LAW OF AFFINITY

"The LAW OF AFFINITY gives continuity; continuity gives unity; and unity gives the sweetness of harmony." [Laws of Music]

Ramsay
grave harmonic, while all the other intervals have, shows that the natural laws are not confined to one style of working.
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]

"There are two distinct laws which rule in astronomy - viz., masses and distances; and there are two distinct laws which rule in music - affinities and proximities. The notes produced by simple ratios as 1:2, 2:3, 3:4, etc., are attracted to each other by the law of affinity; notes which are beside each other in the octave scale and have moderately complex ratios as 9:10 and 15:16, are attracted to each other by their proximities. F and C, and C and G, and G and D are related to each other by affinity. C is related to the fifth below and the fifth above; G is related to the fifth above and the fifth below. F and C, C and G, and G and D are never nearer to each other than a fifth or a fourth, and in either case they [Scientific Basis and Build of Music, page 95]