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Affinity

Affinity noun. a close similarity (between two things), or an attraction or sympathy (for someone or something), esp. because of shared characteristics. Cambridge International Dictionary of English.

Mutual attraction. Also chemical affinity, electrical affinity, molecular affinity, atomic affinity, affinity between persons and affinity to Neutral Center.

  1. noun: a natural attraction or feeling of kinship (Example: "An affinity for politics")
  2. noun: inherent resemblance between persons or things
  3. noun: the force attracting atoms to each other and binding them together in a molecule (Example: "Basic dyes have an affinity for wool and silk")
  4. noun: (immunology) the attraction between an antigen and an antibody
  5. noun: a close connection marked by community of interests or similarity in nature or character (Example: "Found a natural affinity with the immigrants")
  6. noun: (biology) state of relationship between organisms or groups of organisms resulting in resemblance in structure or structural parts (Example: "In anatomical structure prehistoric man shows close affinity with modern humans")
  7. noun: kinship by marriage or adoption; not a blood relationship


Affinity - The genetic relation of notes. [Scientific Basis and Build of Music, page 63]

Keely
"Keely has discovered and was the first to demonstrate that electricity has never been handled; that it is not merely a force or a form of energy, - that it is matter; and that what we call electricity, and have diverted for commercial use in electric lighting, is but one of the triune currents, harmonic, enharmonic, and diatonic, which are united in pure electricity; that the enharmonic current seems to be sympathetically and mysteriously associated with the dominant current; and that the dominant current can no more be brought under control than can the lightning itself. The diversion of the dominant current would mean destruction to any mechanical medium used for that purpose, and death to the operator. The intense heat evolved by the electric stream Keely attributes to the velocity of the triple subdivision at the point of dispersion, as each triple seeks its medium of affinity. Sudden unition induces the same effect; but demonstration shows that the concentration of this triple force is as free of percussion as is the breath of an infant against the atmosphere; for the three currents flow together as in one stream, in the mildest sympathetic way, while their discharge after concentration is, in comparison to their accumulation, as the tornado's force to the waft of the butterfly's wing. The enharmonic current of this triple stream, Keely thinks, carries with it the power of propulsion that induces disturbance of negative equilibrium; which disturbance is essential to the co-ordination of its flow, in completing the triune stream of electricity. When this fluid is discharged from the clouds, each triplet or third seeks its terrestrial concordant, there to remain until that supreme law which governs disturbance of equilibrium again induces sympathetic concordant concentration, continuing to pass through its evolutions, positively and negatively, until the solar forces are expended." [Keelys Contributions to Science]

"In analyzing this triple union in its vibratory philosophy, I find the highest order of perfection in this assimilative action of Nature. The whole condition is atomic, and is the introductory one which has an affinity for terrestrial centres, uniting magnetically with the Polar stream, in other words, uniting with the Polar stream by neutral affinity. The magnetic or electric forces of the earth are thus kept in stable equilibrium by this triune force, and the chords of this force may be expressed as 1st, the dominant, 2nd, the harmonic, and 3rd, the enharmonic. The value of each is, one to the other, in the rates of figures, true thirds. Eb, - transmissive chord or dominant; Ab - harmonic; Abb - enharmonic. The unition of the two prime thirds is so rapid, when the negative and the positive conditions reach a certain range of vibratory motion, as to be compared to an explosion. During this action the positive electric stream is liberated, and immediately seeks its neutral terrestrial centre, or centre of highest attraction." [True Science]


Ramsay
The common chord is a group of notes which come together by generic affinity, much like the chemical combinations of our system of atoms. The common chord is a triplet, and in the progression from one chord to another these triplets have always something in common; by the law of continuity one of the notes of the chord first is also found in chord second; and chord second also finds one of its notes in chord third. This is the way Nature gives them to us [Scientific Basis and Build of Music, page 48]

Affinity - The genetic relation of notes. [Scientific Basis and Build of Music, page 63]

By affinity the notes group in chords. The tonic is the center chord, the key of the harmony; the dominant is the fifth above it and the subdominant the fifth below it, and these two are balanced on the center chord as the scales on a balance beam. The dominant chord is vigorous and active, tending to soar; the subdominant is solemn, soft, and grave, tending to sink; the tonic is melodious and restful, and in it the harmony finds equilibrium. This far AFFINITY. [Scientific Basis and Build of Music, page 91]

THE OPENING FOR MODULATIONS.

In passing from one key to another in the fellowship of keys in a composition, the new key grows out of the top of the dominant and converts the old dominant into a tonic. The dominant and subdominant being at the opposite extremes of the key, with the tonic between them, are not related by affinity. This want of affinity makes an opening in the system for the new chord to come in by, and it, being related by affinity to the chord of the old dominant, which is now the new Tonic, comes in and establishes itself and the new key for the time. It is this gap between subdominant and dominant, along with the affinity existing between the new key and the old dominant, which makes this musical event to be so gracefully accomplished. This is what is called natural modulation, the passing for a time into another key in the course of a composition; and its abundant and habitual use in music, even in the simplest chorales, shows how natural and acceptable it is. The young student will find illustrations in the second lines of the Psalm tunes - Watchman, Sicily, Tranquility, Eaton, Birmingham, Jackson, Bethel, Bedford, and Sheffield. Take Watchman, for example, and let the young student follow carefully, noting each chord of the little passage, which we shall analyse for his help. It is by such practice that he will become by-and-by familiar with the kinship of keys and the legitimate resources of harmony. [Scientific Basis and Build of Music, page 93]

"There are two distinct laws which rule in astronomy - viz., masses and distances; and there are two distinct laws which rule in music - affinities and proximities. The notes produced by simple ratios as 1:2, 2:3, 3:4, etc., are attracted to each other by the law of affinity; notes which are beside each other in the octave scale and have moderately complex ratios as 9:10 and 15:16, are attracted to each other by their proximities. F and C, and C and G, and G and D are related to each other by affinity. C is related to the fifth below and the fifth above; G is related to the fifth above and the fifth below. F and C, C and G, and G and D are never nearer to each other than a fifth or a fourth, and in either case they [Scientific Basis and Build of Music, page 95]

are attracted to each other by affinity. But the case is quite different with F and G and C and D. The second fifth above F is G (F a c, C e g), and G becomes the interval above F in the octave scale; and these two notes are neither attracted by affinity nor proximity nor gravitating tendency. F sinks away from G, being heavier, and under it; and G soars away from F, being above it, and lighter. In a similar way the second fifth above C is D (C e g, G b d), and D in the octave scale becomes the interval of the second above C, and C and D, like F and G, are not attracted by either affinity or proximity. C is heavier than D, and being under it would sink away from it; D is lighter, and being above it would soar away from it, and so neither are they attracted by gravitating tendency. [Scientific Basis and Build of Music, page 96]


Hughes
of action is the great law, and the same force that excites sensation with the auditory nerve lies at the bottom of sensation with organs of vision. When I say my plan, I talk in the old groove, and there are difficulties to be smoothed, but in a way that might be much grumbled over. One very curious thing is plain: your system meets many of the cases on which our present theorists stumble so awfully. I saw this from the first time I had the pleasure of considering it with you, and on this account never relished the idea of giving it up; and the more thought bestowed on it led to its applicability to the more ancient forms of melody—the little tunes of the old world in the East. These are said to be independent of harmony, but your system is perfect harmony. The latest theorists in Paris are all at war with the old theory, and there is now a petition lying before the governing powers of the Paris Academy of Music, praying for a total change in the teaching of harmony in that metropolis; and this memorial has been signed by all the rising celebrities in the musical world there. I really believe the best mode, after all, is the series of six tones—the two trinities; and the law of 'to and fro' is impregnable. That is all right. I should like that term to get into vogue, for it is much more plain and clear than what we call the inverse and reverse, or counterchange." "The grave, or rather extraordinary result of your system is, that so much, very much of it tallies with what may be termed the commonly unknown relatives of the tones. You offer affinities which are termed abstruse, and, although admitted, are accepted without demonstration. Why you should be able to explain the much-quarrelled-over connections is beyond my comprehension, and if I could discover the key, the result would be most important for the well-being of music. With this view your system always interests me. I suspect it lies in that wonderful adaptability of the order of numbers. With the artificial system, music is confined to a few single harmonical tones—none of which can ever be used without alteration—which we gently coax the ear into receiving." "Your system runs up the shortest way, and I find it of advantage in composing." [Harmonies of Tones and Colours, Extracts from Dr. Gauntlett's Letters2, page 49]

See Also


AFFINITY OF ETHERIC CAPSULES
Affinity to Neutral Center
Attraction
chemical affinity
electrical affinity
electronegativity
Figure 7B.12 - Sympathetic Affinity Attraction forming Vortex
Figure 7B.13 - Sympathetic Affinity increasing Energy
Harmony
Law of Affinity
Law of Affinities
Law of Assimilation
Law of Attraction
Law of Chemical Affinity
Law of Harmony
Love
negative affinity
Outreach
Quantum Entanglement
Sympathetic Affinity
Sympathetic Neutral Affinity
Sympathetic Oscillation
Sympathetic Vibration
Sympathy
Syntropy
Valence

Created by Dale Pond. Last Modification: Tuesday April 6, 2021 04:33:17 MDT by Dale Pond.