center chord

this is the middle of our chord, E, G, B; and remember that this also is G as we found it coming upward, C3 multiplied by 3 being G9. This is another note of the minor, the same in its quantity as that of the major. Now for another chord downward we must divide the root of the one we have found, namely E15, by 3, which will give us A5, the root of a center chord for the minor, and the very key-note of the relative minor to C. And remember that this A5 is just as we found it in coming upward, for F multiplied by 5 gave us A5. Now divide E15 by 5 and we have C3, the middle to our minor chord, A, C, E. Still we must remember that this C3 is just as we found it coming upward, for F multiplied by 3 is C3. Behold how thus far major and minor, though inversely developed, are identically the same in their notes, though not in the order in which they stand in the fifths thus generated. [Scientific Basis and Build of Music, page 32]

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]

See Also

antagonistic chord
center of highest attraction
center of the body
center of the system
center point balance equilibrium fulcrum
centering point of stillness
chord aggregation
chord media
chord of harmony
chord resolution to center
coincident chord
coincident chord of sympathy
concentrative center
controlling center
etheric center
head center
neutral center
neutral centers of aggregation
neutral terrestrial center
nine string chord
one center of gravity
point of suspension
polarized gravity centers
subdominant chord
sympathetic concordant neutral center
terrestrial center
terrestrial centers
terrestrial centers of attraction
terrestrial chord-masses
terrestrial focalized centers
terrestrial negative attractive center
three chords
three chords of three notes
three primary centers
tonic chord
transmissive chord
13.38 - Theory of the Induction of Sympathetic Chords to Excite Rotation by Vibraphonic Trajection to and from Centers of Neutrality on Revolving Globe

Created by Dale Pond. Last Modification: Monday December 7, 2020 05:37:41 MST by Dale Pond.