**Ramsay**

Between the **high silence** of these intense vibrations, and the low silence of oscillating pendulums and revolving planets, God has constituted an audible sphere of vibrations, in which is placed a definite limit of systematic sounds; *seven octaves* are carried like a measuring line round *twelve fifths*; and motion and rest unite in placing a horizon for the musical world, and music comes [Scientific Basis and Build of Music, page 39]

ratio of 5:8; three, 3:5; and one, 16:27. There are seven fifths - one in the ratio of 45:64; one, 27:40; and five, 2:3; and seven corresponding fourths - five in the ratio 3:4; one, 40:54; and one 32:45. These are the ratios of the intervals in their simplest expressions as given in the second outer space above the staff in the plate. In the outer space the intervals are given less exactly, but more appreciable, in commas. The ratios of the vibration-numbers of each interval in particular, counting from C24, are given in the inner space above the staff. These vibration-numbers, however, are not given in concert pitch of the notes, but as they arise in the low audible region into which we first come in the genesis from F1, in the usual way of this work. The ratios would be the same at concert pitch; Nature gives the numbers true at whatever pitch in the audible range, or in the low and **high silences** which lies out of earshot in our present mortal condition. [Scientific Basis and Build of Music, page 110]

See Also