dual note

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]

The middle Fig. is the same, the central D's being made a pivot point on which to turn the minor down against the major in an inverse relation, setting the dual notes in file. The multiplying primes are set over the roots. The arrows point out the notes so found. The two D's are here seen right opposite of each other, because the intervals between C D in the major and E D in the minor are equal. [Scientific Basis and Build of Music, page 103]

This plate is a representation of the area of a scale; the major scale, when viewed with the large hemisphere, lowest; the minor when viewed the reverse way. It is here pictorially shown that major and minor does not mean larger and smaller, for both modes occupy the same area, and have in their structure the same intervals, though standing in a different order. It is this difference in structural arrangement of the intervals which characterizes the one as masculine and the other as feminine, which are much preferable to the major and minor as distinctive names for the two modes. Each scale, in both its modes, has three Fifths - subdominant, tonic, and dominant. The middle fifth is the tonic, and its lowest note the key-note of the scale, or of any composition written in this scale. The 53 commas of the Octave are variously allotted in its seven notes - 3 of them have 9 commas, 2 have 8, and 2 have 5. The area of the scale, however, has much more than the octave; it is two octaves, all save the minor third D-F, and has 93 commas. This is the area alike of masculine and feminine modes. The two modes are here shown as directly related, as we might figuratively say, in their marriage relation. The law of Duality, which always emerges when the two modes are seen in their relationship, is here illustrated, and the dual notes are indicated by oblique lines across the pairs. [Scientific Basis and Build of Music, page 106]

See Also

15.16 - Controlling Ether by Will Force
3.17 - Magnetic Electric Poles
3.20 - Poles within Poles
7.8 - Matter and Spirit are Opposite Poles
circle of control
complementary pair
Controller of all action
curvature of gravity control
direction of gravity control
divided and extended pairs
Dominant as Controller
double pole
dual chord
dual force
dual genetic scale
dual note
dual sex condition
dual system
duality in unity
duality lines of indication
duality of D
duality of response
Figure 15.05 - Nine Pairs of Gravity Poles
Figure 18.04 - Two Minds - Split and Whole
Figure 18.05 - Two Power States of Mind Force
Figure 6.9 - Russell depicts his waves in two ways
Figure 7B.17 - Multiplying Force to Poles of a Bar Magnet
Figure 7B.18 - Four Poles of a Bar Magnet
gravity center of control
Law of Duality
Neutral Center
omnipresent gravity control
One Universal Controlling Medium
pair of fifths
Poles in Harmonies
Principle of Polarity
Ramsay - Duality as a Test-agent in Composition
Ramsay - Duality as in the Greek Modes
Ramsay - Mysterious Depth of Duality of Music
Ramsay - PLATE XXIX - Illustrations of the operations of DUALITY in various spheres
Ramsay - The Mystery of Duality
Sympathetic Outreach
three poles
two centers
two controlling points of stillness
two dividing poles
two lights of the spectrum
two opposed electric forces
two points of stillness
two poles

Created by Dale Pond. Last Modification: Thursday March 18, 2021 03:39:55 MDT by Dale Pond.