant welded to it; it would have to be called the dominant eleventh, and it has brought us right through to the root of the tonic C. What would be the use of such a chord? We might, in a similar way, add the dominant to the subdominant till we should be through to the tonic on the other side; it would be G B D F A C, and so we should have reached the top of the tonic G. This process shows us, however, that there is just a certain length that we can go, and there is satisfaction in seeing exhaustively that so it is. When the beautiful becomes the useless, it ceases to be the beautiful. [Scientific Basis and Build of Music, page 72]

The varied effect of position in chords. When a chord stands as C E G C, having its root also at the top, it has its softest, dullest, most united effect; it is undramatic, with little contrast. When it stands as E G C E, having its third at the top and bottom, it has a more ticklish, interesting, far-away effect. In reveries composers often finish thus, as if it had vanished - an unsettled effect. When it stands as G C E G, with its top at top and bottom, it has its most dominant character - loud, swelling. In the position C E G C it stands mixingly with the subdominant C E f G a C, and in this its first position its unseen filling in is chiefly from the region of gravity; hence its soft, grave, dull, heavy effect; and it passes very easily to the subdominant chord. When it stands as G C E G it stands mixingly with the dominant G b C d E G, and has its third position and most brilliant effect and uprising, for its unseen filling in is then chiefly from the region of levity; and it passes easily to the dominant chord. When in its second position, its middle position E G C E, its unseen filling in is mixingly both subdominant and dominant, E f G a b C d E; it has then its most interesting and puzzling effect; on the one hand its softest, dullest, and one-est, on the other hand its most brilliant effect, as if it would at once both sink and soar. [Scientific Basis and Build of Music, page 72]

By affinity the notes group in chords. The tonic is the center chord, the key of the harmony; the dominant is the fifth above it and the subdominant the fifth below it, and these two are balanced on the center chord as the scales on a balance beam. The dominant chord is vigorous and active, tending to soar; the subdominant is solemn, soft, and grave, tending to sink; the tonic is melodious and restful, and in it the harmony finds equilibrium. This far AFFINITY. [Scientific Basis and Build of Music, page 91]

THE OPENING FOR MODULATIONS.

In passing from one key to another in the fellowship of keys in a composition, the new key grows out of the top of the dominant and converts the old dominant into a tonic. The dominant and subdominant being at the opposite extremes of the key, with the tonic between them, are not related by affinity. This want of affinity makes an opening in the system for the new chord to come in by, and it, being related by affinity to the chord of the old dominant, which is now the new Tonic, comes in and establishes itself and the new key for the time. It is this gap between subdominant and dominant, along with the affinity existing between the new key and the old dominant, which makes this musical event to be so gracefully accomplished. This is what is called natural modulation, the passing for a time into another key in the course of a composition; and its abundant and habitual use in music, even in the simplest chorales, shows how natural and acceptable it is. The young student will find illustrations in the second lines of the Psalm tunes - Watchman, Sicily, Tranquility, Eaton, Birmingham, Jackson, Bethel, Bedford, and Sheffield. Take Watchman, for example, and let the young student follow carefully, noting each chord of the little passage, which we shall analyse for his help. It is by such practice that he will become by-and-by familiar with the kinship of keys and the legitimate resources of harmony. [Scientific Basis and Build of Music, page 93]

This tune is in the key of E♭ Major, and the key into which it moves for a passage is the next above it, B♭ Major. The first chord, E♭ G B♭, is the tonic; the second and third are the tonic and dominant; the fourth, C E♭ G, whose full form would be C E♭ G B♭, is the compound subdominant of the new key, which suggests the approaching modulation. The next two chords, in which the measure closes, may either be viewed as the tonic and dominant of the key, or the subdominant and tonic of the new key. The second measure opens with the same chord which closes the first measure, and is best defined as the tonic of the new key; the second chord is clearly the dominant of the new key, and the whole of the second measure is in the new key, and reads, T. D. S. T. compound D. T. Some of these chords might be read as chords of the old key, so near to each other and so kindred are the contiguous keys. All contiguous keys to a certain extent overlap each other, so that some of the chords may be variously read as belonging to the one or to the other. [Scientific Basis and Build of Music, page 94]

"The notes as they naturally arise from unity have different degrees of development, and according to the degree of development of each note is its specific levity or gravity. The three notes which form the subdominant chord have different degrees of gravity; the three which form the dominant chord have different degrees of levity. The remaining note is the center of the tonic chord -

Subdominant - F, A, C E G, B, D - Dominant

[Scientific Basis and Build of Music, page 95]

"The three notes of the dominant chord resolve by each note going to the next note upward - G soars to A, B to C, D to E. The three notes of the subdominant resolve by each note going to the next note downward - C sinks to B, A to G, F to E. The two upper notes of the dominant resolve into the tonic chord according to the Laws of Proximity and Specific Levity; and the two lower notes of the subdominant resolve into the tonic chord according to the Laws of Proximity and Specific Gravity. And in this way Nature, in chord-resolution, has two strings to her bow." [Scientific Basis and Build of Music, page 96]

In the first six chords of the scale the tonic is the first of each two. The tonic chord alternating with the other two produces an order of twos, as - tonic dominant, tonic subdominant, tonic subdominant. The first three notes of the octave scale are derived from the root, the top, and the middle of the tonic dominant and tonic; the second three are derived from the root, top, and middle of the subdominant, tonic, and subdominant. The roots, tops, and middles of the chords occurring as they do produce an order of threes, as - root, top, middle; root, top, middle. The first, third, fifth, and eighth of the scale are from the tonic chord; the second and seventh from the dominant; and the fourth and sixth from the subdominant. In the first two chords of the scale the tonic precedes the dominant; in the second two, the subdominant; and in the third two the tonic again precedes the subdominant; and as the top of the subdominant chord is the root of the tonic, and the top of the tonic the root of the dominant, this links these chords together by their roots and tops. The second chord has the top of the first, the third has the root of the second, the fourth has the root of the third, the fifth has the top of the fourth, and the sixth has the root of the fifth; and in this way these successive chords are woven together. The only place of the octave scale where there are two middles of chords beside each other is at the sixth and seventh. The seventh note of the octave scale is the middle of the dominant, and the sixth is the middle of the subdominant. These two chords, though both united to the tonic, which stands between them, are not united to each other by having a note in common, inasmuch as they stand at the extremities of the system; and since they must be enabled to succeed each other in musical progression, Nature has a beautiful way of giving them a note in common by which to do so - adding the root of the subdominant to the top of the dominant, or the top of the dominant to the root of the subdominant, and this gives natural origin to compound chords. The tonic chord, being the center one of the three chords, is connected with the other two, and may follow the dominant and sub- [Scientific Basis and Build of Music, page 97]

dominant; and either of these chords may also follow the tonic; but when the dominant follows the subdominant, as they have no note in common, the root of the subdominant is added to the dominant chord, and this forms the dominant seventh; and when the subdominant follows the dominant, the top of the dominant is added to the subdominant, and this forms the subdominant sixth. The sixth and seventh of the octave scale is the only place these two compound chords are positively required; but from their modifying and resolvable character they are very generally used. When the dominant is compounded by having the root of the subdominant, its specific effect is considerably lower; and when the subdominant is compounded by having the top of the dominant, its specific effect is considerably higher. In the octave scale the notes of the subdominant and dominant chords are placed round the notes of the tonic chord in such a way was to give the greatest amount of contrast between their notes and the tonic notes. In the tonic chord the note which has the greatest amount of specific gravity is its root; and in the octave scale it has below it the middle and above it the top of the dominant, the two notes which have the greatest amount of specific levity; and in the octave scale it has above it the middle and below it the root of the subdominant - the two notes which the greatest amount of specific gravity. The third note of the scale, the middle of the tonic chord, is the center of the system, and is the note which has the least tendency either upwards or downwards, and it has above it the root of the subdominant, the note which has the greatest amount of specific gravity, and it has below it the top of the dominant, the note which has the greatest amount of specific levity. Thus the root of the subdominant is placed above, and the top of the dominant below, the center of the system; the specific gravity of the one above and the specific levity of the one below cause them to move in the direction of the center. [Scientific Basis and Build of Music, page 98]

Fig. 1 - The pendulums in this illustration are suspended from points determined by the division of the Octave into Commas; the comma-measured chords of the Major key being S, 9, 8, 9, 5; T, 9, 8, 5, 9; D, 8, 9, 5, 9. The pendulums suspended from these points are tuned, as to length, to swing the mathematical ratios of the Diatonic scale. The longest pendulum is F, the chords being properly arranged with the subdominant, tonic, and dominant, the lowest, center, and upper chords respectively. Although in "Nature's Grand Fugue" there are 25 pendulums engaged, as will be seen by reference to it, yet for the area of a single key 13 pendulums, as here set forth, are all that are required. It will not fail to be observed that thus arranged, according to the law of the genesis of the scale, they form a beautiful curve, probably the curve of a falling projectile. It is an exceedingly interesting sight to watch the unfailing coincidences of the pendulums perfectly tuned, when started in pairs such as F4, A5, and C6; or started all together and seen in their manifold manner of working. The eye is then treated to a sight, in this solemn silent harp, of the order in which the vibrations of sounding instruments play their sweet coincidences on the drum of the delighted ear; and these two "art senses," the eye and the ear, keep good company. Fig. 2 is an illustration of the correct definition of a Pendulum Oscillation, as defined in this work. In watching the swinging pendulums, it will be observed that the coincidences [Scientific Basis and Build of Music, page 104]

are always when they have returned to the side from which they were started. The Pendulographer, also, when writing the beautiful pictures which the musical ratios make when a pen is placed under the control of the pendulums, always finds his figure to begin again when the pendulums have finished their period, and have come for a fresh start to the side from which the period began. This confirms our author's definition of an oscillation of a pendulum. Fig. 3 is an illustration of the correct definition of a Musical Vibration, as also given in this work. Although the definition of an oscillation is not identical with that of a vibration, yet on account of their movement in the same ratios the one can be employed in illustration of the other as we have here done. Fig. 4 is a uniform rod suspended from the end as a pendulum; it will oscillate, of course, at a certain speed according to its length. In such a pendulum there are three centers related in an interesting way to the subject of Music in its three chords - subdominant, tonic, and dominant, which roots are F, C, and G. The center of gravity in the middle of the rod at 2, suspended at which the rod has no motion, corresponds to F, the root of the subdominant, in which there is the maximum of musical gravity. The center of oscillation at 3, which is one-third of the length of the rod from the end, is like the root of the tonic whose number is 3 in the genesis of the scale from F1. In this point of suspension the oscillations are the same as when suspended from the end at 1. The point at 9 is at a ninth from the center of oscillation. Our author discovered that, if suspended at this point, the pendulum had its highest rate of speed. Approaching the end, or approaching the center of oscillation from this point, the rate of speed decreases. Exactly at one-ninth from the center of oscillation, or two-ninths from the end, is this center of velocity, as Ramsay designated it; and it corresponds in some sort also to the root of the dominant G, which is 9 in the genesis of the scale from F1; its rate of vibration is nine times that of F1. The dominant chord is the one in which is the maximum of levity and motion in music. [Scientific Basis and Build of Music, page 105]

This plate is a representation of the area of a scale; the major scale, when viewed with the large hemisphere, lowest; the minor when viewed the reverse way. It is here pictorially shown that major and minor does not mean larger and smaller, for both modes occupy the same area, and have in their structure the same intervals, though standing in a different order. It is this difference in structural arrangement of the intervals which characterizes the one as masculine and the other as feminine, which are much preferable to the major and minor as distinctive names for the two modes. Each scale, in both its modes, has three Fifths - subdominant, tonic, and dominant. The middle fifth is the tonic, and its lowest note the key-note of the scale, or of any composition written in this scale. The 53 commas of the Octave are variously allotted in its seven notes - 3 of them have 9 commas, 2 have 8, and 2 have 5. The area of the scale, however, has much more than the octave; it is two octaves, all save the minor third D-F, and has 93 commas. This is the area alike of masculine and feminine modes. The two modes are here shown as directly related, as we might figuratively say, in their marriage relation. The law of Duality, which always emerges when the two modes are seen in their relationship, is here illustrated, and the dual notes are indicated by oblique lines across the pairs. [Scientific Basis and Build of Music, page 106]

The Plate shows the Twelve Major and Minor Scales, with the three chords of their harmony - subdominant, tonic, and dominant; the tonic chord being always the center one. The straight lines of the three squares inside the stave embrace the chords of the major scales, which are read toward the right; e.g., F, C, G - these are the roots of the three chords F A C, C E G, G B D. The tonic chord of the scale of C becomes the subdominant chord of the scale of G, etc., all round. The curved lines of the ellipse embrace the three chords of the successive scales; e.g., D, A, E - these are the roots of the three chords D F A, A C E, E G B. The tonic chord of the scale of A becomes the subdominant of the scale of E, etc., all round. The sixth scale of the Majors may be written B with 5 sharps, and then is followed by F with 6 sharps, and this by C with 7 sharps, and so on all in sharps; and in this case the twelfth key would be E with 11 sharps; but, to simplify the signature, at B we can change the writing into C, this would be followed by G with 6 flats, and then the signature dropping one flat at every new key becomes a simpler expression; and at the twelfth key, instead of E with 11 sharps we have F with only one flat. Similarly, the Minors make a change from sharps to flats; and at the twelfth key, instead of C with 11 sharps we have D with one flat. The young student, for whose help these pictorial illustrations are chiefly prepared, must observe, however, that this is only a matter of musical orthography, and does not practically affect the music itself. When he comes to the study of the mathematical scales, he will be brought in sight of the exact very small difference between this B and C♭, or this F# and G♭; but meanwhile there is no difference for him. [Scientific Basis and Build of Music, page 108]

THE GROWTH-LIKE CONTINUITY OF CHORDS AND KEYS.

Under the symbol of a music plant this plate gives us to realize the growth-like continuity of chords and scales. The roots of the three chords of a key are represented in F, C, and G of the key of C. The plant might be represented as a creeping stem, like the creepers of the strawberry, with its progressive roots struck into the earth; but it is better to show an upward stem with aerial roots, for such are the roots of the musical plant. The main stem of the plant has the three chords, F a C e G b D; that is, F a c, C e g, G b d, the subdominant, tonic, and dominant. The terminal chord, D f# a, is to show that the keys as well as the chords GROW out of each other. Include the side branches which terminate with the octave notes of the chords, read thus - F a c f, G e g e, G b d g, because a chord is felt to be most complete in its unity when thus shut in by the octave note of its root. This is the reason why the great three-times-three chord does not stop at D, the top of the dominant chord, but goes on to the sixth octave of the fundamental root, shutting all in by the great peacemaker, F, in order to preserve the unity of the effect which this chord of chords produces. Before D. C. Ramsay showed that the scale of Harmonics extended to six octaves, it was by teachers of the science of music only extended to four. [Scientific Basis and Build of Music, page 110]

DIATONIC RESOLUTIONS, SIMPLE AND COMPOUND.

In the major system, when the tonic chord follows the subdominant one, there is one semitonic progression to the middle of the tonic, and one note in common with the root, so these two chords are linked together in different ways. When the tonic chord follows the dominant one, there is one semitonic progression to the root of the tonic, and one note in common with its top, so these two chords also are linked together in two different ways. When the tonic chord follows the compound dominant, i.e., the dominant seventh, there are two semitonic progressions, one to the middle and one to the root, and one note in common with its top, so these two are linked together in the same two ways; but the semitonic progression being double gives this resolution great urgency. And now we come to the two chords, the subdominant and dominant, which have no note in common, and must, when they succeed each other, be helped to come together. Nature teaches us how this is to be done by a process of borrowing and lending which will establish between them a similar relationship to that which keeps the continuity of the other chords in succession. We have seen that the top of the subdominant and the root of the tonic are a note in common to these chords, and so the top of the tonic and the root of the dominant also are a note possessed in common by these two chords. In like manner in this disjunct part, when the dominant follows the subdominant, the root of the subdominant is lent to the top of the dominant, and thus they come to have a note in common. The top of the [Scientific Basis and Build of Music, page 111]

subdominant also moves by semitonic progression to the middle of the dominant, and so, like the simple chords, they are brought into continuity. When the subdominant follows the dominant, the top of the dominant is lent to the root of the subdominant, and they come to have also a note in common; and the middle of the dominant moves by semitonic progression to the top of the subdominant; and thus resolving continuity is established between them. [Scientific Basis and Build of Music, page 112]

With perfect duality of response does resolution of chords go on in the minors. When the tonic chord follows the subdominant one, they have for their note in common A, i.e., in the key of A; and the middle of the subdominant moves by semitonic progression to the top of the tonic. When the tonic chord follows the dominant one, the top of the tonic and the root of dominant E is a note in common, and the top of the dominant goes by semitonic progression to the middle of the tonic. These simple chords are thus linked together exactly with the same degree of continuity as the simple chords of the major. When the tonic chord follows the compound subdominant, this compound chord, like the compound dominant in the major, has two semitonic progressions - one to the top and one to the middle of the tonic - and they have one note in common. When the compound dominant follows the subdominant, the root of the subdominant is lent to the top of the dominant, and thus a note in common is created, and the middle of the subdominant moves by semitonic progression to the root of the dominant. When the compound subdominant follows the dominant, the top is lent to the root of the subdominant, creating a note in common between them, and the root of the dominant goes to the middle of the subdominant in semitonic progression. This is the way of Nature. The unbroken continuity of her ways is perfectly illustrated in the linked sweetness and kinship of chords in a key; or when one key passes by modulation to another key; and that through all the chords and all the keys. We shall see wondrously more of this when we come to the study and contemplation of the Chromatic System of Chords. [Scientific Basis and Build of Music, page 112]

One purpose of this plate is to show that twelve times the interval of a fifth divides the octave into twelve semitones; and each of these twelve notes is the first note of a major and a minor scale. When the same note has two names, the one has sharps and the other has flats. The number of sharps and flats taken together is always twelve. In this plate will also be observed an exhibition of the omnipresence of the chromatic chords among the twice twelve scales. The staff in the center of the plate is also used as to show the whole 24 scales. Going from the major end, the winding line, advancing by fifths, goes through all the twelve keys notes; but in order to keep all within the staff, a double expedient is resorted to. Instead of starting from C0, the line starts from the subdominant F0, that is, one key lower, and then following the line we have C1, G2, etc., B6 proceeds to G♭ instead of F#, but the signature-number continues still to indicate as if the keys went on in sharps up to F12, where the winding line ends. Going from the minor end, the line starts from E0 instead of A0 - that is, it starts from the dominant of A0, or one key in advance. Then following the line we have B1, F#2, etc. When we come to D#5, we proceed to B♭ instead of A#6, but the signature-number continues as if still in sharps up [Scientific Basis and Build of Music, page 114]

Table 14.04 - Occurrences of the term dominant in SVP Keely files
FILE NAME TERM
Keely Chronology subdominant current with the dominant
Keely Chronology altering the dominant or etheric mode of vibration
Keely Chronology "outreach" of the third or dominant current of the stream
Keely Chronology harmonic interaction of the dominant and enharmonic elements of the flow
Keely Chronology in magnetism, in gravity; and is the dominant current in each of these
Keely Discoveries 1 dominant etheric sixths, 8,100,000,000;
Keely Discoveries 2 dominant current can no more be brought under control
Keely Discoveries 2 diversion of the dominant current would mean destruction
Keely Discoveries 2 dominant order of the electric stream,
Keely Discoveries 2 power of the dominant third
Keely Discoveries 2 All the dominant conditions of nature
Keely Discoveries 2 alternating of the dominant alone,
Keely Discoveries 2 3rd dominant
Keely Discoveries 2 three currents, harmonic, enharmonic, and dominant
Keely Discoveries 2 1st, the dominant, 2nd, the harmonic, and 3rd, the enharmonic
Keely Discoveries 2 E flat-transmissive chord or dominant;
Keely Discoveries 2 I call the dominant, with the Polar harmonic current
Keely Discoveries 2 prime, luminous, dominant element.
Keely Discoveries 2 their leader, the dominant, form the first triple.
Keely Discoveries 2 dominant is electricity luminous, or propulsive
Keely Discoveries 2 dominant current would give
Keely Discoveries 2 interatomic conflict, as between the dominant and enharmonic.
Keely Discoveries 2 gold the enharmonic, and platina the dominant.
Keely Discoveries 2 chord on the dominant
Keely Discoveries 2 dominant being the leader and associate
Keely Discoveries 3 dominant thirds.
Keely Discoveries 3 polar dominant current, - the leader of the triune stream
Keely Discoveries 3 dominant concentration
Keely Discoveries 3 dominant and enharmonic forces exchange compliments
Keely Discoveries 3 attractive flow of the dominant current of the electric stream
Keely Discoveries 3 diverted from the Dominant, flowing in at the Negative end
Keely Discoveries 3 dominant current of the electric stream
Keely Discoveries 3 higher or dominant force which controls
Keely Discoveries 3 third represents the "dominant"
Keely Discoveries 3 study of the dominant
Keely Discoveries 3 altering the dominant or etheric mode of vibration
Keely Discoveries 3 "outreach" of the third or dominant current of the stream
Keely Discoveries 3 harmonic inter-action of the dominant and enharmonic elements of the flow
Keely Discoveries 3 dominant or high vibratory
Keely Discoveries 3 subdominant or low vibratory
Keely Discoveries 3 subdominant can be assimilated to the harmonic undulatory
Keely Discoveries 3 subdominant a concordant relation to the dominant
Keely Discoveries 3 concordant relation to the dominant
Keely Discoveries 3 concordance, as towards the dominant
Keely Discoveries 3 destructive effects of the dominant current
Keely Information dominant is the leader
Keely Information dominant as the sympathetic leader
Keely Information cerebellic being the dominant
Keely Information All are subservient to the dominant
Keely Information the compound etheric, or dominant, being the leader
Keely Information The dominant we may call the etheric portion
Keely Information dominant parts of the triune combination
Keely Information the cerebral being the high dominant, or compound etheric, the luminiferous
Keely Information the dominant - the cerebral
Keely Information ninths dominant, the sixths harmonic, and the thirds enharmonic
Keely Information mental flow is dominant over all the sympathetic conditions
Keely Information order of the subdominant
Keely Information dominantly independent
Keely Information LOVE, the dominant chord of the cycles
Keely Information concentration of the dominant bearing on the negative thirds
Keely Information predominant agents of advancement
Keely Information law that governs the dominant force
Keely Information dominant natural laws
Keely Information his discordant ways seem dominant
Keely Information laws of Nature are dominant
Keely Information man's laws are not truly dominant
Keely Information conflict between the dominant and enharmonic currents of the triune
Keely Information harmonic and enharmonic current with the dominant (in the electric stream)
Keely Information 3rd dominant
Keely Information harmonic interactions of the dominant and enharmonic modes of vibration
Keely Information Dominant Etheric 6ths
Keely Information subdominant current with the dominant
Keely Information hook on to the dominant
Keely Information third represents the "dominant"
Keely Information study of the dominant
Keely Information altering the dominant or etheric mode of vibration
Keely Information "outreach" of the third or dominant current of the stream
Keely Information harmonic interaction of the dominant and enharmonic elements of the flow;
Keely Information entropic forces as dominant powers
Keely's Laws of Harmony dominant thirds.
Keely's Laws of Harmony polar dominant current - the leader of the triune stream
Keely's Laws of Harmony difference of state, harmonic, dominant (neutral) or enharmonic.
Keely's Laws of Harmony Dominant current of the triune chord
Keely's Laws of Harmony their leader, the dominant, form the first triple.
Keely's Laws of Harmony dominant is electricity luminous, or propulsive
Keely's Laws of Harmony dominant current
Keely's Laws of Harmony diversion of the dominant current
Keely's Laws of Harmony dominant or high vibratory; 2nd. the subdominant or low vibratory
Keely's Laws of Harmony low vibratory conditions of the subdominant
Keely's Laws of Harmony subdominant a concordant relation to the dominant
Keely's Laws of Harmony concordance, as towards the dominant
Keely's Laws of Harmony destructive effects of the dominant current.
Keely's Laws of Harmony enharmonic, harmonic and dominant.
Locked Potentials Dominant Male (electric affinity) seeks center.
Locked Potentials Dominant Female (magnetic dispersive)
Locked Potentials Subdominant Male (attractive to Dominant Male)
Locked Potentials Subdominant Male (attractive to Dominant Male) coheres with Dominant Male
Locked Potentials Dominant Male coheres with Dominant Male to over ride Dominant Female.
Locked Potentials Dominant Male to over ride Dominant Female.
Locked Potentials Subdominant Male
Locked Potentials celestial current or etheric dominant which is also the prime third
Readings thirds - dominant, Sixth - enharmonic, and Ninth - diatonic
Russell higher or dominant force
Russell the dominant -the cerebral
SVP Articles dominant concentration
SVP Articles LOVE, the dominant chord of the cycles.
SVP Articles dominant place in nature
SVP Articles dominant vibration in the thought - atmosphere
SVP Articles 9ths, octaves harmonic, having the 3rd dominant, the 6th enharmonic and the 9th diatonic
SVP Articles harmonic interactions of the dominant and enharmonic modes of vibration
SVP Articles radiation, attraction, and dominant, respectively.
SVP Articles Assimilation, Individualization, and The Dominant
SVP Articles Laws of Radiation, Attraction, and the Dominant
SVP Articles higher or dominant force which controls these two tendencies
SVP Articles Dominant: called also the "Etheric", or the "Celestial"
SVP Articles three modes of vibration, dominant, harmonic, and enharmonic
SVP Reference dominant, the diatonic third of the mass chord
SVP Reference Law of the Dominant
SVP Reference higher or dominant force
The Universal One magnetically dominant.
The Universal One radiative force of magnetism is dominant.
The Universal One preponderant and dominant in the positive half
The Universal One dominant in the negative half
The Universal One dominantly radiative, or power releasive.
The Universal One dominantly electronegative, or disintegrative.
The Universal One subdominant and tonic
The Universal One dominant triad
Table 14.04 - Occurrences of the term "dominant" in SVP Keely files (HyperVibes) - some duplicate entries were deleted to conserve space. (Not all original Keely files have yet been digitized for searching.)

Are Microwaves the Dominant?
Physicists in the UK have come up with a new way of storing a handful of photons in an ultracold atomic gas, in which strong interactions between neighbouring photons can be switched on and off using microwaves. The team believes that the technique could be used to create optical logic gates in which single photons could be processed one at a time. The method could also prove useful for connecting quantum-computing devices based on different technologies.
Optical photons make very good "flying" quantum bits (qubits) because they can travel hundreds of kilometres through fibres without losing their quantum information. However, it is very difficult to get such photons to interact either with each other or with "stationary" qubits such as those based on trapped ions or tiny pieces of superconductor. Exchanging quantum information between such devices can therefore be tricky.
What Charles Adams and colleagues at Durham University have now done is come up with a way of storing individual optical photons in highly excited states of an atomic gas. Once stored, the photons can be made to interact strongly, before being released again. An important feature of the technique is that it uses microwaves, which are also used to control some types of stationary qubit.
Rydberg polaritons

The Durham experiment involves holding up to 100 rubidium atoms in an optical trap created at the focus of a laser beam, before two pulses of light are fired at the trapped atoms. One pulse is "signal" light that is to be stored and the other is "control" light. The control light allows 10 or so neighbouring rubidium atoms to absorb a signal photon, creating a collective state called a "Rydberg polariton". Such a state is similar to that of a Rydberg atom, which has an electron in a highly excited state – in this case, with a principal quantum number of 60.
When the control pulse is switched off, the photon remains "stored" in a Rydberg polariton for as long as 1 μs. But if the control light is switched on again, the Rydberg polariton is converted back into light, re-emitting the photon that it had held.
Adams told physicsworld.com that the team used Rydberg polaritons – rather than Rydberg atoms – because there is strong coupling between a photon and a Rydberg polariton. This is because the polariton contains many atoms rather than just one. It is therefore much more likely that the photon will be captured and stored in their set-up. Another benefit of a Rydberg polariton is that it will only absorb one photon – and no more.
Micro-spheres in a row
Each Rydberg polariton can be thought of as a 7 μm diameter sphere. The atomic cloud, meanwhile, is only about 30 μm long and has a diameter of about 6 μm – which means that it contains a line of about three Rydberg polaritons in a row. In practice, however, not all of these polaritons will contain a photon, and photons are able to hop between the polaritons. Adams explains that in this case, photons can be lost and are therefore not recovered when the control pulse is switched on again.
However, if a microwave signal is applied to the cloud it creates an interaction between neighbouring polaritons that prevents hopping from occurring – and therefore photons are not lost but rather are recovered when the control pulse is switched back on.
Next step, logic gates
The team believes that this ability to control interactions between adjacent polaritons could be used to create logic gates for single photons. Instead of making three polaritons in a row, this could involve making a Y-shaped junction in which the output of one polariton would be determined by the presence of absence of photons in the other two polaritons.
According to Adams, this would require a new experimental set-up with two focused laser beams and a larger atom cloud – something that the team is looking at creating.
Alex Kuzmich of the Georgia Institute of Technology in the US says that the Durham team's ability to create strong interactions between single photons makes the work "an important advance". He adds that the research "breaks new ground on the way towards realization of quantum logic for photons". [physicsworld.com]

See Also


Animal Magnetism
As a Man Thinketh
axis
axis of direction
axis of gravity
axis of rotation
center
centering shaft
common developmental axis
cyclone shaft
developmental axis
Awareness
14.17 - Dominant is a Catalyst
bio-catalyst
catalysis
catalyst
catalytic
catalytic binding energy
catalytic condenser
catalytic influence
catalytic opposites
diamagnetic catalyst
Law of Catalysis
Paramagnetic catalyst
The Catalysts
Celestial Mind Force
Compound Interetheric
Consciousness
controlling center
Creative
Creative Force
Dispersion
Dominant
dominant chord
Dominant Current
Dominant Order
Enharmonic
Ether
Etheric Elements
Eternal Life
Figure 14.05 - The Dominant is the Light of the Mind of Diety
Figure 16.07 - Magnetism is Radiant while Electricity is Concentrative or Assimilative
Fulcrum
gas-filled tube
gravity shaft
Harmonic
Idea
Law of the Dominant
Life
Life Force
Light
Luminiferous Ether
middle of the dominant
Mind
Mind Force is a pre-existing Natural Force
Neutral
Perfect Fifth
Philosophers Stone
Photon
Preponderance
Rad-Energy
Radiation
Ramsay - The Great Chord of Chords, the Three-in-One17
reactive force
regulate
Rhythmic Balanced Interchange
Subdominant
Superdominant
Subdivision
sympathetic force
sympathetic negative attraction
sympathetic positive propulsion
The Connecting Link Between Mind and Matter - Keelys Progress - Part 2
Thought
Three Currents
tonic
tonic chord
top of the dominant
Triplet
Triune Polar Flows
Void
Volition
Wave
Wave Field
Will
Will Force
Will of God
will power
willpower
Whole Mind
1.9 - Will as Force
15.16 - Controlling Ether by Will Force
18.12 - Body Motivated by Will Force
2.20 - Let there be Light
7.4 - Preponderant Sequentially
7B.09 - Luminiferous Ether or Light
11.13 - Dominant Conditions are Mated Opposing Pairs as Fifths
14.01 - Hints from Bloomfield-Moore
14.16 - Dominant
14.17 - Dominant is a Catalyst
14.19 - Dominant is Light
14.20 - Dominant is Light of Mind or Thought or Idea
14.22 - Dominant is the High Neutral
14.24 - Dominant causes Magnetism
14.25 - Dominant is Light of Electrical Spark
14.26 - Dominant is Light of Mind
14.27 - Mind being Dominant is Creative
14.30 - Effect of Preponderance
14.31 - Preponderance Russell
14.33 - Mind Force - Light - Etheric Subdivision
15.23 - Water is Predominantly Diamagnetic
16.25 - Magnetic Attraction caused by Dominant Current of Electrical Stream
18.13 - Mind is the Active Force

Created by Dale Pond. Last Modification: Wednesday March 6, 2024 04:10:22 MST by Dale Pond.