A	B	C	D	E	F	G
Classification	Interval	Note	cps	Size	2^* x	Indig
Compound InterEtheric	16 Octave	C##/Dbb	512	16	2^9	0
	15 Minor Ninth	C#	496	16	2^4 x 31
	14 Major Eighth	C	480	16	2^5 x 3*5	1-
	13 Minor Eighth	B#/Cb	464	16	2^4 x 29
Enharmonic	12 Major Seventh	B	448	16	2^6 x 7	2-
	11 Minor Seventh	A#/Bb	432	16	2^4 x 3^3
	10 Major Sixth	A	416	16	2^5 x 13	3-
	09 Minor Sixth	G#/Ab	400	16	2^4 x 5^5
Harmonic	08 Major Fifth	G	384	16	2^7 x 3	4++
	07 Minor Fifth	F#/Gb	368	16	2^4 x 23
	06 Major Fourth	F	352	16	2^5 x 11	3+
	05 Minor Fourth	E#/Fb	336	16	2^4 x 3*7
Enharmonic	04 Major Third	E	320	16	2^6 x 5	2+
	03 Minor Third	D#/Eb	304	16	2^4 x 19
	02 Major Second	D	288	16	2^5 x 3^2	1+
	01 Minor Second	Db	272	16	2^4 x 17
Compound InterEtheric	00 Tonic	C##/Dbb	256	16	2^8	0

11.11 - Explanations of the Scale of Infinite Ninths - The columns above in Table 11.01 are explained thusly:

A - Classification - This is the breakdown as per Keely into three distinct types and ranges of energy.

B - Interval - The scale divided into 16 Steps associated with standard music nomenclature. In this scale each note/interval has and is composed of two equal steps.

C - Note - Musical note designation for each step as per standard music methods but with the addition of C##/Dbb as the octave.

D - cps - Cycles per Second of each Step, Note or Interval.

E - Size - The 'size' (in cps) of the interval between notes. This quantity, of course, doubles (power of 2) every octave when going up and halves when going down. Demonstrating that as octaves increase so too does the Rate of Delta increase, encompassing or harnessing higher and higher Energy Densities when going up. This illustrates Russell's "winding speed into power" principle as also energy increase in vibratory rate parallels decrease in oscillatory rate (tightening of the spring).

F - 2^n X y - This column shows the number base of each note/interval. For instance, a Major Third, regardless of octave, is always expressed as "2^n X 5" where n equals the Root Octave of interest. These note equations are the same for all notes in all octaves and reflect the aliquot parts or component frequencies making up that note/interval. This demonstrates the SVP principle that each and every note/interval has its own unique character (when considered within its associated octave) and MUST NOT be considered as a simple frequency or number "just like any other frequency rate" or number. In other words note equations determine degree of harmonicity: relative proportions of harmonic (creating concordant overtones and consequently forming harmonies) and enharmonic (creating discordant overtones and consequently forming discords). Naturally, reducing ratios and proportions to a decimal approximation is (almost) never encouraged.

G - Indig - This column lists the appropriate Locked Potential number designation developed by Russell. (See Part 12.) We call this numbering system after Buckminster Fuller's use of that term because he explained the origin of these numbers which shows their origin and quantitative relationships. They are not just a convenient numbering system.

See Also

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Ponds Original Notes on the Scale of Infinite Ninths