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Duality

Duality
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Duality

Two-ness, polar, sex, bi, di
Polarity
Syntropy / Entropy
Father / Mother
Sex

Music
DUALITY. - Two-ness. [Scientific Basis and Build of Music, page 25]

Keely
"The Keely Motor secret teaches that the various phenomena of the human constitution cannot be properly comprehended and explained without observing the distinction between the physical and material and the moral and spiritual nature of man. It demonstrates incontrovertibly the separate existence and independent activity of the soul of man, and that the spirit governs the body instead of being governed by the body." [CJBM in Keely and His Discoveries, 1893]

Ramsay
There are joinings, however, though at a wilder limit. The system of music is not a spiral line. The minor scale is developed from the major by the law of Duality; and when this is done, D26 2/3, the root of the subdominant minor, is so near to D27, the top of the dominant major, that one note may be made to serve for both; and this joins the one extreme of the major and minor systems in this note D, which has thus duality in itself. The only other place where the dual system of major and minor stands open is at the other extreme of the two modes, between B, the top of the dominant minor, and F the root of the subdominant major; and these unjoined ends reach away till at three fifths below F, namely A♭, and at three fifths above [Scientific Basis and Build of Music, page 38]

B, namely G#, they come in touch of each other like the two D's. When this three fifths below F major and three fifths above B minor have been developed, the extremes A♭ and G#, though standing like the two D's in duality, are so near that here again one note can be made to serve both. The major series of scales and the minor series at these limits are thus by two notes which have duality in themselves hermetically sealed; but not till Nature has measured off for any one of these scales a sphere of twelve keys in which to move in perfect freedom of kinship by softly going modulations. [Scientific Basis and Build of Music, page 39]

"All things are twofold, one over against another,
And He hath made nothing to stand alone."

Duality - that is, two-ness - is a general feature of Creation. It is the law of sex all through the animal and vegetable worlds. It is beautifully expressed in the response of Parallelism in poetry, especially the Eastern poetry so fully illustrated in the Holy Scriptures: [Scientific Basis and Build of Music, page 41]

save in polarity with the idea of the infinite. Victor Cousin, in exhibiting the primary elements of the human consciousness, shows that there are two dualities. Let a man turn his attention in upon himself, he will find, first of all, the me and the not me as a dual conception. Apart from all details of information about the me or the not me, different persons know, some more, some less, about either or about the two, every infant, even in the very first moment of contact, is conscious of the me and the not me as an inevitable dual conception. But both of these are found in the limitation they impose on each other; and lo! there springs up here another idea, the idea of the limited - the finite; but this cannot be conceived apart from the simultaneous conception of the infinite; the finite has no meaning save as the pole or dual of the infinite. Here, then, is duality or polarity among the primary contents of the consciousness. And this but the beginning of the polarity of thought. [Scientific Basis and Build of Music, page 42]

Duality is the law of witness-bearing, and the confirmation of truth; - "If I bear witness of Myself, My witness is not true. There is another that beareth witness of Me." - John v. 31, 32. "At the mouth of two witnesses, or three witnesses, shall he that is worthy of death be put to death; but at the mouth of one witness he shall not be put to death." - Deut. xvii, 6. "He that despised Moses' law died without mercy at the mouth of two or three witnesses." - Heb x. 28. "The dream was doubled unto Pharaoh twice; it is because the thing is established by God, and God will shortly bring it to pass." - Gen.xli. 32. [Scientific Basis and Build of Music, page 42]

THE GREEK MODES AND DUALITY
BY THE EDITOR

The Greeks most probably constructed their musical tetrachords in a symmetrical order in analogy with their sculpture, and showed the ear identical with the eye in its love of symmetry. With them, therefore, the Dorian mode would have a certain pre-eminence. Beginning this mode on D, without knowing the musical mystery that resides in D, they had two tetrachords with the semitones symmetrically in the middle in one mode; it was next possible for them to arrange in pairs, symmetrically, the other tetrachords.

D8 E5 F9 G8 A9 B5 C9 D
E5 F9 G8 A9 B5 C9 D8 E -- C9 D8 E5 F9 G8 A9 B5 C
F9 G8 A9 B5 C9 D8 F5 F -- B5 C9 D8 E5 F9 G8 A9 B
C9 D8 E5 F9 G8 A9 B5 C -- E5 F9 G8 A9 B5 C9 D8 E
B5 C9 D8 E5 F9 G8 A9 B -- F9 G8 A9 B5 C9 D8 E5 F
A9 B5 C9 D8 E5 F9 G8 A -- G8 A9 B5 C9 D8 E5 F9 G
G8 A9 B5 C9 D8 E5 F9 G -- A9 B5 C8 D9 E5 F9 G8 A

[Scientific Basis and Build of Music, page 45]

among the Greeks on account of having symmetry in itself. The primitive scale was doubtless that which is the model of all major music; and our minor model is its dual, as Ramsay has shown, which in its genesis indicates the duality of all the rest of the notes, although it is not probable that the Greeks saw the musical elements in this light. It is remarkable and significant that in their modes the Greeks did not lift up the scale of Nature into different pitches, preserving its model form as we do in our twelve major scales, but keeping the model form at one pitch they built up their symmetrical tetrachords, allowing the larger and lesser tones of the primitive scale to arrange themselves in every variety of place, as we have shown in the table of tetrachord modes above. Without seeing the genetic origin of music's duality they were led to arrange the modes by symmetry, which is one of the phases of duality. Symmetry is duality in practice. It may not always be apparent how symmetry originates in Nature; but in music, the art of the ear, duality emerges in the genesis of the minor scale; in the true mathematical build of the major on the root of the major subdominant F, and the true relation of the minor to it in the inverse genesis descending from the top of the minor dominant B. [Scientific Basis and Build of Music, page 46]

There was, then, something of truth and beauty in the Greek modes as seen in the light now thrown upon them by the Law of Duality, at last discerned, and as now set forth in the genesis and wedlock of the major and minor scales. The probably symmetrical arrangement of the modes, all unwitting to them, is an interesting exhibition of the true duality of the notes, which may be thus set in view by duality lines of indication. We now know that B is the dual of F, G the dual of A, C the dual of E, and D minor the dual of D major. Now look at the Greek modes symmetrically arranged:

D EF G A BC D
C D EF G A BC EF G A BC D E
A BC D EF G A G A BC D EF G
F G A BC D EF BC D EF G A B

Thus seen they are perfectly illustrative of the duality of music as it springs up in the genetic scales. The lines reach from note to note of the duals. [Scientific Basis and Build of Music, page 46]

There are two Diatonic systems in Music - the major and the minor. With the exception of one note, all the notes of the one system are identical with those of the other. The major key C has all the notes of the minor key A excepting D, the root of the minor subdominant; and the minor has all the notes of the major exception D, the top of the major dominant. These twain are one music, the masculine and feminine of a twofold unity; one system in duality rather than two systems. [Scientific Basis and Build of Music, page 50]

Ramsay 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]

In a similar and responsive way Duality provides for the six major scales with flats.
The two new notes required for the scale of

F major are the B♭ of D, and the D of A minor;
for B♭ major, the E♭ of G, and the G of D minor;
for E♭ major, the A♭ of C, and the C of G minor;
for A♭ major, the D♭ of F, and the F of C minor;
for D♭ major, the G♭ of B♭, and the B♭ of F minor;
for G♭ major, the C♭ of E♭, and the E♭ of B♭ minor.1 [Scientific Basis and Build of Music, page 90]

WITH THEIR RATIO NUMBERS.

In the center column are the notes, named; with the lesser and larger steps of their mathematical evolution marked with commas, sharps, and flats; the comma and flat of the descending evolution placed to the left; the comma and sharp of the ascending evolution to the right; and in both cases as they arise. If a note is first altered by a comma, this mark is placed next to the letter; if first altered by a sharp or flat, these marks are placed next the letter. It will be observed that the sharpened note is always higher a little than the note above it when flattened; A# is higher than ♭B; and B is higher than ♭C, etc.; thus it is all through the scales; and probably it is also so with a fine voice guided by a true ear; for the natural tendency of sharpened notes is upward, and that of flattened notes downward; the degree of such difference is so small, however, that there has been difference of opinion as to whether the # and have a space between them, or whether they overlap, as we have shown they do. In tempered instruments with fixed keys the small disparity is ignored, and one key serves for both. In the double columns right and left of the notes are their mathematical numbers as they arise in the Genesis of the scales. In the seven columns right of the one number-column, and in the six on the left of the other, are the 12 major and their 12 relative minor scales, so arranged that the mathematical number of their notes is always standing in file with their notes. D in A minor is seen as 53 1/3, while the D of C major is 54; this is the comma of difference in the primitive Genesis, and establishes the sexual distinction of major and minor all through. The fourth of the minor is always a comma lower than the second of the major, though having the same name; this note in the development of the scales by flats drops in the minor a comma below the major, and in the development of the scales by sharps ascends in the major a comma above the minor. In the head of the plate the key-notes of the 12 majors, and under them those of their relative minors, are placed over the respective scales extended below. This plate will afford a good deal of teaching to a careful student; and none will readily fail to see beautiful indications of the deep-seated Duality of Major and Minor. [Scientific Basis and Build of Music, page 109]

This plate sets forth the essential duality of the musical system of vibrations. It is a remarkable fact that the numbers of the vibrations of the major mode are the numbers for the string proportions of the minor mode; and vice versa, the string proportions in the major are the numbers of the vibrations in the minor. We have, however, to see that we use the proper notes and numbers; we must know the secret of Nature. This secret rests in the duality of the notes, and begins from the two D's. The center of gravity of the musical system of vibrations is found in the comma space between the |two D's as they are found in the genesis of the two modes. In these |two D's the vibration number and string proportions are nearly identical. Starting from this point as the center of gravity in the [Scientific Basis and Build of Music, page 118]

Fig. 2. - In this figure the two modes are placed in their inverse relation, in order to show the notes standing opposite each other in their duality. Here the two D's come also opposite each other, inasmuch as in the two modes the C-D-E interval is inverted, becoming C D E in the one and E D C in the other. And so the 9-comma second between C and D in the major comes opposite the 9-comma second between D and E in the minor, and the two 8-comma seconds, of course, come opposite each other also. [Scientific Basis and Build of Music, page 120]

THE OPERATIONS OF DUALITY IN VARIOUS SPHERES.

In Fig. 1 is shown the way in which duality arranges the new sharp in the majors to the middle of the dominant, and the new flat to the middle of the subdominant in the minors, all through the six scales done in flats and sharps. The flat goes to the root of the subdominant and the sharp to the top of the dominant in the other six, as in Fig. 2. This is the invariable way that the new sharps and flats are responsively added all through the system. [Scientific Basis and Build of Music, page 120]

distant subdominant, and the root of the separated subdominant is given to the top of the distant dominant. Here also duality holds sway. [Scientific Basis and Build of Music, page 121]

Fig. 4 is a setting of the minor and the major chord-scales, showing how they stand linked by notes in common in their direct sequence from dominant minor to dominant major. To each of the six chords is placed the first chromatic chord, showing how it resolves in its three-fold manner by 1, 2, and 3 semitonic progressions in each mode, and by 1 and 2 notes in common variously in each mode; and here again the law of duality is seen in its always symmetrical adjustments. Duality, when once clearly and familiarly come into possession of musicians, will be sure to become an operative rule and test-agent in composition. [Scientific Basis and Build of Music, page 121]


George Gurdjieff
"But this duality would seem to alternate; what is victor today is the vanquished tomorrow; what guides us today becomes secondary and subordinate tomorrow. And everything is equally mechanical, equally independent of will, and leads equally to no aim of any kind. The understanding of duality in oneself begins with the realization of mechanicalness and the realization of the difference between what is mechanical and what is conscious. This understanding must be preceded by the destruction of the self-deceit in which a man lives who considers even his most mechanical actions to be volitional and conscious and himself to be single and whole." [George Gurdjieff]

Ernst Haeckel
Dualism - "The system which admits two ultimate realities. Dualism, in the widest sense, breaks up the universe into two entirely distinct substances - the material world and an immaterial God, who is represented to be its creator, sustainer and ruler." [Ernst Haeckel; The Riddle of the Universe - at the Close of the Nineteenth Century; Watts & Co., London, 1906]

See Also


1.14 - Materiality from Immateriality
2.24 - The Duality of One
3.12 - Reciprocating Duality
Bonding - Rejection
Celestial and Terrestrial Domains
dual note
Dual System
Dual
duality of D
Duality Spiral
Duality
Electric
Etheric Elements
Father-Mother
Figure 2.12.1 - Polarity or Duality
Figure 2.8 - Alchemists Artwork showing duality or Polar States
Figure 3.16 - Idea Preceeds Manifestation in Material Form using Cubes and Cones
Figure 3.36 - Contracting and Expanding Duality
Jachin and Boaz
Janus-faced center
Law of Assimilation
Law of Duality
mate-pairs
Materialism
Maya
Mind
Polar
Polarity
Ramsay - CHAPTER V - THE LAW OF DUALITY
Ramsay - Duality as a Test-agent in Composition
Ramsay - Duality as in the Greek Modes
Ramsay - Duality in Polarity of Thought
Ramsay - Duality in Quantities of Strings and Vibrations
Ramsay - Duality in the Genesis of Music's Scales
Ramsay - Mysterious Depth of Duality of Music
Ramsay - PLATE XXIX - Illustrations of the operations of DUALITY in various spheres
Ramsay - Ramsay and Euler - Discovery of the Law of Duality
Ramsay - Symmetry an Expression of Duality
Ramsay - The deep-seatedness of Duality in Music
Ramsay - The Mystery of Duality
Ramsay - The Outlook of the Janus-faced D
Ramsay - The Two D's - The Rah and the Ray
Rhythmic Balanced Interchange
Sex Division
Sex Unity
Sex
Spirit
Spiritual
Sympsionics

Created by Dale Pond. Last Modification: Thursday January 7, 2021 03:20:24 MST by Dale Pond.