"The bridge of mist" he (Keely) writes, "which spanned the chasm between the two is gradually resolving itself into one of granite, which the nations of the earth may safely traverse, stretching between the two centers; the celestial and terrestrial. The visible one is the one of mist: the invisible one is the one of granite." [Clara Jessup Bloomfield-Moore]

The vapor from the liberator, registered at 20,000 lbs. per square inch has a range of atomic motion of 1333 1/3 the diameter of the atmospheric molecule with constant rotary vibratory action. At 10,000 lbs., 666 2/3, at 5,000, 333 1/3, at 2500, 166 2/3, at 1250, 83 1/3, at 625, 41 2/3. The higher the range of atomic motion the greater its tenuity and pressure. The very evolution on the negative shows a vacuum of a much higher order than was ever produced before confounding all theory to analyze. The highest vacuum known is 17.999999, or not quite 30 inches, but Keely produced etheric vacuums repeatedly of 50 to 57 inches ranging down to 30 inches or 57 lbs. All operations of nature have for their sensitizing centers of introductory action, triple vacuum evolutions. These evolutions are centered in atomic triple revolutions, highly radiophonic in their character and thoroughly independent of all outside forces in their spheres of action. No conceivable power, however great, can break up their independent centers. These triple centers are the foundation of the universe, and mathematically considered, the respective and relative motion of these atomic triplets, gravitating to and revolving around each other, is about one and one-third of their circumference. The problem of this action, when analyzed mathematically, (taking it as the quadrature of the circle) would baffle mathematical science to bring it to a numerical equation. Every revolving body is impressed by nature with certain laws making it susceptible of the operation of force, which being applied, impels motion. These bodies never can approach nearer than a certain limit, nor farther than a certain point. They are, at some mean point, made perfectly equal, and may therefore be considered as one force and as one element. It matters not that other and disturbing forces exist outside or inside the space these bodies revolve in, because if this force must be considered as acting uniformly, applying itself to each of these bodies in a way to produce a perfect equation on all, it is as if this outside force were nonexisting. [Snell Manuscript - The Book, page 2]

The structure of the air molecule according to Keely is as follows: Broken up, by vibratory action, he finds it to contain the "atomic triplet." This exists in a triangular position within the molecule, at its center, unless acted upon by electricity, when the molecule becomes oblate and the three atoms are ranged in a line within unless broken up by vibration. Nature never gives a vacuum, consequently the space within the molecule not occupied by the atomic triplet must be filled with something. This is where the "all-pervading ether" has made its secret abode through untold aeons. [Laurence Oliphant] [Snell Manuscript - The Book, page 3]

"Therefore, it is necessary to submit the wire to a system of graduation in order to find what the combined chords of these nodal interferences represent when focalized to one general center. Then the differentiation between these nodal waves and the intermolecular link must be equated, by what I call a process of vibratory induction, so as to induce pure concordance between one and the other. To elaborate on this system of graduation, for effecting conditions necessary to ensure perfect and unadulterated transmission, would make up a book that would take days to read and months to study. [Snell Manuscript - The Book, GRADUATION OF MACHINES, page 5]
"I center the moving shaft of My universe, yet I move not, although its power to move springeth from Me. I center living things which manifest My life, but they live not. I alone live." Russell, The Secret of Light

"Behold, I am within all things centering them; and I am without all things controlling them, but I am not those things which I center in them and control in space surrounding them. I am the center of My universe of Me, Everywhere I am is the center of all things, and I am everywhere." Russell, The Secret of Light

The entire mechanical principal of Nature, by means of which its light illusions of motion are produced, is the consequent effect of such radial extensions. Because of it, the seeming multiplication and division of the universal equilibrium into the opposed electrical pressures of gravitation and radiation, which form the foundation of this universe of change, are made possible. (Fig. 3)
God's imaginings extend from rest to rest in His three-dimensional radial universe of length, breadth and thickness - to become the stage of space for His imagined radial universe of matter, time, change and motion. (Fig. 4)
Points of rest, further extended to other points of rest, form three reflecting planes of still magnetic Light which are at right angles to each other. (Fig. 4) From the center of these three mirror planes of zero curvature, God's givings are radially projected to six opposed mirror planes for reprojection as regivings, to unfold

page 220

and refold the forms of God's imaginings in the curved electric universe of His desiring. (Fig. 5)" [The Secret of Light, PART III: Omnipresence The Universe of Being Postulates and Diagrams, page 219-220]

"If we now put a piece of the metal cobalt between two coils like Fig. 70, the middle will become the plane of highest potential and its center will "attract" a needle if held toward any point of its circumference. If cobalt is thus placed in the anode position, instead of in the cathode, there will be no ejection of electrons and neutrinos from its polar ends. Instead of that, there will be ring ejections from the equatorial plane of maximum high potential, maximum heat and maximum density. We now have the decay process instead of the polarization process." [Atomic Suicide, page 276]

"You can readily see why it is difficult to find adequate words to explain a so seemingly universal paradox, and why we must use another language than words. This we shall do step by step very briefly - but sufficient to explain why both ends of the cobalt atom in the experiment emit different sized particles around a center." [Atomic Suicide, page 287]

"This means that we should know why mass spins upon a shaft instead of around a center." [Atomic Suicide, page 287]

"Prolating spheres, such as our sun, are becoming incandescent inward toward their centers, while oblating spheres, such as our planets, are becoming cold inward towards their centers." [Russell, The Secret of Light, page 232]

It is the contractive power within electricity to divert the universal constant of energy into centripetal vortices of closing spirals of increasing speed, thereby attracting similar states of motion into an accumulation of mass the pressure of which increases toward its center. [See Sympathetic Negative Attraction] [The Universal One, Book 02 - Chapter 12 - Gravitation and Radiation, Gravitation and Radiation - page 141]

Skinner, John Ralston
"The same thing may be said as to the force of repulsion, or the centrifugal force, changing to one of gravitation. So that, since the centripetal and centrifugal forces, with relation to the center of force, are continuously undergoing a change, or interchange, the one for and into the other, they can, together, be but modifications of one and the same force, of which the center of force is the key or germ". Skinner, John Ralston; An Essay Upon Force and its Effect Upon Matter

"Gravity and levity, and centrifugal force; these musical forces do not here refer to the center of the earth, but the center of the musical system, e.g., E in the scale of C." [Scientific Basis and Build of Music, page 27]

"The third note of the octave scale, E, the center of the tonic chord in the key of C, is the center of the system. It is the note which has the least tendency either upward or downward, and it has immediately above it in the octave scale the note which has the greatest amount of specific gravity, F, the root of the major subdominant; and immediately beneath it the note which has the greatest amount of specific levity, D, the top of the major dominant. Thus the root of the subdominant chord and the top of the dominant are placed right above and below the center of the system, and the gravity of the one above, and the levity of the one below, causes each of them to move in the direction of the center. These tendencies are seen in the scale at whatever key it may be pitched, and by whatever names the notes may be called. And it is on account of this permanency of character of the notes that the third note of the scale, E, in the key of C, has a lower effect1 than the second, D; and that the fourth note, F, has a lower effect than either the first, second, or third; the fifth note, G, has a higher effect than the fourth, F; but the sixth, A, has a.." [Scientific Basis and Build of Music, page 28]

But let us proceed with our development, for we need another fifth, a lower one, a subdominant for our minor scale. Well, let us divide A5 by 3 and we have D1 2/3, the root of the lowest fifth; and if we divide A5 by 5 we have for our middle to this fifth F1, and this is F just as we find it at the major start, and identical in quantity in both major and minor. But let us examine the D1 2/3. It is not easy to compare D1 2/3 with D27 of the major; let us bring it up a few octaves by multiplying by 2. This will not alter its quantity, but simply give us the same quantity in a higher octave, in which we may more easily compare it with the major D1 2/3 multiplied by 2 is 3 1/3; multiplied again by 2 is 6 2/3; once more by 2 it is 13 1/3; and once more by 2 it is 26 2/3. Now we can compare it with D27 of the major, and we find this strange fact, that it is a little lower than the major D. The two D's are at the center of the dual system, but the center of the system is neither in the one D nor in the other, but as an invisible point between them, like the center of gravity in a double star; for the minor D is pushed a little below the center, and the major D is pushed a little above the center of the two modes of the system. [Scientific Basis and Build of Music, page 32]

being also the center of the diatonic triplet, B, D, F, which is the diatonic germ of the chromatic system. Four minor thirds upward or downward from C# we have a second chromatic chord, its central note being G. The dual1 of C# is E♭; and there is the same order of keys on the keyboard2 below C# as there is above E♭. Four minor thirds from E♭ upward or downward forms a third chromatic chord, the central note of which is A. The dual A, the center of the third chromatic, is G, the center of the second; and these two notes, by their duality, and by the duality of the two chords throughout, balance each other exactly on the keyboard on either side of the first chromatic chord, which contains all its own duals, and by this self-duality sits in the center, like the tonic chord among the diatonic three. [Scientific Basis and Build of Music, page 57]

There is nothing extraordinary in this. It is another fact which gives this one its importance, and that is that the musical system is composed of three fifths rising one out of another; so this note by 3/4 becomes the root not only of a chord, but the root of all the three chords, of which the middle one is the tonic; the chord of the balance of the system, the chord of the key; the one out of which it grows, and the one which grows out of it, being like the scales which sway on this central balance-beam. Thus F takes its place, C in the center, and G above. These are the 3 fifths of the system on its masculine or major side. The fractions for A, E, and B, the middle notes of the three chords, are 4/5, 3/5, and 8/15; this too tells a tale; 5 is a new ingredient; and as 3 gives fifths, 5 gives thirds. From these two primes, 3 and 5, along with the integer or unit, all the notes of the system are evolved, the octaves of all being always found by 2. When the whole system has been evolved, the numbers which are the lengths of the strings in the masculine or major mode are the numbers of the vibrations of the notes of the feminine or minor mode; and the string-length-numbers of the minor or feminine are the vibration-numbers of the notes of the major or masculine mode. These two numbers, the one for lengths and one for vibrations, when multiplied into each other, make in every case 720; the octave of 360, the number of the degrees of the circle. [Scientific Basis and Build of Music, page 76]

Having found the framework of the major scale by multiplying F1 three times by 3, find the framework of the minor by dividing three times by 3. But what shall we divide? Well, F1 is the unbegotten of the 25 notes of the great genetic scale; B45 is the last-born of the same scale. We multiply upward from F1 for the major; divide downward from B45 for the minor. Again, B45 is the middle of the top chord of the major system, a minor third below D, the top of that chord, and the top of the whole major chord-scale, so B is the relative minor to it. Now since the minor is to be seen as the INVERSE of the major, the whole process must be inverse. Divide instead of multiply! Divide from the top chord instead of multiply from the bottom chord. Divide from the top of the minor dominant instead of multiply from the root of the major subdominant. This will give the framework of the minor system, B45/3 = E15/3 = A5/3 = D1 2/3. But as 1 2/3 is not easily compared with D27 of the major, take a higher octave of B and divide from it. Two times B45 is B90, and two times B90 is B180, and two times B180 is B360, the number of the degrees of a circle, and two times B360 is B720; all these are simply octaves of B, and do not in the least alter the character of that note; now B720/3 is = E240/3 = A80/3 = D26 2/3. And now comparing D27 found from F1, and D26 2/3 found from B720, we see that while E240 is the same both ways, and also A80, yet D26 2/3 is a comma lower than D27. This is the note which is the center of the dual system, and it is itself a dual note befittingly. [Scientific Basis and Build of Music, page 81]

There are 32 notes required for each octave for the 13 major and the 13 minor mathematical scales. These 32 notes are by the law of duality arranged symmetrically from D as a center upwards to G#, and downwards to A♭. D itself serves for 2 of the 32 on the piano. The first black keys on each side of D serve for nominally 3 notes each = 6. The first white key above and the first below D serve for 2 notes each = 4. The second white key above and the second below serve each for 3 notes = 6. The second black keys above and below D serve each for 3 notes = 6. The third black key above D is G#, the third below is A♭; this key, for it is one, serves for 2 of the 32. There is a comma of difference between D minor and D major. Six fifths below the minor D26 2/3 is A♭, the root of the subdominant of the key of E♭ minor; and six fifths above the major D27 is G#, the top of the dominant of F# major. The difference between this minor A♭ and this major G# is two commas and [Scientific Basis and Build of Music, page 85]

An elongated uniform body, e.g., a dressed lath of pine, has three primary centers - the center of gravity, the center of oscillation, and the center of velocity. The center of gravity is the center of the body; the center of oscillation is at two-thirds from the end as the point of suspension; the center of velocity is at two-thirds of one-third from the end, i.e., at two-ninths from the end as the point of suspension. [Scientific Basis and Build of Music, page 92]

In oscillatory motion these centers act conjointly, but not simultaneously; but in vibratory motion these centers act simultaneously, and on each side of the center of gravity. [Scientific Basis and Build of Music, page 93]

"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]

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]

notes attracted by proximity are attracted in the direction of the center of the tonic chord, major or minor. But if D in the major is attracted by C, the root of the tonic, then it would be moving away from the center. Two notes which have the ratio of 8:9, as C and D, or two notes which are produced by the same ratio as C and D, or two notes where each of them is either a root or a top, as C and D, never resolve to each other by proximity. It is an invariable order that one of the notes should be the middle of a chord. [Scientific Basis and Build of Music, page 99]

"What we have thus said about the resolving notes to the major tonic has been allowed in the case of the minor. No one ever said that the second of the minor scale resolved to the root of the tonic. Notwithstanding the importance of the tonic notes, the semitonic interval above the second of the scale decided the matter for the Law of Proximity; and no one ever said that D, the root of the subdominant minor, did not resolve to C, the center of the tonic minor, on the same terms that two notes are brought to the center of the tonic major; with this difference, that the semitonic interval is above the center in the major and below it in the minor. The other two notes which resolve into the tonic minor are on the same terms as the major; with this difference, that the semitonic interval is below the root of the tonic major and above the top of the tonic minor. And the small tone ratio 9:10 is above the top of the tonic major and below the root of the tonic minor. If it has been the case that D resolved to the root of the tonic major, then, according to the Law of Duality, there would have been another place where everything would have been the same, only in the inverse order; but, fortunately for itself, the error has no other error to keep it in countenance. This error has not been fallen into by reasoning from analogy. [Scientific Basis and Build of Music, page 99]

Six Octaves required for the Birth of the Scale


THIS plate is a Pendulum illustration of the System of musical vibrations. The circular lines represent Octaves in music. The thick are the octave lines of the fundamental note; and the thin lines between them are lines of the other six notes of the octave. The notes are all on lines only, not lines and spaces. The black dots arranged in these lines are not notes, but pendulum oscillations, which have the same ratios in their slow way as the vibrations of sounding instruments in the much quicker region where they exist. The center circle is the Root of the System; it represents F1, the root of the subdominant chord; the second thick line is F2, its octave; and all the thick lines are the rising octaves of F, namely 4, 8, 16, 32, and 64. In the second octave on the fifth line are dots for the three oscillations which represent the note C3, the Fifth to F2, standing in the ratio of 3 to 2; and the corresponding lines in the four succeeding Octaves are the Octaves of C3, namely 6, 12, 24, and 48. On the third line in the third Octave are 5 dots, which are the 5 oscillations of a pendulum tuned to swing 5 to 4 of the F close below; and it represents A5, which is the Third of F4 among musical vibrations. On the first line in the fourth Octave are 9 dots. These again represent G9, which stands related to C3 as C3 stands to F1. On the seventh line of the same octave are 15 dots; these represent the vibrations of E15, which stands related to C3 as A5 stands to F1. On the sixth line of the fifth Octave are 27 dots, representing D27, which stands related to G9 as G9 stands to C3, and C3 also to F1; it is the Fifth to G. And last of all, on the fourth line of the sixth Octave are 45 dots, representing B45, which, lastly, stands related to G9 as E15 stands to C3, and A5 to F1; it is the Third to this third chord - G, B, D. The notes which arise in each octave coming outward from the center are repeated in a double number of dots in the following Octaves; A5 appears as 10, 20, and 40; G9 appears as 18 and 36; E15 appears as 30 and 60; D27 appears as 54; and last of all B45 only appears this once. This we have represented by pendulum oscillations, which we can follow with the eye, the three chords of the musical system, F, A, C; C, E, G; and G, B, D. C3 is from F1 multiplied by 3; G9 is from C3 multiplied by 3; these are the three Roots of the three Chords. Their Middles, that is their Thirds, are similarly developed; A is from F1 multiplied by 5; E15 is from C3 multiplied by 5; B45 is from G9 multiplied by 5. The primes 3 and 5 beget all the new notes, the Fifths and the Thirds; and the prime 2 repeats them all in Octaves to any extent. [Scientific Basis and Build of Music, page 102]

together on radial lines from the center they appear grouped in various chords and combinations, dropping out and coming in in such succession as to constitute what Ramsay, whose genius was given to set this thus before us, calls "Nature's Grand Fugue." Beginning at F in the center at the top, and moving either to the right or to the left, after a run of 7 notes we have 4 consecutive Octaves, and then comes the Minor fifth, A-E, followed by the Major fifth, G-D; and this by another Major fifth, F-C; the combinations keep changing till at the quarter of the circle we come to F, A, C, E, G, a combination of the subdominant and tonic Major; and after another varied series of combinations we have at the half of the circle the elements of 2 minor chords, D, F, A and A, C, E, and one Major chord, C, E, G; at the third quarter we have a repetition of the first quarter group; and the various chords and combinations dropping out and coming in, fugue-like; finally we return to where we began, and end with the three-times-three chord, in which the whole 25 notes are struck together, and make that wondrous and restful close of this strange Fugue. No one can hear the thrice-threefold chord of this close and ever forget it; it is "the lost chord" found; and leads the saintly heart away to the Three in One who is the Lord of Hosts; Maker of Heaven and Earth, and all the host of them. [Scientific Basis and Build of Music, page 103]

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]

mathematical genesis, as seen in its D being a comma higher than that of the minor. This gravity and buoyancy of the modes is a striking feature of them. In the Thirds it is different from the Fifths; the larger hemisphere of each third seems gravitating toward the center of the tonic chord. The area of the scale has then the aspect of a planet with its north and south poles, and pervaded by a tendency towards the center; the center itself being neutral as to motion. [Scientific Basis and Build of Music, page 107]

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 Octave being divided into 53 commas, the intervals are measured, as usual, by these, the large second having 9-commas, the medium second having 8, and the small second 5. These measures are then made each the radius by which to draw hemispheres showing the various and comparative areas of the seconds. The comparative areas of the thirds are shown by the hemispheres of the seconds which compose them facing each other in pairs. The comma-measures of the various thirds thus determined are then made the radii by which to draw the two hemispheres of the fifths. The areas of the three fifths are identical, as also the attitudes of their unequal hemispheres. The attitude of the six thirds, on the other hand, in their two kinds, being reversed in the upper and under halves of the scale, their attitude gives them the appearance of being attracted towards the center of the tonic; while the attitude of the three fifths is all upward in the major, and all downward in the minor; their attraction being towards the common center of the twelve scales which Nature has placed between the second of the major and the fourth of the minor, as seen in the two D's of the dual genetic scale, - the two modes being thus seen, as it were, revolving [Scientific Basis and Build of Music, page 113]

IN tracing the origin of a harmony, or family of sounds, all divisions must come out of the one, or unit. Two powers are at work—cohesion and separation; a truth continually dwelt upon by the Greek philosophers. In the diagram, the note C may be considered as central, or as placed with four tones below and two above itself. [Harmonies of Tones and Colours, Diagram II - The Twelve Keynotes1, page 23]

In the progression of harmonies these are always closely linked into each other. If any key-note is taken as central, its root will be the fifth note of its harmony below, and it becomes in its turn the root of the fifth note above. If we add the silent notes, the root of the central note is the eighth below, and becomes the root of the eighth above. To explain the lower series of the notes sounding the six tones from within themselves, the only plan appeared to be to write the tones as notes in musical clef. By reference to Chapter V., we see that the lowest series still sound their tones, and lead the ear to the higher series of a key-note, and the six notes of its harmony, as they follow each other in trinities. [Harmonies of Tones and Colours, Diagram III - The Major Keynotes Developing by Sevens, page 25a]

The only Truth is Love. It has many faces, and sometimes it is confusing when one attempts to discern Love and its expressions in one’s life. Such confusion can be dispelled through the power of the Good Heart. Your Heart is naturally good. The energy which surrounds you, swirling in response to your outlook, emotions, actions, thoughts, dreams and illusions, filters the Love that comes from you and that which comes to you. Your quest for Truth must begin with the Beauty of the Self. That is the Good Heart. The Good Heart is one that sees itself as a Center to and from which blessings flow in abundance. If this picture is desired, the heart will open to accommodate its full power of Love, bringing peace to the Self and others. We stand by to assist your unfolding, and the clarification of your beauty and Light. [Jesus, Good Heart]

"The umbilicus center being that region from which the vibratory forces of the system reach through the activity of the spermatic cords, as come to that of the centralization in the central nerve system and change the vibratory forces in such conditions, see?" [Cayce (1800-16) See Also Endocrine System]

"Gravity may be considered a negative force, for it tends to balance the positive forces. Gravitational forces are vibratory forces and might be defined as the centralization of vibratory forces ready to be changed into power by non-activity." [Cayce (195-70)]

See Also

Affinity to Neutral Center
attractive center
Center Frequency
center of focalization
Center of Gravity
Center of Gyration
center of induction
center of mass
Center of Moments
Center of Motion
center of neutrality
Center of Oscillation
Center of Percussion
center of sympathetic attraction
center of sympathetic coincidence
Center of Tension
center of the system
Center of Velocity
Center Theory
centers of association and concentration
endocrine system
Galactic Center
gravity center of control
gravity center
hole-centered rings
hot center
Integrating Power at Center or North
Law of Assimilation
Magnetic zero center
Neutral Center
nucleal center
Power Centered
Prime Neutral Center
Radial Center
Rhythmic Balanced Interchange
still center
sun center
Supreme Neutral Center
10.07 - Centers of Mutual Attraction
9.19 - Centers of Force
9.20 - Center and Periphery
9.21 - Dynamic Centers
9.22 - Multiple Excited Centers
9.7 - Neutral or Focal Centers

Created by Dale Pond. Last Modification: Wednesday April 21, 2021 04:59:44 MDT by Dale Pond.