In Keely's SVP and music: more than one frequency sounded simultaneously. Modern terminology is vibration signature which is a graphical representation of more than one frequency sounded simultaneously or complex waveform.
The combination of three or more tones played at once. Diatonic c. uses only notes proper to the key. A triad is a chord of three notes in which the lowest is combined with the third and fifth above it. Common c. is a triad in root position. Dominant c. is founded on the dominant of the key. An inverted c. uses a tone other than the root as its lowest tone. Harmony is the study of chords and their relations.
"And as the notes of this family are born of one fundamental note, so the chords into which they are grouped are like so many younger families. The fundamental note is the common root of three chords, each of which is a little family of notes having its own generating root; although the top of the first is the root of the second, and the top of the second, the root of the third. This also is illustrated in the Genesis of the Scale. [Scientific Basis and Build of Music, page 20]
"Of these three chords, which constitute a scale or key, Nature next proceeds to generate, in a similar way, a family of scales or keys, and these in two lines, the Major and the Minor. The twice twelve-fold family of keys is brought forth in much the same way as were the chords which constitute them, and as were the notes which constitute the chords. There is a beautiful growth-like continuity in the production of all." [Scientific Basis and Build of Music, page 20]
"The system of musical sounds is derived from the laws of motion and a particular election of numbers which give the greatest variety of simple ratios.
There are three primary and pregnant ratios which produce the chords and scales. The first is the ratio of 1:2, producing Octaves, and nothing else; the second is the ratio of 2:3, producing Fifths; the third is the ratio of 4:5, producing Thirds." [Scientific Basis and Build of Music, page 26]
this is the middle of our chord, E, G, B; and remember that this also is G as we found it coming upward, C3 multiplied by 3 being G9. This is another note of the minor, the same in its quantity as that of the major. Now for another chord downward we must divide the root of the one we have found, namely E15, by 3, which will give us A5, the root of a center chord for the minor, and the very key-note of the relative minor to C. And remember that this A5 is just as we found it in coming upward, for F multiplied by 5 gave us A5. Now divide E15 by 5 and we have C3, the middle to our minor chord, A, C, E. Still we must remember that this C3 is just as we found it coming upward, for F multiplied by 3 is C3. Behold how thus far major and minor, though inversely developed, are identically the same in their notes, though not in the order in which they stand in the fifths thus generated. [Scientific Basis and Build of Music, page 32]
The life-force of the notes from the law of position gives them a versatility which they could never have had from fixed ratios, however numerous. If the interval of the octave be excepted, there are no two notes together in a chord, nor succeeding each other in the octave scale, having the same amount of specific levity or gravity; consequently each note has an expression and [Scientific Basis and Build of Music, page 35]
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]
If the effects of notes and chords had depended entirely on their mathematical ratios, then the effect of the subdominant, tonic, and dominant would have been alike; for these three chords have exactly the same ratios. It is the law of position which gives the tonic chord its importance, and not any special ratios embodied in its structure. The ratio of 2 to 1 has a pure, unmixed, invariable character, always realized in the interval of the octave. The notes produced from 1 by the first, second, and third powers of 3 have different degrees of centrifugal force. The character of the notes produced by the first power of 5 depends on the character of the notes from which they are derived, namely, 1, 3, and 9. The final character of the notes and chords derived by the same ratios is determined by the amount of force which they have acquired from the way in which they have been derived, and from their position in the system; and no matter where these notes may afterwards be [Scientific Basis and Build of Music, page 37]
It is in their inverse relations that the major and the minor are equal. Every note, chord, and progression in the one has its reciprocal or corresponding note, chord, and progression in the other. This is the Law of Duality. And this general law of Nature is so deeply rooted in music, that is the numbers which represent the vibrations in the major system be made to represent quantities of string, these quantities will produce the minor system (beginning, of course, with the proper notes and numbers); so that when the quantities are minor the tones are major, and when the quantities are major the tones are minor.1[Scientific Basis and Build of Music, page 44]
in their birthplace - F A C, C E G, G B D. Indeed in their birth not only is it so, but still further, the top note of the first chord is the root and generator of the third. They are linked in generative continuity. [Scientific Basis and Build of Music, page 49]
In the progression - that is, the going on from one to another - of these triplets in harmonizing the octave scale ascending, Nature goes on normally till we come to the passage from the sixth to the seventh note of the scale, whose two chords have no note in common, and a new step has to be taken to link them together. And here the true way is to follow the method of Nature in the birthplace of chords.1 The root of the subdominant chord, to which the sixth of the octave scale belongs, which then becomes a 4-note chord, and is called the dominant seventh; F, the root of the subdominant F, A, C, is added to G, B, D, the notes of the dominant, which then becomes G, B, D, F; the two chords have now a note in common, and can pass on to the end of the octave scale normally. In going down the octave scale with harmony, the passage from the seventh to the sixth, where this break exists, meets us at the very second step; but following Nature's method again, the top of the dominant goes over to the root of the subdominant, and F, A, C, which has no note in common with G, B, D, becomes D, F, A, C, and is called the subdominant sixth; and continuity being thus established, the harmony then passes on normally to the bottom of the scale, every successive chord being linked to the preceding note by a note in common. [Scientific Basis and Build of Music, page 49]
"The difference in the condition of the sympathetic nerve centers, and the variations in the chord aggregation of the masses, as established in the man or woman at birth, constitutes the molecular condition of the individual. The molecular state of animals, vegetables, and minerals depends upon the aggregation of their chord centers." [Keely and His Discoveries, page 222]
Chord of Harmony
"The molecular state of animal, vegetable and mineral matter depends upon the aggregation of their respective chord centers. It is impossible to make two coins from the same die the same in their molecular aggregation. To produce vibratory devices will require instruments more perfect than any now in existence. One of my perfected instruments shows to the eye the 'molecular effects' produced by the chord of harmony between two neutral centers. (Lissajous figures?) Another, connected with the 'sympathizer' denotes accurately by the color of the sound (or sound combination) the number of vibrations necessary to induce `certain mechanical combination effects'." The Snell Manuscript
Chord of Life
"These as they make for the raising of that from within of the Creative Forces, as it arises along that which is set within the inner man as that cord (chord) of life that once severed may separate, does separate, that balance between the mind, the body, the soul; these three, as accorded within the human forces, are the activities that were carried on by thy self in movement of body in its every motion that made for the uplifting up, the intoning in of self within; that there might come, as it were, the sound as of many waters; or as the morning stars in their circuit about the earth may sing with the glorious coming of the light into the experience of man to raise same to his at-oneness and his attunement with those beauties of the coming of the sons of men into the earth that God in His Oneness of Purpose may bring those activities with the sons of God as an at-onement in their purposes in the earth. The glorifying of Him in the dealings and associations with the fellow man, and these find their attunement in each chord as it rings one with another in all the music that may be heard from every sound that follows in eeiu-u-u-ummmm in its forms, through that attunement along the pineal to the source of light within the self to make for the emotions of glorifying alone." Cayce (275-43)
Chord of Mass Sympathy
"To illustrate "chord of mass sympathy" Keely filled a glass chamber 40 inches high with water and placed in it three metal spheres each weighing about six ounces, and having the respective mass chords of B flat, first octave E flat, second octave and B flat, third octave, which all rested on the floor of the container.
When B flat, first octave was sounded through the transmitter the positive end of which was attached to the cover, the sphere with the corresponding mass chord rose slowly to the top. Upon changing to the negative it descended as gently as it rose. The other spheres moved likewise on sounding their respective mass chords.
This indicates that the conclusion reached by the Scholastic school is correct, in that: "WHEN ONE BODY ATTRACTS ANOTHER BODY, THE EFFECT IS AGGREGATE, THE RESULT OF ONE WHOLE OPERATING ON ANOTHER WHOLE, AND NOT THE SUM OF THE EFFECTS OF THE PARTS OF ONE ON THE PARTS OF THE OTHER." The Snell Manuscript
common root of three chords
Degree of Harmonicity
Figure 1.1 - Chord Signatures of Brain Convolutions
Lost Chord a poem
8.21 - Signature same as Chord