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unity

noun: a situation in which people, groups, or countries join together or agree about something
noun: the state of being complete and having all the separate parts connected
noun: the quality of being united into one
noun: an unreduced or unbroken completeness or totality
noun: the smallest whole number or a numeral representing this number

Keely
Keely claims: "All forces are indestructible, immaterial and homogenous entities, having their origin and unity in one great intelligent personal will force." [Snell Manuscript - The Book, page 2]


Ramsay
"These three combinations of the three primary ratios, when taken together with 1 as unity, produce ten different quantities and motions - 1, 2, 3, 5, 6, 9, 15, 18, 27, and 45; and by producing the octaves of these primes and products, dividing by 4 for the quantities, and multiplying by 2 for the motions2 up to 64, we have 15 additional quantities and motions - 4, 8, 10, 12, 16, 20, 24, 30, 32, 36, 40, 48, 54, 60, and 64." [Scientific Basis and Build of Music, page 16]

"The ratio of 1:2 is essentially simple in its character, and any power of the prime 2 always produces a note like itself. It is a law in musical science that doubling or halving a number never changes its character. Whatever ratios and notes are produced from the first power, the square, and the cube of any number, the same kind of ratios and notes will be produced, in the genesis of octaves, by the doubles or halves of that number. On this account the prime 2 has unlimited powers in producing notes, and is used in the first place in getting a series of octaves from 1 as unity;" [Scientific Basis and Build of Music, page 26]

"notes which are produced by the two primes, 3 and 5. As the quadrant contains all the angles which give the different proportions in form, so does the ratio of 1:2, or the area of an octave, contain all the different notes in music. The ratio of 1:2 corresponds to unity, and, like the square and the circle in form, admits of no varieties. Half the length of a string gives an octave when the string is homogeneous and uniform; if the one half has more gravity than the other, the center of gravity of the whole string gives the octave. The ratio of 1:2 rests on the center of gravity. [Scientific Basis and Build of Music, page 27]

"The prime 5, like the prime 3, produces new notes. One of these, namely A5, is derived from unity, i.e., the note produced by the ratio of 1:2; the second note is produced from the note derived from the first power of 3, namely E15; and the third is produced from the note derived from the second power of 3, namely B45. The notes thus produced by the prime 5 are the middles, that is, the thirds of the chords. As it is the second and third powers of 3 which possess great centrifugal force, and not the first power of that number; and as it is only the first power of the number 5 which Nature employs in this business, so this makes the character of the notes produced by the prime 5 to depend on the character of the notes from which they are derived. One of the 3 notes produced by the prime 5 is derived from unity, that is the note produced by the ratio of 1:2, and like that note it is strongly acted on by the force of gravity.1 A second note produced by the prime 5 is derived from the note produced by the second power of 3, and like that note it possesses increased" [Scientific Basis and Build of Music, page 27]

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]

Why do we compound? Because it produces variety, and variety is one of the aspects of the beautiful; Nature loves and abounds in variety, without violation of her unity. And further, all creation throbs with sympathy, one thing feeling and tending toward another, nothing content in isolation; and compound chords are chords reaching out after assimilation to an affiliation with other adjacent chords, that they may be able, through something in [Scientific Basis and Build of Music, page 70]

the excess of the vibrations of the one note over the other makes one or more sounds which are called "grave harmonics;" e.g., in the interval of the fifth, in the ratio of 2:3, the excess of 3 over 2 is 1, so the grave harmonic is an octave below the lowest of the two notes, that is, the ratio of 1:2. This reinforces the lowest note, 2, and gives it a solid effect. In this way the octave is incorporated into the fifth, and unity with variety is combined with the law of continuity at the very threshold of harmony. In 32 of the 42 intervals the grave harmonics are notes which belong to the natural scale. In the 10 remaining intervals which have not the exact number of vibrations found anywhere in the natural scale, 6 of them are from the number 7, thus - 7, 7, 7, 21, 21, 35; the remaining 4 are from 11, 13, 13, and 19. [Scientific Basis and Build of Music, page 77]

The sympathy of one thing with another, and of one part of a thing with another part of it, arises from the principle of unity. For example, a string requires to be uniform and homogenous to have harmonics producing a fine quality of tone by the sweet blendings of sympathy; if it be not so, the tone may be miserable ... You say you wish I were in touch with Mr. Keely; so do I myself ... I look upon numbers very much as being the language which tells out the doings of Nature. Mr. Keely begins with sounds, whose vibrations can be known and registered. I presume that the laws of ratio, position, duality, and continuity, all the laws which go to mould the plastic air by elastic bodies into the sweetness of music, as we find them operative in the low silence of oscillating pendulums, will also be found ruling and determining all in the high silence of interior vibrations which hold together or shake asunder the combinations which we call atoms and ultimate elements, but which may really be buildings of wondrous complexity occupying different ranges of place and purpose between the visible cosmos and Him who built and evermore buildeth all things. The same laws, though operating in different spheres, make the likenesses of things in motion greater than the differences. [Scientific Basis and Build of Music, page 87]

"The notes as they naturally arise from unity have different degrees of development, and according to the degree of development of each note is its specific levity or gravity. The three notes which form the subdominant chord have different degrees of gravity; the three which form the dominant chord have different degrees of levity. The remaining note is the center of the tonic chord -

Subdominant - F, A, C E G, B, D - dominant

[Scientific Basis and Build of Music, page 95]

The ratio of 1:2 belongs to neither proximate nor differential periods. It corresponds to unity; and, like the square and the circle, it admits of no varieties. [Scientific Basis and Build of Music,page 106]

THE GROWTH-LIKE CONTINUITY OF CHORDS AND KEYS.


Under the symbol of a music plant this plate gives us to realize the growth-like continuity of chords and scales. The roots of the three chords of a key are represented in F, C, and G of the key of C. The plant might be represented as a creeping stem, like the creepers of the strawberry, with its progressive roots struck into the earth; but it is better to show an upward stem with aerial roots, for such are the roots of the musical plant. The main stem of the plant has the three chords, F a C e G b D; that is, F a c, C e g, G b d, the subdominant, tonic, and dominant. The terminal chord, D f# a, is to show that the keys as well as the chords GROW out of each other. Include the side branches which terminate with the octave notes of the chords, read thus - F a c f, G e g e, G b d g, because a chord is felt to be most complete in its unity when thus shut in by the octave note of its root. This is the reason why the great three-times-three chord does not stop at D, the top of the dominant chord, but goes on to the sixth octave of the fundamental root, shutting all in by the great peacemaker, F, in order to preserve the unity of the effect which this chord of chords produces. Before D. C. Ramsay showed that the scale of Harmonics extended to six octaves, it was by teachers of the science of music only extended to four. [Scientific Basis and Build of Music, page 110]

When Ramsay gave a course of lectures in Glasgow, setting forth "What constitutes the Science of Music," his lecture-room was hung round with great diagrams illustrating in various ways his findings; an ocular demonstration was also given of the system of musical vibrations by his favorite illustration, the oscillations of the Silent Harp of Pendulums. A celebrated teacher of music in the city came to Mr. Ramsay's opening lecture, and at the close remained to examine the diagrams, and question the lecturer, especially on his extension of the harmonics to six octaves. Having seen and heard, this teacher went and shortly after published it without any acknowledgment of the true authorship; and it was afterwards republished in some of the Sol-Fa publications, the true source unconfessed; but our plagarist stopped short at C, the top of the tonic, instead of going on to F, the sixth octave of the root of all; the effect of this was to destroy the unity of the great chord. The 22 notes instead of 25, at which this teacher stopped, allowed him, indeed, to show the natural birthplace of B, which Ramsay had pointed, but it beheaded the great complex chord and destroyed its unity. If C, the root of the tonic, be made the highest note, having quite a different character from F, it pronounces its character, and mars the unity of the great chord. Similar diversity of effect is produced by cutting off only two notes of the 25 and stopping short at D, the top of the dominant; and also, though in a weaker degree, by cutting off only one note of the 25 and stopping at E, the middle of the tonic; this, too, disturbs the unity of the fundamental sound. [Scientific Basis and Build of Music, page 111]


Hughes
Helmholtz's experiments on developing colours shown to agree with the scheme
—The sounds of the Falls of Niagara are in triplets or trinities
—The Arabian system divides tones into thirds
—Two trinities springing from unity apparently the germ of never-ending developments in tones and colours
—Inequality of the equinoctial points; is the want of equilibrium the motive power of the entire universe?
—The double tones of keyed instruments, the meetings by fifths, the major and minor keys, so agree with the development of colours, that a correct eye would detect errors in a piece of coloured music
Numbers not entered upon, but develope by the same laws
Bass notes omitted in order to simplify the scheme, 18 [Harmonies of Tones and Colours, Table of Contents2 - Harmonies]

Reflections on the scheme
—Our present powers are as darkness groping after light
—A quotation from Milton compared with the scheme
Major and minor chords respond to our feeling
Milton had a glimpse of the laws of Evolution
—Evade the belief of the development of trinities from unity and the scheme falls into ruin, . . . . . . 43 [Harmonies of Tones and Colours, Table of Contents4 - Harmonies]

The inequality of the equinoctial points is a well-known fact. It will be seen how apparent this is in the developments of harmonies. From the moment that trinities depart from unity, the balance is unequal, and the repeated endeavours after closer union cause a perpetual restlessness. May not this want of equilibrium be the life or motive power of the entire universe, with its continuous struggle after concord, even to oneness? "Closer and closer union is the soul of perfect harmony." In tracing harmonies of tones and colours, the double tones of keyed instruments will be seen to correspond with the intermediate tints and shades of colours. The twelve notes, scales, and chords in the major and minor series, the meetings by fifths, &c., all agree so exactly in their mode of development, that if a piece of music is written correctly in colours with the intermediate tints and shades, the experienced musician can, as a rule, detect errors more quickly and surely with the eye than the ear, and the correct eye, even of a non-musical person, may detect technical errors. Although the arithmetical relation has been most useful in gaining the laws, it is not here entered upon; but numbers equally meet all the intricacies both of tones and colours. The bass notes have been omitted, in order to simplify the scheme. [Harmonies of Tones and Colours, The Arabian System of Music, page 21]

THE above quotation from that beautiful work, The Pendulograph, shows how firmly its author believes that the Almighty Himself will be proved to be the key to His works; a belief frequently expressed also in a striking work, Nature and the Supernatural, by the Rev. J. W. Reynolds, M.A. For many years I have been endeavouring to resolve some of the intricacies of natural harmony with the same views. In the pursuit of knowledge it is eminently important to "avoid profane and vain babblings, and oppositions of science falsely so called" (I Tim. vi. 20), and to remember that facts gained from the study of God's marvellous works, that "ought to be had in remembrance" (Psa. cxi. 4, Prayer Book Version), and the truths of Holy Scripture, can never really oppose each other. Research shows us countless varieties developed by trinities springing from unities, and we find true scientific depth in the Scriptural phrases, where the whole earth is continually mentioned as worshipping the Almighty. This truth is beautifully expressed in the Te Deum Laudamus—"Holy, holy, holy, Lord God Almighty; heaven and earth are full of Thy glory." [Harmonies of Tones and Colours, Reflections on the Scheme1, page 43]

the present, and the future, developing in geometric progression; as the past retires, the future advances. The rests in harmony correspond with silence in the Scriptures, both limiting and illimitable. But there is this essential difference: musical instruments can only be tuned to a certain pitch, whereas the Bible will never need fresh editions or corrections, but as it always has unfolded, it always will unfold, as it is necessary to meet our higher mental powers. I believe that, eventually, scientific minds will arrive at the conclusion that all the energies around us arise from the laws which regulate the life of matter, and cause the continual development of trinities from unities. Continuity everywhere adapts simple laws to wondrous workings. If we evade the belief in the development of trinities, this scheme falls to the ground. We can conceive no grander idea of the power, wisdom, and love of the Parent of the universe than that of His following out His own characteristics, knowing that at any moment, if His life-giving power were withdrawn, all would crumble into dust. Let us link with this thought these glorious promises— [Harmonies of Tones and Colours, Scripture Compared with Scripture, page 47]


Christ Returns - Speaks His Truth
"The DIVINE INTENTION of UNIVERSAL CONSCIOUSNESS was to express ITs own wholeness through creation by individualising, in physical form, each of the two equally balanced aspects of ITSELF and then bringing them together again in physical form, to experience the unity and wholeness of DIVINE CONSCIOUSNESS from which they originally took their individuality.

As they come together in love and unity of spirit and body, they discover the joy and ecstasy of UNIVERSAL CONSCIOUSNESS in equilibrium.
(This entire process is clearly set out in Letters 5 and 7.) Therefore, the combination of the masculinity of the man and the femininity of the woman is essential to make a 'whole' drawn from the SOURCE of BEING. Out of this combination is formed a whole child." [Christ Returns - Speaks His Truth, Letter 4, page 17]

See Also


Equilibrium
Figure 7B.05 - Triplet Forming a Unity
One
Oneness
Overunity
Scalar
Unison
7B.04 - Triplets Form Larger Units of Unity

Created by Dale Pond. Last Modification: Sunday April 4, 2021 03:40:16 MDT by Dale Pond.