noun: a characteristic likelihood of or natural disposition toward a certain condition or character or effect ("Fabric with a tendency to shrink")
noun: a general direction in which something tends to move ("The shoreward tendency of the current")
noun: an attitude of mind especially one that favors one alternative over others ("A tendency to be too strict")
noun: an inclination to do something
"The aerial propeller has a sympathetic polar accumulator and disperser in one instrument, which is entirely distinct from any of the devices intended for terrestrial use; also other mechanical adjuncts not needed on land nor water.
All forms of non-sympathetic machinery have, associated with them, conditions of centrifugal force on the ratio of the velocity induced; the diverging power from the center of induction being governed specifically by its gravital weight according to the diameter it occupies in its circle of rotation.
In a sympathetic negative circuit this order of conditions is reversed; for the power of neutral attraction draws the molecules of any mass, no matter what the weight, toward the center of rotation (instead of toward its periphery) according to the intensity of the negative vibration that is induced upon that particular circle.
Our earth, in its routine of revolution, is governed by the same law in every particular; its mass tending toward its centre of neutrality with a force that is equivalent to the character and velocity of its rotation.(3) If its rotation were increased, the tendency of everything associated with it would be increased toward its centre of neutrality on the same ratio. That is, a pound in weight would, under certain conditions of increased velocity, become two pounds in weight. The laws governing the sympathetic rotation of vibratory machinery are the same laws that govern planetary suspension. To those who have not witnessed the operation of my devices, my theories must indeed seem wild; but the laws of nature are the same yesterday today and forever. They know no change; and sympathetic physics, demonstrated mechanically, must triumph over all ridicule and opposition in the end. To contradict the laws governing sympathetic rotation is to contradict the laws governing planetary suspension, as I am prepared to demonstrate.
If the earth were rotated on a shaft by mechanical force, the present condition of its rotations would be reversed; everything on its surface would fly off at a tangent, on the ratio of the velocity induced. The equilibrium of all things would also be changed.
The vitalization of the disks for the polar and depolar field is established on the ratio of thirds, sixths, and ninths; the ninths being the circuit occupied by the polar field, must represent, in the scale of vitalized focalized intensity, 100 in my system: sixths in the depolar field, or 66 2/3; and in the neutral field, or thirds, 33 1/3. The triplets must represent one true chord of equation. The sympathetic transmitter transfers any degree of intensity desired from zero up to disintegration; all the transfers being made above the line of the first inaudible, as associated with my resonating system of transfer. On the sixths and ninths, in the progressive triple subdivision of the elements (4) of water, the nearest sympathetic approach is made to the high luminous, which is the main sympathetic link to the earth's polar negative envelope, and the one whereby coordination is effected for commercial work. In short, this progressive condition establishes the necessary association between celestial radiation and terrestrial outreach, in regard to controlling the polar negative attractive force in mechanics; whether for aerial navigation or for terrestrial commercial work, in all its multiplied forms.
The atmospheric envelope of our earth owes its activity and its volume entirely to celestial radiating forces.(5) Reception and dispersion are kept up by atomic and interatomic conflict between the dominant and enharmonic currents of the triune polar stream. The harmonic and enharmonic current with the dominant (in the electric stream) by their sympathetic association evolve the energy of matter.
The mechanical proof of the correctness of my theories, in sympathetic or spiritual physics, is so overwhelming in its simplicity that it needs but to be witnessed to convince the most learned or the most simple mind that this system will place both science and commerce on a platform which will elevate each to a level far higher than those they now occupy." [The Operation of the Vibratory Circuit]
"The ethereal atmosphere has the tendency to become confluent or spherical, and the material nuclei, being individualized, seek juxtaposition, thereby constituting molecules. The forms of these molecules must be as symmetrical as the reaction of the constituent particles may allow." [Snell Manuscript - The Book, page 2]
In a musical air or harmony, i.e., when once a key has been instituted in the ear, all the various notes and chords seem animated and imbued with tendency and motion; and the center of attraction and repose is the tonic, i.e., the key-note or key-chord. The moving notes have certain leanings or attractions to other notes. These leanings are from two causes, local proximity and native affinity. The attraction of native affinity arises from the birth and kindred of the notes as seen in the six-octave genesis, and pertains to their harmonic combinations. The attraction of local proximity arises from the way the notes are marshalled compactly in the octave scale which appears at the head of the genesis, and pertains to their melodic succession. In this last scale the proximities are diverse; the 53 commas of the octave being so divided as to give larger and lesser distances between the notes; and of course the attraction of proximity is strongest between the nearest; a note will prefer to move 5 commas rather than 8 or 9 commas to find rest. Thus far PROXIMITY. [Scientific Basis and Build of Music, page 91]
dominant; and either of these chords may also follow the tonic; but when the dominant follows the subdominant, as they have no note in common, the root of the subdominant is added to the dominant chord, and this forms the dominant seventh; and when the subdominant follows the dominant, the top of the dominant is added to the subdominant, and this forms the subdominant sixth. The sixth and seventh of the octave scale is the only place these two compound chords are positively required; but from their modifying and resolvable character they are very generally used. When the dominant is compounded by having the root of the subdominant, its specific effect is considerably lower; and when the subdominant is compounded by having the top of the dominant, its specific effect is considerably higher. In the octave scale the notes of the subdominant and dominant chords are placed round the notes of the tonic chord in such a way was to give the greatest amount of contrast between their notes and the tonic notes. In the tonic chord the note which has the greatest amount of specific gravity is its root; and in the octave scale it has below it the middle and above it the top of the dominant, the two notes which have the greatest amount of specific levity; and in the octave scale it has above it the middle and below it the root of the subdominant - the two notes which the greatest amount of specific gravity. The third note of the scale, the middle of the tonic chord, is the center of the system, and is the note which has the least tendency either upwards or downwards, and it has above it the root of the subdominant, the note which has the greatest amount of specific gravity, and it has below it the top of the dominant, the note which has the greatest amount of specific levity. Thus the root of the subdominant is placed above, and the top of the dominant below, the center of the system; the specific gravity of the one above and the specific levity of the one below cause them to move in the direction of the center. [Scientific Basis and Build of Music, page 98]
mathematical genesis, as seen in its D being a comma higher than that of the minor. This gravity and buoyancy of the modes is a striking feature of them. In the Thirds it is different from the Fifths; the larger hemisphere of each third seems gravitating toward the center of the tonic chord. The area of the scale has then the aspect of a planet with its north and south poles, and pervaded by a tendency towards the center; the center itself being neutral as to motion. [Scientific Basis and Build of Music, page 107]
In the center column are the notes, named; with the lesser and larger steps of their mathematical evolution marked with commas, sharps, and flats; the comma and flat of the descending evolution placed to the left; the comma and sharp of the ascending evolution to the right; and in both cases as they arise. If a note is first altered by a comma, this mark is placed next to the letter; if first altered by a sharp or flat, these marks are placed next the letter. It will be observed that the sharpened note is always higher a little than the note above it when flattened; A# is higher than ♭B; and B is higher than ♭C, etc.; thus it is all through the scales; and probably it is also so with a fine voice guided by a true ear; for the natural tendency of sharpened notes is upward, and that of flattened notes downward; the degree of such difference is so small, however, that there has been difference of opinion as to whether the sharp and ♭ have a space between them, or whether they overlap, as we have shown they do. In tempered instruments with fixed keys the small disparity is ignored, and one key serves for both. In the double columns right and left of the notes are their mathematical numbers as they arise in the Genesis of the scales. In the seven columns right of the one number-column, and in the six on the left of the other, are the 12 major and their 12 relative minor scales, so arranged that the mathematical number of their notes is always standing in file with their notes. D in A minor is seen as 53 1/3, while the D of C major is 54; this is the comma of difference in the primitive Genesis, and establishes the sexual distinction of major and minor all through. The fourth of the minor is always a comma lower than the second of the major, though having the same name; this note in the development of the scales by flats drops in the minor a comma below the major, and in the development of the scales by sharps ascends in the major a comma above the minor. In the head of the plate the key-notes of the 12 majors, and under them those of their relative minors, are placed over the respective scales extended below. This plate will afford a good deal of teaching to a careful student; and none will readily fail to see beautiful indications of the deep-seated Duality of Major and Minor. [Scientific Basis and Build of Music, page 109]
combinations of dissonance, rests, sounding neither scale nor chords. Dissonance does not express opposition or separation, for there is no principle in musical tones which is productive of contraries; the dissonances follow the attraction of the tonic, or key-note, and the neutralization of the musical disturbance is implied in the disagreement in their motion with the repose of the unit, or key-note. So far is this from producing separation, that the apparent discord is simply a preparation for growth, the life of harmony causing an inherent tendency towards closer union. [Harmonies of Tones and Colours, Combinations of dissonance, rests, page 24]