11.15 - Indig Numbers - Inert Gases and Octave Position

Indig points represent the degree of duality of mated polar forces. 1-1+ combine in least polarity while 4+4+ where polarity or duality is at its maximum tension in opposition. Combined with Russell's Indig notation we see he marks the Infinite Ninths (octave) position as having zero polarization where reside the Inert Gases. Thus supporting his contention the inert gases are not matter as considered within this system.

"The master tones which represent a state of motion-in-inertia and are the inert gases, bear the same relationship to the elements that white bears to the colors. They are a registration of them all. White is not included in the spectrum, it has no place there. The inert gases should not be included in the elements. They have no place there. Of this more shall be written later in its proper place." Russell, The Universal One, Book 1, Chapter 2, The Life Principle

This means the Indig points are derived from a Higher Power of Two multiplied times a small more harmonic multiplicand, ala Pythagoras (small number ratios are more harmonious than large numbers). In other words the Power of Two from a lower octave source is being increased (raised up) by virtue of the harmonic or higher powers of the multiplicand which is 2, 3, 4 or 5. This coincides with Russell's statements that elements are octave derivatives of lower octaves. The inter-indig numbers are all Prime Numbers of a higher value thus contributing to dispersion of harmonics (more superharmonic discord). They do not possess the harmonic assimilative force as much as the Indig number values and positions. Each polarity must possess some of the opposite polarity in its combinations.

The working value in this scale is not the whole number frequency. These frequency numbers are effects of the equations in the respective activities of the numbers and their operations of the equations whether powers, addition or multiplication. The equations, as shown in column F, are for increasing rates. When decreasing rates the operations are square root, subtraction and division. Energy is increased in the former operations. Energy is decreased in the latter operations - always reciprocal and proportional.

This table is of the 9th octave (256 - 512 cps) which scale series begins with 1 on the 1st octave, 2 on the 2nd, etc.

2^* x
Compound InterEtheric 16 Octave C##/Dbb 512 16 2^9 0
15 Minor Ninth C# 496 16 2^4 x 31
14 Major Eighth C 480 16 2^5 x 3*5 1-
13 Minor Eighth B#/Cb 464 16 2^4 x 29
Enharmonic 12 Major Seventh B 448 16 2^6 x 7 2-
11 Minor Seventh A#/Bb 432 16 2^4 x 3^3
10 Major Sixth A 416 16 2^5 x 13 3-
09 Minor Sixth G#/Ab 400 16 2^4 x 5^5
Harmonic 08 Major Fifth G 384 16 2^7 x 3 4++
07 Minor Fifth F#/Gb 368 16 2^4 x 23
06 Major Fourth F 352 16 2^5 x 11 3+
05 Minor Fourth E#/Fb 336 16 2^4 x 3*7
Enharmonic 04 Major Third E 320 16 2^6 x 5 2+
03 Minor Third D#/Eb 304 16 2^4 x 19
02 Major Second D 288 16 2^5 x 3^2 1+
01 Minor Second Db 272 16 2^4 x 17
Compound InterEtheric 00 Tonic C##/Dbb 256 16 2^8 0

11.11 - Explanations of the Scale of Infinite Ninths - The columns above in Table 11.01 are explained thusly:

A - Classification - This is the breakdown as per Keely into three distinct types and ranges of energy.

B - Interval - The scale divided into 16 Steps associated with standard music nomenclature. In this scale each note/interval has and is composed of two equal steps.

C - Note - Musical note designation for each step as per standard music methods but with the addition of C##/Dbb as the octave.

D - cps - Cycles per Second of each Step, Note or Interval.

E - Size - The 'size' (in cps) of the interval between notes. This quantity, of course, doubles (power of 2) every octave when going up and halves when going down. Demonstrating that as octaves increase so too does the Rate of Delta increase, encompassing or harnessing higher and higher Energy Densities when going up. This illustrates Russell's "winding speed into power" principle as also energy increase in vibratory rate parallels decrease in oscillatory rate (tightening of the spring).

F - 2^n X y - This column shows the number base of each note/interval. For instance, a Major Third, regardless of octave, is always expressed as "2^n X 5" where n equals the Root Octave of interest. These note equations are the same for all notes in all octaves and reflect the aliquot parts or component frequencies making up that note/interval. This demonstrates the SVP principle that each and every note/interval has its own unique character (when considered within its associated octave) and MUST NOT be considered as a simple frequency or number "just like any other frequency rate" or number. In other words note equations determine degree of harmonicity: relative proportions of harmonic (creating concordant overtones and consequently forming harmonies) and enharmonic (creating discordant overtones and consequently forming discords). Naturally, reducing ratios and proportions to a decimal approximation is (almost) never encouraged.

G - Indig - This column lists the appropriate Locked Potential number designation developed by Russell. (See Part 12.) We call this numbering system after Buckminster Fuller's use of that term because he explained the origin of these numbers which shows their origin and quantitative relationships. They are not just a convenient numbering system.

See Also

Ponds Original Notes on the Scale of Infinite Ninths

See Also

11.12 - Hidden Powers of Numbers
11.14 - Indig Numbers
11.15 - Indig Numbers - Inert Gases and Octave Position
11.16 - Indig Numbers and the Power of the Powers of Two
Atomic Clusters
Etheric Elements
gas-filled tube
Indig Numbers
Inert Gas
Master Tones
Neutral Center
Noble Gas
Part 11 - SVP Music Model
Table 11.01 - Scale of Infinite Ninths its Structure and Base
Table 11.03 - Roots Powers of Two and Indig Numbers

Created by Dale Pond. Last Modification: Friday June 1, 2018 02:45:42 MDT by Dale Pond.