Orderly arrangement. Same as Subdivision, Gamut, Range, Dimension, degree, interval, step or delta of a range. Sometimes considered as divisions within a subdivision.
Also Order refers to the ordering (organizing) power of Syntropy to make order out of chaos. Also as most used within Sympathetic Vibratory Physics a varying change of state over time, progressively. [See Keelys orders, Laws of Being]
Entropy has often been loosely associated with the amount of order, disorder, and/or chaos in a thermodynamic system. The traditional qualitative description of entropy is that it refers to changes in the status quo of the system and is a measure of "molecular disorder" and the amount of wasted energy in a dynamical energy transformation from one state or form to another. In this direction, several recent authors have derived exact entropy formulas to account for and measure disorder and order in atomic and molecular assemblies. One of the simpler entropy order / disorder formulas is that derived in 1984 by thermodynamic physicist Peter Landsberg, based on a combination of thermodynamics and information theory arguments. He argues that when constraints operate on a system, such that it is prevented from entering one or more of its possible or permitted states, as contrasted with its forbidden states, the measure of the total amount of 'disorder' in the system is given by the first equation. Similarly, the total amount of "order" in the system is given by the second equation.
Disorder - Entropy (click to enlarge)
Order - Syntropy (click to enlarge)
In which CD is the "disorder" capacity of the system, which is the entropy of the parts contained in the permitted ensemble, CI is the "information" capacity of the system, an expression similar to Shannon's channel capacity, and CO is the "order" capacity of the system. Wikipedia, Order and Disorder
Figure 2.12.1 - Polarity or Duality
Law of Assimilation
Ramsay - The Great Chord of Chords, the Three-in-One17
Rhythmic Balanced Interchange
Table of Cause and Effect Dualities
"The audible has been conquered in my instruments to that extent which brings me into sympathetic contact with the inaudible, the vitalized conditions of which as regards sympathetic union with the terrestrial are the pure and only essentials necessary towards establishing the sensitive link, between the instrument and terrestrial chord-masses, in order to run sympathetic machinery. But there is still before me a vast region to be explored before the keystone of this sympathetic arch is set in position to carry the high order of sympathetic transfer that I aim at. I have every reason to hope that when I have mastered these mechanical difficulties I shall be able to control this most subtle of Nature's forces. When this is done, the commercial engine will soon follow. There is no truer nor quicker way to reach that end than the one I am now pursuing. My obligations on this line once fulfilled, I shall be at liberty to turn my attention to the consideration of the mental forces associated with the physical, and in fact the solution of the mechanical problem is one and the same in principle, as is the physical and mental. When one is solved all is solved. The convolutions which exist in the cerebral field are entirely governed by the sympathetic conditions that surround them." [Keely, Vibratory Physics - The Connecting Link between Mind and Matter]
All abnormal discordant aggregations in these resonating convolutions produce differentiation to concordant transmission; and according as these differentiations exist in volume, so the transmissions are discordantly transferred, producing antagonism to pure physical action. Thus, in motor ataxy, a differentiation of the minor thirds of the posterior parietal lobule produces the same condition between the retractors and extendors of the leg and foot, and thus the control of the proper movements is lost through this differentiation. The same truth can be universally applied to any of the cerebral convolutions that are in a state of differential harmony to the mass of immediate cerebral surroundings. Taking the cerebral condition of the whole mass as one, it is subservient to one general head centre; although as many neutrals are represented as there are convolutions. The introductory minors are controlled by the molecular; the next progressive third by the atomic; and the high third by the etheric. All these progressive links have their positive, negative, and neutral position. When we take into consideration the structural condition of the human brain, we ought not to be bewildered by the infinite variety of its sympathetic impulses, inasmuch as it unerringly proves the true philosophy that the mass-chords of such structures are governed by vibratory etheric flows. There is no structure whatever - animal, vegetable, or mineral - that is not built up from the cosmic ether. Certain orders of attractive vibration produce certain orders of structure; thus the infinite variety of effects; more especially in the cerebral organs. Discordance cannot exist in the molecule proper. Discordance in any mass is the result of differentiated groups induced by antagonistic chords, and any differentiated mass can be brought to a condition of harmony or equation by proper chord media, and an equated sympathy produced whether the mass be metal or brain. [Vibratory Physics - The Connecting Link between Mind and Matter]
"There is good reason for believing that insanity is simply a condition of differentiation in the mass-chords of the convolutions, which creates an antagonistic molecular bombardment towards the neutral or attractive centres of such convolutions. This may be compared to a knot on a violin string. As long as this knot remains, it is impossible to elicit, from its sympathetic surroundings, the condition which transfers pure concordance to its resonating body. Discordant conditions (i.e., differentiation of mass) produce negatization to coincident action. Pure sympathetic concordants are as antagonistic to negative discordants as the negative is to the positive; but the vast volume the sympathetic holds over the non-sympathetic, in ethereal space, makes it at once the ruling medium and re-adjuster of all opposing conditions, when properly brought to bear upon them. Josiah Royce is right as regards correspondent sympathetic association between two conditions. If concordance can be established, even of unlike states, no matter whether it be of the high tenuous forces of nature, gases with liquids, liquids with solids, solids with gases, the structural conditions can be perfectly adverse. Their neutral centres are the focalized seat of sympathetic concordance for controlling any differentiation that may exist outside, or in the mass that surrounds them. Certain orders of vibration can reach these centres and establish a concordant flow of sympathy, independent of any mass antagonism; in other words, certain orders of sympathetic vibratory transmission can correct and equate all differentiation that may exist between physical organisms and their cerebellic flows. Discord is disease. Harmony is health.''" - [Keely." [[Vibratory Physics - The Connecting Link between Mind and Matter]
"If all cosmical action is cyclical, matter, when existing free in the ether, must ultimately tend to dissolve into pure ether again, for, if the law of creation is as a cycle, in which, after development and as its fruit, the last term gives the first, then has he grounds for his conjecture that complication in structure is necessary to the segregation of nervous matter, and the construction of a "myo-neuro-cerebral system" and that ether and matter, after developing a molecular economy, as the mother and nurse of a soul or monad of a higher order than the merely material element, through or by this organism, complete the cycle of the economy of material nature, and eventually touch upon the spiritual world again and contribute to it. This true protoplasm, the ether, Keely claims to ... liberate by vibratory machinery as the medium of a motive power, which he calls "sympathetic negative attraction." [Snell Manuscript - The Book, page 2]
The vapor from the liberator, registered at 20,000 lbs. per square inch has a range of atomic motion of 1333 1/3 the diameter of the atmospheric molecule with constant rotary vibratory action. At 10,000 lbs., 666 2/3, at 5,000, 333 1/3, at 2500, 166 2/3, at 1250, 83 1/3, at 625, 41 2/3. The higher the range of atomic motion the greater its tenuity and pressure. The very evolution on the negative shows a vacuum of a much higher order than was ever produced before confounding all theory to analyze. The highest vacuum known is 17.999999, or not quite 30 inches, but Keely produced etheric vacuums repeatedly of 50 to 57 inches ranging down to 30 inches or 57 lbs. All operations of nature have for their sensitizing centers of introductory action, triple vacuum evolutions. These evolutions are centered in atomic triple revolutions, highly radiophonic in their character and thoroughly independent of all outside forces in their spheres of action. No conceivable power, however great, can break up their independent centers. These triple centers are the foundation of the universe, and mathematically considered, the respective and relative motion of these atomic triplets, gravitating to and revolving around each other, is about one and one-third of their circumference. The problem of this action, when analyzed mathematically, (taking it as the quadrature of the circle) would baffle mathematical science to bring it to a numerical equation. Every revolving body is impressed by nature with certain laws making it susceptible of the operation of force, which being applied, impels motion. These bodies never can approach nearer than a certain limit, nor farther than a certain point. They are, at some mean point, made perfectly equal, and may therefore be considered as one force and as one element. It matters not that other and disturbing forces exist outside or inside the space these bodies revolve in, because if this force must be considered as acting uniformly, applying itself to each of these bodies in a way to produce a perfect equation on all, it is as if this outside force were nonexisting. [Snell Manuscript - The Book, page 2]
Mrs. F. Hughes writing "Tones and Colors", advances theories of her own, which correspond with Keely's. "I firmly believe that exactly the same laws as those which develop sound keep the heavenly bodies in their order. You can even trace the poles in sound." [Snell Manuscript - The Book, page 2]
In all molecular dissociation or disintegration of both simple and compound elements, whether gaseous or solid, a stream of vibratory antagonistic thirds, sixths, or ninths, on their chord mass will compel progressive subdivisions. In the disintegration of water the instrument is set on thirds, sixths, and ninths, to get the best effects. These triple conditions are focalized on the neutral center of said instrument so as to induce perfect harmony or concordance to the chord note of the mass chord of the instruments full combination, after which the diatonic and the enharmonic scale located at the top of the instrument, or ring, is thoroughly harmonized with the scale of ninths which is placed at the base of the vibratory transmitter with the telephone head. The next step is to disturb the harmony on the concentrative thirds, between the transmitter and the disintegrator. This is done by rotating the siren so as to induce a sympathetic communication along the nodal transmitter, or wire, that associates the two instruments. When the note of the siren becomes concordant to the neutral center of the disintegrator, the highest order of sympathetic communication is established. It is now necessary to operate the transferable vibratory negatizer or negative accelerator, which is seated in the center of the diatonic and enharmonic ring, at the top of the disintegrator, and complete disintegration will follow (from the antagonisms induced on the concordants by said adjunct) in triple progression, thus: First thirds: Molecular dissociation resolving the water into a gaseous compound of hydrogen and oxygen. Second: sixths, resolving the hydrogen and oxygen into a new element by second order of dissociation, producing what I call low atomic ether. Third: ninths, the low atomic ether resolved into a new element, which I denominate high or second atomic harmonic. All these transmissions being simultaneous on the disturbance of sympathetic equilibrium by said negative accelerator. [Snell Manuscript - The Book, page 4]
"When the proper impulse is given to induce the rotation with pure alternating corpuscular action, the condition of action become perpetual in their character, lasting long enough from that one impulse to wear out any machine denoting such action, and on the sympathetic stream eternally perpetual. The action of the neutral or focalizing centers represents molecular focalization and redistribution, not having any magnetism associated with them, but when the radiating arms of their centers are submitted to the triple compound vibratory force, representing their mass thirds, they become magnetic and consequently cease their rotation. Their rotation is induced by submitting them to three different orders of vibration, simultaneously giving the majority to the harmonic third." (Keely) [Snell Manuscript - The Book, DISTURBANCE OF MAGNETIC NEEDLE, page 8]
"The question arises, Why is this condition of the (luminous) ether always under a state of luminosity of an especial order? Its characteristics are such, from its infinite tenuity and the sympathetic activity with which it is impregnated, that it possesses an order of vibratory, oscillatory velocity, which causes it to evolve its own luminosity. This celestial, latent power, that induces luminosity in this medium, is the same that registers in all aggregated forms of matter, visible and invisible. It is held in the corpuscular embrace until liberated by a compound vibratory negative medium. [Snell Manuscript]
"The corner-stone of this philosophy is one power, one law; order and method reigning throughout creation; spirit controlling matter, as the Divine order and law of creation that the spiritual should govern the material - that the whole realm of matter should be under the dominion of the world of spirit." [More Science]
When the major scale has been generated, with its three chords, the subdominant, tonic, and dominant, by the primary mathematical ratios, it consists of forms and orders which in themselves are adapted to give outgrowth to other forms and orders by the law of duality and other laws. All the elements, orders, combinations, and progressions in music are the products of natural laws. The law of Ratio gives quantities, form, and organic structure. The law of Duality gives symmetry, producing the minor mode in response to the major in all that belongs to it. The laws of Permutations and Combinations give orders and rhythms to the elements. The law of Affinity gives continuity; continuity gives unity; and unity gives the sweetness of harmony. The law of Position gives the notes and chords their specific levities and gravities; and these two tendencies, the one upward and the other downward, constitute the vital principle of music. This is the spiritual constitution of music which the Peter Bell mathematicians have failed to discern: [Scientific Basis and Build of Music, page 37]
The specific levity of notes increases in proportion to the number of times the ratios are multiplied in order to produce them, going upward by sharps; and their specific gravity increase in proportion to the number of times the ratios are divided in order to produce them, going downward by flats. The knowledge of this is attained when everything is in its perfect order. It is the discovery of the Law of Duality in music which shows the method of applying the ascending and the descending ratios so as to exhibit that perfect order of Nature. [Scientific Basis and Build of Music, page 43]
Nature has not finished when she has given us the Diatonic Scale of notes as first generated. In the diatonic scale, in ascending from C, the root of the tonic, the first step is an interval of 9 commas, supposing that we adopt the common division of the octave into 53 commas, which is the nearest practical measuring rule; the second step has 8 commas; the third has 5; the fourth has 9; the fifth has 8; the sixth has 9; and the seventh and last has 5 commas. So we have three steps of 9 commas, two steps of 8, and two of 5. The order of the steps in the major is 9, 8, 5, 9, 8, 9, 5. In the minor the magnitudes are the same, but the order is 9, 5, 8, 9, 5, 9, 8. So there are three magnitudes.1 But Nature has an equalizing process in the course of her musical marshallings, in which these greater ones get cut down, and have to change places with the lesser, when her purpose requires them so to do. [Scientific Basis and Build of Music, page 47]
The great Genetic Scale, major and minor, the seed-bed and nursery of all, is that from which first of all the natural scale of the fifth arises into existence; and three fifths are generated in the major ascending side and three also in the descending minor side of the twofold genesis, giving us six fifths in all. At the top of the ascending genesis we find the major octave scale standing solid and in its perfect order and proportion; and at the bottom of the descending genesis we have the minor octave. [Scientific Basis and Build of Music, page 66]
All the inverse and reciprocal orders in music, whether of notes or chords, are produced by the law of Duality, and this gives them inevitably their symmetrical form. [Scientific Basis and Build of Music, page 79]
pendulum where fourth the length is double the oscillations. A third condition in this order is in springs or reeds where half the length is four times the vibrations. If we take a piece of straight wire and make it oscillate as a pendulum, one-fourth will give double the oscillations; if we fix it at one end, and make it vibrate as a spring, half the length will give four times the vibrations; if we fix it at both ends, and make it vibrate as a musical string, half the length will produce double the number of vibrations per second. [Scientific Basis and Build of Music, page 80]
The middle one of these three chords is called the tonic; the chord above is called the dominant; and the chord below is called the subdominant. The order in which these three chords contribute to form the octave scale is as follows:- The first note of the scale is the root of the tonic; the second is the [Scientific Basis and Build of Music, page 96]
notes attracted by proximity are attracted in the direction of the center of the tonic chord, major or minor. But if D in the major is attracted by C, the root of the tonic, then it would be moving away from the center. Two notes which have the ratio of 8:9, as C and D, or two notes which are produced by the same ratio as C and D, or two notes where each of them is either a root or a top, as C and D, never resolve to each other by proximity. It is an invariable order that one of the notes should be the middle of a chord. [Scientific Basis and Build of Music, page 99]
"What we have thus said about the resolving notes to the major tonic has been allowed in the case of the minor. No one ever said that the second of the minor scale resolved to the root of the tonic. Notwithstanding the importance of the tonic notes, the semitonic interval above the second of the scale decided the matter for the Law of Proximity; and no one ever said that D, the root of the subdominant minor, did not resolve to C, the center of the tonic minor, on the same terms that two notes are brought to the center of the tonic major; with this difference, that the semitonic interval is above the center in the major and below it in the minor. The other two notes which resolve into the tonic minor are on the same terms as the major; with this difference, that the semitonic interval is below the root of the tonic major and above the top of the tonic minor. And the small tone ratio 9:10 is above the top of the tonic major and below the root of the tonic minor. If it has been the case that D resolved to the root of the tonic major, then, according to the Law of Duality, there would have been another place where everything would have been the same, only in the inverse order; but, fortunately for itself, the error has no other error to keep it in countenance. This error has not been fallen into by reasoning from analogy. [Scientific Basis and Build of Music, page 99]
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]
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]
This diagram shows pictorially the open in the spiral of the mathematical scales, in which, if written in sharps only, B# is seen a little, that is, a comma and the apotome minor, in advance of C, and as the first scale of the new cycle; for it is a violation of Nature's beautiful steps to call it a thirteenth scale of this order, since every scale in the order is 31 commas in advance of the preceding, whereas B# is only one comma and a small fraction in advance of C. If the scales be written in ♭s and #s for convenience of signature, then G# is seen a comma and apotome in advance of A♭; while the whole circle of keys advancing by fifths are each 31 commas in advance of the preceding. We may therefore cast utterly from us the idea of there being more than twelve mathematical scales, and view the so-called thirteenth as simply the first of a new round of the endless spiral of scales. There is, however, in this note a banner with the strange device, "Excelsior," for it leads us onward into ever-advancing regions of vibrations, and would at last bring us to the ultimate and invisible dynamic structure of the visible world. The tempered system of 12 keys, as in Fig. 1, is by causing the G# and A♭ to coalesce and be one, as the two D's are already literally one by Nature's own doing. [Scientific Basis and Build of Music, page 118]
dual system, as the strings are shortened the vibrations of course are more, and as the strings are lengthened the vibrations are fewer. This is household lore now; but the new insight and the deeply interesting order of Nature is that the major and the minor contain each other and respond to each other in this striking way; and while manifesting such diversity of character are so essentially one. [Scientific Basis and Build of Music,page 119]
This plate, in the outer stave, has the 32 notes which arise with mathematical development of twelve scales in advancing fifths. The notes are marked with sharps, flats, and commas. The flats and commas of lowering are placed on the left of the notes, in the order in which they arise, reading them from the note downward; the sharps and commas of rising on the right, also reading from the note upward. The whole of these 32 notes are brought within the compass of an octave. [Scientific Basis and Build of Music, page 119]
The key-note C sounding from within itself its six tones to and fro in trinities, the tones written as notes in musical clef
—The trinities hereafter termed primaries and secondaries
—The seven of each of the twelve key notes developing their tones
—The order in which the tones meet, avoiding consecutive fifths
—Dissonance is not opposition or separation
—The use of the chasms and double tones is seen
—The isolated fourths sound the twelve notes
—Each double tone developes only one perfect major harmony, with the exception of F#-G♭; F# as the key-tone sounds F♮ as E#, and G♭ as the key-tone sounds B♮ as C♭
—The primaries of the twelve key-notes are shown to sound the same tones as the secondaries of each third harmony below, but in a different order
—All harmonies are linked into each other, . 23 [Harmonies of Tones and Colours, Table of Contents2 - Harmonies]
The difference in the development of a major and a minor harmony
—The twelve developing keys mingled
—D♭ shown to be an imperfect minor harmony
—E♭ taking B♮ as C♭ to be the same as D#
—The intermediate tones of the seven white notes are coloured, showing gradual modulation
—As in the diagram of the majors, the secondaries are written in musical clef below the primaries, each minor primary sounding the secondaries of the third harmony below, but in a different order, and one tone rising higher, . . . . . 34 [Harmonies of Tones and Colours, Table of Contents3 - Harmonies]
suspected. Let us take as our standard of colours the series given by the disintegration of white light, the so-called spectrum: as our standard of musical notes, let us take the natural or diatonic scale. We may justly compare the two, for the former embraces all possible gradations of simple colours, and the latter a similar gradation of notes of varying pitch. Further, the succession of colours in the spectrum is perfectly harmonious to the eye. Their invariable order is— red, orange, yellow, green, blue, indigo, and violet; any other arrangement of the colours is less enjoyable. Likewise, the succession of notes in the scale is the most agreeable that can be found. The order is—C, D, E, F, G, A, B; any attempt to ascend or descend the entire scale by another order is disagreeable. The order of colours given in the spectrum is exactly the order of luminous wave-lengths, decreasing from red to violet. The order of notes in the scale is also exactly the order of sonorous wave-lengths, decreasing from C to B." [Harmonies of Tones and Colours, On Colours as Developed by the same Laws as Musical Harmonies2, page 19]
The diagram begins with C, the third space of the treble clef, as being more convenient to write than C, the lowest note in the bass clef. The life of musical sounds rising from a hidden fountain of life is shown by the chasms of keyed instruments between B and C, and E and F; their great use will be strikingly manifest as the developments proceed. The fundamental key-note C and its root F rise from the chasms. B, the twelfth key-note, and E, its root, sound the octave higher of the fountain B. The generation of harmonies is by one law a simple mode of difference. Each major major key-note and its tones embrace the eighteen tones of keyed instruments which all lie in order for use. The power and extent of each are complete in itself, rising and developing, not from any inherent property in matter, but from the life communicated to matter. In the whole process of harmony there are limits, and yet it is illimitable. Its laws compel each key-note to follow certain rules within certain bounds; each separate key-note, being the fountain of its own system, has its own point of rest, and series after series rise and enlarge, or fall and diminish infinitely. [Harmonies of Tones and Colours, Diagram I - The Eighteen Tones of Keyed Instruments, page 22a]
A key-note developing its harmony may be compared to a seed striking its root downwards, and rising upwards. On striking a note, it sounds from within itself, in a rapid and subdued manner, the six kindred tones necessary to its harmony, and all which do not belong to that individual harmony are kept under; thus all harmonies are in sevens. Each seven forms an ascending and descending series; the ear is aware of the tones, but not of the order in which they rise. [Harmonies of Tones and Colours, Diagram II - The Twelve Keynotes1, page 23]
The three lowest of the six tones are complementary pairs with the key-note and its two highest tones. Observe the curious order in which the tones sound, avoiding consecutive fifths. First, we have the key-note and its root, or fellow; next A; then D and its root; and then E, whose root, A, has already sounded between the first and the second pair. B, the fourth and central tone in depth, sounds seventh, and, finding no fellow within the compass of the harmony developing it, is isolated. Observe also how closely a key-note and its kindred tones are linked into each other. The Primaries spring from the key-notes, the Secondaries from the Primaries; the first pair comprises a key-note and a tone of the Primaries, the other two pairs have each a tone of the Primaries and a tone of the Secondaries. The key-note, after giving out its tones in trinities, or [Harmonies of Tones and Colours, Diagram II - The Twelve Keynotes1, page 23]
We find that on a keyed instrument each primary sounds the same tones as the secondaries of each third harmony below, but in a different order, and the double tones are altered sharp or flat as the harmony requires. For example, the secondaries of B are sharps; when primaries of D♭, they are flats. In order to trace this quickly, the sharps and flats are written to each note. [Harmonies of Tones and Colours, Combinations of dissonance, rests, page 24]
The Major Key-note of C is here shewn developing its trinities from within itself, veering round; C and the other 11 developing their trinities in musical clef. Below each is the order in which the pairs meet, avoiding consecutive fifths. Lastly, C# is seen to be an imperfect major harmony; and G♭, with B as C♭, make the same harmony as F#. The intermediate tones of sharps and flats of the 7 white notes are here coloured in order to shew each harmony, but it must be remembered that they should, strictly, have intermediate tints. [Harmonies of Tones and Colours, The Major Keynote of C, page 24c]
This diagram represents the two last major primaries of a series of 12; 12 of a higher series follow, and the two first of a still higher series: the secondaries are written below the primaries, the sharps or flats belonging to the different harmonies are written to each note. Each primary sounds the same tones as the secondaries of each third harmony below, but in a different order; and the double tones are altered sharp or flat as the harmonies require.
By reference to previous coloured notes it will be seen that all these agree. [Harmonies of Tones and Colours, The Two Last Major Primaries, page 24e]
The roots of the chords are first written. The Key-note C and its trinities are shewn to have 2 chords. The chords of the 12 Major Keys, as they follow in order. [Harmonies of Tones and Colours, The Roots of the Chords, page 26c]
If the chords of the twelve keys and the thirteenth octave are struck, all agree in their method of development. We see here the order in which the chords are repeated, and the working of the double tones. As an example of the latter, we may trace the chords belonging to the key of D♭, and compare them with those belonging to the key of F#, also the first chord in the key of A♭. The fourth note in depth, sounded last of the seven of each harmony, has been seen as preparing for the chords; it prepares equally for the scale, and the scale for the chords, the octave chord of the scale, ascending, preparing for the latter to descend. Descending is ascending reversed. [Harmonies of Tones and Colours, Diagram V - The Chords of the Twelve Major Keys, page 27a]
Ascending, begin with C in the innermost circle, F being its root. The Key-note C becomes the root of G, G becomes the root of D, and so on. In descending, begin with the octave Key-note C in the outermost circle. F, the root of C, becomes the fifth lower Key-note. F is the next Key-note, and becomes the root of B♭, &c. The 12 Keys in their order are written in musical clef below. Lastly, the Keys of C and G, ascending on a keyed instrument, are written in music as descending; therefore, to shew correctly notes and colours meeting, it is necessary to reverse them, and write C below G. All are seen to be complementary pairs in tones and colours. [Harmonies of Tones and Colours, Diagram VII Continued2, page 31e]
AS an example of the twenty-four, compare A major, developing, in Diagram II., with A minor, Diagram IX., taking the notes in the order which they sound in trinities. The three notes of the primaries sounded by A minor are, first, the same root as the major; the two next are the fourth and seventh higher notes (in the major, the fifth and sixth); the secondaries only vary by the sixth and seventh notes being a tone lower than in their relative major. Observe the order in which the pairs unite; the fourth in depth, sounded seventh, isolated. A and its root do not rise from the chasms. The fundamental key-note C was seen not to be interfered with, neither is the fundamental minor key-note A; G# on the one side, and B♭ on the other, being the key-notes. The seven of each minor harmony embrace only seventeen tones. C major and A minor are the only two keys which sound the seven white notes of keyed instruments. The minor scale and chords of A are not included in this remark. [Harmonies of Tones and Colours, Diagram IX - The Minor Keynote A and Its Six Notes, page 34a]
The diagram represents the Minor Key-note A and its 6 notes veering round in trinities; A and the other 11 developing their trinities in musical clef. Below each is the order in which the pairs unite, avoiding consecutive fifths, Lastly, D♭ is shewn to be an imperfect minor harmony, and by employing B as C♭, E♭ is seen to be the same harmony as D#. As before, it should be remembered that the sharp and flat notes should, strictly, have intermediate tints. [Harmonies of Tones and Colours, The Diagram Represents the Minor Keynote, page 34c]
This diagram shews the two last minor primaries of a series of 12, with the 12 of a higher series, and the two first of a series higher still. As in the diagram of the Major, the secondaries are written below the primaries, and the sharps or flats of each harmony are written to their respective notes. With the exception that one of the primaries rises a tone higher, it will be observed that in the same way the notes of each minor primary are identical with the secondaries of each third harmony below, but in a different order; and the double tones are altered sharp or flat, as before. [Harmonies of Tones and Colours, Diagram Shews the Two Last Primaries, page 34e]
schools on the hill of Sion—'out of Sion hath God appeared in perfect beauty.' So long as this principle was recognised in musical academies, there were composers of the highest class; devoid of it, the highest order of compositions disappeared." "Power over music does not depend solely on the mere agreement of 'how to do it.' The student in song will never learn the perfection of beauty except from the preparation of the heart. To make a real musician, there must be a sense of the ever-presence of the Creator of all beauty. The boy-musician must begin his day with prayer, and end it with praise. This made Handel, Bach, Haydn, and Mozart. Music is neither dram nor sweetmeat, neither sensual nor intellectual. It is made so now; but in this order of music there is neither joy nor love, thankfulness nor reverence." [Harmonies of Tones and Colours, Fragments from Dr. Gauntlett's Last Note-book, page 51]
A lot could be said about orderliness and its precursor chaos. Chaos being our misinterpretation of that which we think we perceive. Chaos precedes order or synchronous beingness, activity. The Rosicrucians have a concept of periodicity that ranges from order to chaos and back to order. Chaos being experienced in the seventh period of any cycle. They call this seventh period the destructive period where the old is torn down making ready for the new cycle of order to be builded on/from the remains - the metaphysical or alchemical symbol of the Phoenix rising from the ashes of the old.
Then there is the apparent chaos of the physical world which some view as a real thing to be isolated and studied as a separate thing, taken out of context of the Oneness of everything else that is. Poor science that divides and separates.
Scalar electromagnetics also solves one of the greatest problems of quantum mechanics - that of the missing chaos. Since partial order is now infolded into the structure of the vacuum, quantum mechanics acquires an "already chaotic" basis. For an excellent lay discussion of the missing chaos problem, see Robert Pool, Quantum Chaos: Engima Wrapped in a Mystery, Science, 243(4893), Feb. 17, 1989, p. 893-895. For a more technical discussion, see P.V. Elyutin, The Quantum Chaos Problem, Sov. Phys. Usp. 31(7), July, 1988, p. 596-622.''" [Bearden]
Quieting the thinking of the mind is constructive because quieting the thinking allows the duality / polarity of thinking to subside. In this manner healing (the natural whole orderly state) is resumed.
"The MIND acts upon the resuscitating forces of the physical being, by and through suggestion. Just so there may be the realization that spiritual forces are a part of the whole physical being. For, the REAL being is the spiritual import, intent and purpose, see? Thus a meditation, a centralizing, a localizing of the mind upon those portions of the system affected." Cayce (1992-3)
Mind is that quiescent latent state yet in its evolution or devolution into matter undergoes a cycle of change from the One quiet state to a state we interprete as chaos. It builds up then disassembles itself making ready to build up anew. One could liken these two states to meditation and thinking of the will.
Q-Definition of the word MIND.
A-"That which is the active force in an animate object; that is the spark, or image of the Maker. Mind is the force that is in direct opposition of the will. ..." Cayce (3744-1)
So we get what we are thinking about. Mind creates a "holographic" projection of what it contains.
"That which the mind of a soul - a soul - dwells upon, it becomes, for mind is the builder. And if the mind is in attune with the law of the force that brought the soul into being, it becomes spiritualized in the activity (Oneness). If the mind is dwelling upon or directed in that desire towards the activities of the carnal influences (polarity/duality), then it becomes destructive (into chaos)." Cayce (262-63)
Chaos is part of the process of being orderly. Order degrades to chaos then chaos organizes into order (form). This is a continuous process. This being the case there is no good or bad associated with either state unless desire is for something other than what is present. For instance water vapor in a state of chaos may be changed into orderly and beautiful crystals of snow by slowing down the rotational velocities and speeding up its orbital velocities. Water vapor particles may be in a chaotic state as compared to ice crystals but none can doubt their desirability in the form of clouds of rain.
Chaos is what I've been calling the Dispersed Field or Field of Dispersion. Russell calls it the Inertia Field boundaring the Inertial Plane. Keely referred to it as the Celestial realm. The useable (free) energy (for us) comes or occurs when this chaos re-organizes in its centralization or focalization of accumulating force. There is the same amount of energy in the Dispersed Field as at its center. The difference is coherency or concentration much like a magnifying glass does to dispersed sunlight.
Christ Returns - Speaks His Truth
"I was brought to a realization of the INFINITE POWER of the 'Intelligent Creativity' ever active within creation, maintaining order, co-operation, harmony, daily productivity, unequalled by man anywhere, at any time." [Christ Returns - Speaks His Truth, Letter 1, page 15]
9. The inherent characteristic of the Loving Intelligent Creative Power was LAW & ORDER.
The undeviating order and reliability apparent in creation, even governing the tiny entities ('cells') within the body, were astonishing and far transcended any human endeavor. Therefore, the entire universe was operating under a system of perfect LAW & ORDER.
I realized on ever higher and higher levels of spiritual exaltation that the 'creative power' exhibited intelligent purposefulness and loving concern for all living things. I realized that life was not something nebulous or amorphous but an intelligent loving creative power which I could actually feel within myself as a tremendously heightened state of being, perception, radiance, ecstasy, joy, love. I knew myself to be one with it - filled with it - and I was one with everything around me and one with the sky and stars.
And - most wonderful and glorious of all - the very 'Nature' and 'Function' of this 'Father - Creative Power' was to work in order to create joy, beauty, and comfort to ensure mankind's well-being, to work within mankind to provide interior joy, health and comfort, and to work through mankind, inspiring him with new realization and understanding.
Wonderful vistas of glorious creativity came to mind. Once we became truly 'at one', purified channels and instruments of the 'Intelligent Creative Power', we could gradually ascend in consciousness until we truly expressed through our minds and hearts the very 'NATURE' of the 'Universal Creative Power'.
Then 'life on earth' would indeed become a 'state of heaven' at all times and we would enter into a state of eternal life! [Christ Returns - Speaks His Truth, Letter 1, page 15]
Order in Life
"Order is virtue. And order isn't a thing to be cultivated; you can't say I will be orderly, I will do this and I won't do that - then you are merely disciplining yourself, becoming more and more rigid, mechanical. Such a mind is totally incapable of coming upon this beauty that has no name, no expression. Order, like virtue, cannot be cultivated - if you cultivate humility you are obviously not humble; you can cultivate vanity, but to cultivate humility is not possible any more than to cultivate love. So order which is virtue cannot be practiced. All that one can do is to see this total disorder within and outside oneself - see it! You can see this total disorder instantly and that is the only thing that matters - to see it instantly." - [J. Krishnamurti]
Order and Disorder
Ramsay - The Great Chord of Chords, the Three-in-One17
13.05 - Seven Levels Subdivisions Planes or Realms of Mind Matter and Energy