The three spinning etheric envelopes will centralize and enclose one another. Each will possess a different velocity of rotation, direction of rotation and syntropic power of compression (sympathetic affinity) towards center. This results in six primary types of primal matter. See Part 14 - Keelys Mysterious Thirds Sixths and Ninths.
"The swinging of the pendulum is three, as the spectrum and the fulcrum and lever, also, are three.
The cathode is on – but its extended pairs of anodes in the electric current of man, and of space, adds up to three.
Silence is one – but sound springs from silence when its divided moving pair collide – so sound is three, and its vibrations in sequences of rest and action, are also three.
God is ONE in all CAUSE – but in all EFFECT He is three. And all that are three are nine – for all that are three are multiplied by three in this visible cube dominated universe of three dimensions." Atomic Suicide, Chapter 5, Prelude, The Transformation of Man, part 1 of 2
See Also
According to Russell's interpretation the aspects of each of these types of ray frequencies are accummulated to a maximum at the Center or 4++ of his octave wave. This is not entirely born out in others' works wherein these types of ray frequencies are maximized (respectively) at the beginning, center and end of the octave as per harmonic and overtone construction; i.e., as C, G and C', arithmetically speaking. There is an inherent sympathy between the notes of a scale else they would not work together forming harmonies. Degree of harmony (or sympathy) potential are taken to be 2 and powers of 2 of the scale's arithmetical structure. As overtones are formed other rate numbers not powers of 2 begin to appear and have influence. There are the secondary and tertiary harmonics. These would be 3, 5, 7, etc. being all discordant in varying degrees. See Part 11 - SVP Music Model. Hence within the harmonic and discordant qualities of number we can see the working and differentiating actions of Keely's Law of Cycles.
On harmonical parallel between tone and colour
—On the term of "rest," fifths, and the sympathy of music with life
—Relativities of sounds and vibrations of strings
—The doctrines of three pairs, six tones, and the law of "two and fro"
—The germ of the system probably to be found in the adaptability of numbers
—Sudden death of Dr. Gauntlett, . . . . . 48 [Harmonies of Tones and Colours, Table of Contents4 - Harmonies]
If the laws which I shall endeavour to explain develope the twelve major harmonies, with each note in succession expanding its six tones from within itself; and if each of these is found to be a lower development, which leads the ear to a corresponding higher expansion of the twelve major key-notes, and the six tones of each ascending and descending in an unbroken sequence from any twelve consecutively, the thirteenth being the octave of the first, which commences a higher or a lower series; and if the twelve minor harmonies are also gained by the same laws from their twelve relative key-notes (the thirteenth again being octave): if, again, all other notes are shown to be but higher or lower repetitions of these twenty-four harmonies—may we not consider the problem as in some measure solved? especially as the harmonies proceed in geometric as well as harmonical ratio, and an accurate parallel can be traced between the development of notes and colours, which latter correspond with all the intricacies of harmonic sounds. [Harmonies of Tones and Colours, The Method of Development or Creation of Harmonies3, page 17]
The fountain or life of musical harmonies and colours is E, or yellow; the root B, or ultra-violet: these being, in fact, tints and shades of white and black. Ascending, they partake more of white; descending, of black: the former drawing tones and colours higher, the latter lower. [Harmonies of Tones and Colours, On Colours as Developed by the same Laws as Musical Harmonies2, page 19]
Throughout the scheme seven tones and seven colours develope in every harmony. In the relationship between tones and colours the seven may be con- [Harmonies of Tones and Colours, On Colours as Developed by the same Laws as Musical Harmonies2, page 19]
"I esteem myself fortunate in being introduced to you, and becoming acquainted with your beautiful work on 'Tones and Colours.' I have, to the best of my ability, worked out your idea, by writing down in music the various discords in use amongst musicians, and resolving them according to the laws of Harmony, and I find in all cases the perfect triad agrees with what you term the trinities in colours. The way in which you find the whole circle of Major and Minor keys by pairs in colours is deeply interesting, and must be true. The only point of divergence between your system and that recognised by all musicians is the ascending Minor Scale. No musically trained ear can tolerate the seventh note being a whole tone from the eighth. The Minor second in the lower octave descending is very beautiful, and it is strange how all composers feel a desire to use it. To mention one case out of hundreds, I may cite Rossini's well-known air, 'La Danza.'
"Yours faithfully,
"W. CHALMERS MASTERS." [Harmonies of Tones and Colours, Supplementary Remarks and Diagrams, page 53]
I had also hoped to write a very brief outline of a few of the innumerable Scriptural types which have guided me in the development of Tones and Colours; but my sight suddenly failed for reading and writing; and I only allude to the seven spirits of God (Rev. iii. I) as regards tones and colours, and to the twelve fruits of the Tree of Life (Rev. xxii. 2) as regards the twelve notes of keyed instruments. [Harmonies of Tones and Colours, Supplementary Remarks and Diagrams, page 53]
See Also
12.40 - Color
Color
Figure 12.03 - Scale Showing Relations of Light Color and Tones
Figure 4.16 - Break-out of Colors Tones and Attributes
Figure 4.17 - Musical Relationships of Colors Tones and Attributes
Figure 7B.01 - Colors Represent Relative Frequencies
Figure 7B.02 - Colors and Tones
Music
music note or sound colors
Tone