"Natural" symbol in music notation, neither flat nor sharp - ♮

The fact of the matter, however, is that through these totally perverse procedures and all manner of unnatural activities, everything we are experiencing today that is difficult, disgraceful and degrading of human dignity had inevitably to happen. Deductively thinking logicians have therefore over-looked the causes of the supposed effects, out of which, depending on whether the form of motion is natural or unnatural, the respective ancillary forces that either affirm life or negate it come into being. In this regard the life-denying forces increase, reproduce and advance themselves in exactly the same way as their counterparts, which promote the naturally ordained course of further development through increase and qualitative improvement. This would be impossible, however, were it not for the temperature-forms responsible for expelling what is inferior and for purging, purifying and detoxifying organisms. It is out of these temperature-forms that the decomposing, analysing cavitation current arises, which today's science uses in the widest variety of ways and without exception for a supposed build-up of culture. Clearly the misfortunes we shall have to reap will be all the greater, the more widespread and intensive the activity of a science that makes use of these lower-grade temperature-forms. [The Energy Evolution - Harnessing Free Energy from Nature, The Life-Current in Air and Water]

Whose natural motive force is the naturalesquely copied space-curve motion of the Earth. Leonstein, August 1945 (Schauberger Archives) [The Energy Evolution - Harnessing Free Energy from Nature, New Forms of Motion and Energy]

'Conventional' science and fire-spitting technology naturally do this very differently, indeed in a diametrically opposed fashion. They exploit hot processes of oxidation as the developmental basis for the build-up of a decomposive and retrogressive force, which in Nature is employed for the recall for reconstitution of what is unfit for development. No wonder therefore that this type of force reacts, with resistances that increase by the square, against the insanity of its wrongful exploitation for the purposes of the build-up of culture. Therefore the crowning law of today's technology, the conservation of energy law and the so-called heat equivalent are founded on an unnatural developmental basis. To put it plainly, contemporary science and its technology have backed the wrong horse and have ridden it for so long, or have sacrificed the available raw materials to power precisely the opposite force to such an extent as to drag in an economic collapse by its head and shoulders. It has not understood how to copy the ideal method of generating power and formative energy, or through the naturalesque transformation of inferior raw materials into quality products, how to make the natural sources of energy available in unlimited quantity for a virtually free, silent and development furthering mechanical power. [The Energy Evolution - Harnessing Free Energy from Nature, New Forms of Motion and Energy]

In the opening of the third measure the tune returns to its own key by striking the tonic. This case is a very simple illustration of how a composition will move with perfect naturalness in more keys than one, the keys so grow out of each other, and may either merely snatch a passing chord from a new key, or pass quite into it for a phrase or two, or for a whole measure, then return as naturally, either by a smooth and quiet or by a strongly contrasted turn, according to the chords between which the turn takes place. In such modulation there may or there may not be marked a sharp, , or , in the air itself; the note which Nature raises in the new key may occur in one of the other parts of the harmony. In Watchman it is A, the fourth, which is altered; from being it is made . The change which takes place in the sixth of the scale, which is C in Watchman, is only one comma, the ratio of 80 to 81, and it slips into the new key as if nothing had happened. No mark is placed to it, as the comma difference is never taken notice of, although it is really and regularly taking place, with all the precision of Nature, in every new key. It is, however, only the note which is altered four commas, which is marked by a sharp, , or , as the case may be. [Scientific Basis and Build of Music, page 94]

When Plate XIII. is divided up the middle of the column, as in Plate XIV., so as that one side may be slipped up a fifth, representing a new key one-fifth higher, its subdominant made to face the old tonic, the two new notes are then pictorially shown, the second being altered one comma and the seventh four commas. The key at this new and higher pitch is by Nature's unfailing care kept precisely in the same form as the first; and wherever the major scale is pitched, higher or lower, the form remains unaltered, all the intervals arranging themselves in the same order. The ear, and the voice obedient to it, carry Nature's measuring-rule in them, and the writing must use such marks as may truly represent this; hence the use of sharps, flats, and naturals; these, however, be it observed, are only marks in the writing; all is natural at any pitch in the scale itself. All this is equally true of the minor mode at various pitches. These two plates are only another and more pictorial way of showing what the stave and the signature are usually made to express. [Scientific Basis and Build of Music, page 114]

Created by Dale Pond. Last Modification: Sunday August 14, 2022 04:10:35 MDT by Dale Pond.