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Dominant

noun: more important, powerful, or successful than the other people or things of the same type
noun: a dominant person or animal is stronger than others in a group and wants to control them
noun: more noticeable than the other parts or aspects of something
noun: a dominant gene causes someone to be born with particular genetic features, even if it is only present in one parent
noun: (music) the fifth note of the diatonic scale
adjective: exercising influence or control ("Television plays a dominant role in molding public opinion")
adjective: of genes; producing the same phenotype whether its allele is identical or dissimilar

The term "dominant" is used throughout the Keely literature. It has several meanings or uses depending on the context. Also called celestial attractive, celestial current, "prime third of the triune electric flow".

MUSIC: The fifth tone of the major or minor scale. A D. chord or triad has the dominant as its root.

1) The fifth degree of the scale.
2) The reciting note of Gregorian chants.
3) The note next in importance to the tonic, having a dominating influence over the entire key. A fifth above the tonic.

MUSIC, RAMSAY
Dominant - The fifth above the tonic in a key. [Scientific Basis and Build of Music, page 63]


The subdominant, or lowest chord in the key - F, A, C, is the natural product of the first combination of the three primary ratios (2, 3, 5). Their second combination develops the tonic or middle chord C, E, G. The third combination develops the dominant or highest chord G, B, D.

keynote or root of F
F A C subdominant
C E G Tonic
G B D Dominant
The Scientific Basis and Build of Music, [Dougald Carmichael Ramsay]

Keely
"Electricity is the result of three differentiated sympathetic flows, combining the celestial and terrestrial flows by an order of assimilation negatively attractive in its character. It is one of Nature's efforts to restore attractive differentiation. 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 centers, 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. E flat- transmissive chord or dominant; A flat- harmonic; A double flat- 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 center, or center of highest attraction." [Vibratory Physics - The Connecting Link between Mind and Matter]

DOMINANT CONDITIONS or Modes
"All the dominant conditions of nature represent the focal centers towards which like surrounding ones become sympathetically subservient." [Keely and His Discoveries, page 179]

"The dominant is Electricity luminous or propulsive positive." The Snell Manuscript

"..LOVE, the dominant chord of the cycles." [Keely, Amplitude of Force]

"By use of the dominant mode, which is allied to the "order" of etheric vibrations, we can induct, "sympathetic negative attraction" or "sympathetic positive propulsion" in any mass, according to its mass chord." [SYMPATHETIC INDUCTION - Snell]

"All the forces of nature, writes Keely, proceed from the one governing force; the source of all life, of all energy. These sympathetic flows, or streams of force, each consists of three currents, harmonic, enharmonic, and dominant; this classification governing all orders of positive and negative radiation." [Vibratory Physics - The Connecting Link between Mind and Matter] [See Laws of Being]

DOMINANT ELECTRIC CURRENT
"Magnetism is of the atomic order? and not molecular? then it is not electrical in nature; so what then is the influence in an electromagnet? The Dominant current of the electrical stream." [Keely and His Discoveries]

"The Dominant (of the Electrical Stream) creates or governs Magnetism on the atomic Order of Vibration (High Vibratory)." [Keely and His Discoveries]

"The third point of the triangle or triple flow, establishes the polarity of the chord or flow; also called Diaphonic." [Dale Pond]

"Keely classes the cohesive force of molecular masses as the dominant order of the electric stream, the molecule owing its negative attractive quality to the magnetic element." [Keely and His Discoveries]

"The Dominant current of the electrical stream is the Electricity luminous." [Keely and His Discoveries]

"..the magnet is an indicator of the diversion of the attractive flow of the dominant current of the electrical stream.." [Keely]

"Disturbance of equilibrium and sympathetic equation constitute the dual power that governs all the varied forms of life and motion which exist terrestrially, of which the electric or magnetic is the prime mover and regulator. All electrical action, no matter of what character, has its sympathetic birth by the intervention of that current of the triune flow, which I call the dominant, with the Polar harmonic current; all sympathetic flows being composed of three currents. They become associative one with the other only near the junction of terrestrial interference. The great vacuous field which exists between the planetary ranges holds this portion of the etheric flow free of all antagonism, molecularly or otherwise, till the associative point is reached; so wonderfully planned by the Great Creator, for instant electric evolution and assimilation with terrestrial centers of attraction. I call this intervention, atomic intermolecular and molecular density. The combination of the action of the triune sympathetic celestial stream with the same intervening medium induces heat and light as the resultant of these corpuscular conflictions with sympathetic celestial and terrestrial focalized centers of neutral radiation. I do not recognize electricity, nor light, nor heat as coming from the sun. These conditions, according to my theories, emanate from atomic and interatomic interference on induced molecular vibration, by sympathetic etheric vibration, the celestial attractive being the prime mover." [Vibratory Physics - The Connecting Link between Mind and Matter]

"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]

DOMINANT, DIATONIC THIRDS
"The fundamental mode of vibration changes as we reach the fifth subdivision, to the dominant, the diatonic third of the mass chord, which controls the vibratory states of both etheron and interetheron." [Keely and His Discoveries]

"The sympathetic acoustic impulses are:
"the DOMINANT - a diatonic third -
"the HARMONIC - the connective "sixth" - and
"the ENHARMONIC - or diminished seventh - which Keely calls a ninth -
"inducing "infinite trajective velocity" or "neutral radiation" from neutral centers. [Snell Manuscript]

DOMINANT ETHERIC
"The magnetic cannot lead the electric, nor the electric the gravital, nor the gravital the magnetic. All are subservient to the dominant, as a train of cars is subservient to the locomotive which pulls it along; the only difference between the two is that one is sympathetic, the other mechanical. Though this is a crude illustration, it conveys a great truth in sympathetic philosophy. All sympathetic flows have this triune condition associated with them, the same as the molecular, atomic and Etheric aggregations of all forms of visible matter; the compound Etheric, or dominant, being the leader and yet one of the constituents of the molecule itself. The dominant we may call the Etheric portion of the molecule; the harmonic, the atomic; and the enharmonic, the molecule itself. The dominant parts of the triune combination of the sympathetic streams are the leaders, toward which all co-ordinate to make up the sympathetic terrestrial envelope of the earth; the cerebral being the high dominant, or compound Etheric, the luminiferous proper." [Keely and His Discoveries]

"the cerebellum being the dominant, and the triplets (gravital, electric, and magnetic) following in its train." [Newton of the Mind]

Dominant Polarity
"In this manner we have "sympathetic negative attraction", and "sympathetic positive propulsion", with reference to the "Outreach" of the third or dominant current of the stream, which is allied to the order of etheric vibrations." [Laws of Being, Laws of Being - Annotated, The Nature and Dynamics of Vibration and Toroids]

Dominant Etheric, Etheron
Harmonic atomic, Atom
Enharmonic Molecular, molecule

see Etheric Elements, Subdivision

"All sympathetic flows have this triune condition associated with them, the same as the molecular, atomic and etheric aggregations of all forms of visible matter; the compound etheric, or dominant, being the leader and yet one of the constituents of the molecule itself. The dominant we may call the etheric portion of the molecule; the harmonic, the atomic; and the enharmonic, the molecule itself. The dominant parts of the triune combination of the sympathetic streams are the leaders, toward which all co-ordinate to make up the sympathetic terrestrial envelope of the earth; the cerebral being the high dominant, or compound etheric, the luminiferous proper." [Newton of the Mind]

""All diversions from the polar terrestrial envelope are but nodal outreaches, induced by the proper order of sympathetic vibration; not dissociations and associations of sympathy ; but operating on the same principle as the outflow, or nodal outreach of the mental organism (brain) toward the physical, in its control over it. The latent conditions are in a state of neutrality, as regards action, until the exciter -mental outreach is brought into sympathetic play. If we dissociate the sympathetic mental from the latent physical, it would be equivalent to beheading it; consequently, the physical would cease to exist as a thing of life; but the dominant - the cerebral would remain in its unchanged form, viz., the high etheric." [Bloomfield-Moore, Newton of the Mind]

Ramsay
"lower effect than the fifth; the seventh, B, has a higher effect than the sixth; but the eighth, C, has a lower effect than the seventh. If the effects of notes or chords depended wholly on the mathematical primes by which they are measured and located, or the ratios inherent in them, then the effects of the tonic, subdominant, and dominant chords would have been alike, for these chords are measured by exactly the same primes, and have exactly the same ratios. It is the position of the tonic chord which gives it its importance and not any special primes by which it is produced, nor any special ratios inherent in it. Notes by the power of 2 have a pure unmixed and invariable character. Notes by the first, second, and third powers of 3 have different degrees of centrifugal force; and the character of the notes produced by the first power of 5 depends on the character of the notes from which they are derived. The final character of notes and chords 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 be afterwards placed, like chemical elements, they never lose their original forces and tendencies. What Tyndal says of the inorganic chemical elements of the brain is true of the inorganic notes of music, "They are all dead as grains of shot." It is the organic state which gives the notes and chords their gravities and (levity|levities, and these two tendencies, the one upward and the other downward, constitute the vital principle of music. It is true that the mathematical operation is required to give birth and life to music, and that the mathematical system gives the knowledge of causes down to the law of gravitation, yet the artistic effects are fully realised from the tempered system deriving its organic harmony from this vital principle of music. The centrifugal tendencies of the notes of the subdominant, are too strong to be at all disturbed by the system being tempered. The enormous power of these chords corrects the effect which might otherwise arise from tempering, as the enormous power of the sun corrects the perturbations of the planets." [Scientific Basis and Build of Music, page 29]

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]

The major scale is composed of three fifths with their middle notes, that is to say, their thirds. And as three such fifths are two octaves, less the small minor third D to F, taking the scale of C for example, so these three fifths are not joined in a circle, but the top of the dominant and the root of the subdominant are standing apart this much, that is, this minor third, D, e, F. Had they been joined, the key would have been a motionless system, with no compound chords, and no opening for modulation into other keys. [Scientific Basis and Build of Music, page 38]

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]

In just such a manner, only by more obvious leaps, the middle of the dominant in the advancing major scales is raised a sharp - i.e., four commas. When D27, the dominant top of the key of C, is multiplied by 5, it generates F#135; so, taking it one octave lower, F64 in C major is F#67 1/2 in the key of G. C96 in the key of G is C#101 1/4 in the key of D; G72 in the key of D is G#151 7/8 in the key of A. And this raising of the middle of the dominant goes on through all the twelve major keys.[Scientific Basis and Build of Music, page 62]

In the same way, but inversely, and still under the Law of Duality, the middle of the subdominant minor is lowered a flat. F#67 1/2 in the key of E minor is F64 in the key of A; B45 in the key of A is B♭42 2/3 in the key of D; E60 in the key of D is E♭56 8/9 in the key of G. This lowering by flats of the subdominant middle in the minors, responsive to the raising by sharps of the dominant middle in the majors, goes on through all the twelve minor keys.1 [Scientific Basis and Build of Music, page 62]

Dominant - The fifth above the tonic in a key. [Scientific Basis and Build of Music, page 63]

Now we come to a remarkable arrangement of Nature. The minor does not grow in the same way out of this third chord's top. Two features come before us: first the minor chord grows out of the major, but it is taken not from the top but from the middle, from a rib out of his side. B, the middle of the major dominant chord; B, the last-born of the major genesis; B is the point of departure in the outgrowth of the minor mode. The feminine is a lateral growth from the masculine. Another feature: it grows downward, like a drooping ash or willow. Its first generated chord is its dominant, and its last is its subdominant. Its middle chord, like the middle one of the major, is its tonic. Still further, it is generated by division, not multiplication; B45 is divided by 3 and by 5 for the root and middle of this highest chord, E and G. E15 is divided by 3 and 5 for the root and middle of the tonic chord, A and C. A5 is divided by 3 and 5 for the root and middle of the lowest chord, D and F. Thus we have the whole generation of the elements of music, six generations of harmony, like the six days of creation. Up to this point the whole process and aspect is inverse; growing from a middle; growing downward; growing by division;- while the major is growing from the top; growing upward; growing by multiplication. But here the inverse aspect ends. The generating primes of the major are 3 and 5; 3 and 5 are also the generating primes of the minor. In this essential phase of their creation their comparison is direct, not inverse. [Scientific Basis and Build of Music, page 67]

The number of Diatonic Chords. In the major there are three simple chords, two compound chords, and two double compound, seven in all - subdominant, tonic, dominant, subdominant sixth, subdominant fourth, dominant seventh, and dominant ninth. In the minor there are the same number and order, making fourteen. It is not normal to the tonic chord to compound, but it may, in exceptional instances; the major tonic may, in a certain cadence, assume the top of the minor subdominant; and the minor tonic may assume, in a cognate case, the root of the major dominant.1 [Scientific Basis and Build of Music, page 70]

common, to mingle with more chord-society. So those added thirds which constitute compound chords are like accomplishments acquired for this end, and they make such chords exceedingly interesting. The dominant assumes the root of the subdominant, and so becomes the dominant seventh that it may be affiliated with the subdominant chords. Inversely, the subdominant assumes the top of the dominant chord that it may be affiliated with the dominant. The major tonic may exceptionally be compounded with the top of the minor subdominant when it comes between that chord and its own dominant; and the minor tonic may in the same way assume the root of the major dominant when it comes between that chord and its subdominant. The minor subdominant D F A, and the major dominant G B D, are too great strangers to affiliate without some chord to introduce them; they seem to have one note in common, indeed, but we know that even these two D's are a comma apart, although one piano-key plays them both, and the F G and the A B are as foreign to each other as two seconds can be, each pair being 9 commas apart, and G A are 8 commas apart. In this case, as a matter of musical courtesy, the tonic chord comes in between; and when it is the minor subdominant that is to be introduced, the major tonic assumes the top of that chord, and then turns to its own major dominant and suavely gives the two to enter into fellowship; for the tonic received the minor subdominant through its semitonic E F, and carries it to the major dominant through its semitonic B C, along with C in common on the one side and G in common on the other. When it is the major dominant that is to be introduced to the minor subdominant the minor tonic fulfills the function, only the details are all reversed; it assumes the root of dominant, and by this note in common, and its A in common with its own subdominant, along with the semitonic second B C on the one hand and the semitonic E F on the other, all is made smooth and continuous. The whole of this mediatorial intervention on the part of the tonic is under the wondrous law of assimilation, which is the law of laws all through creation; but when the tonic chord has fulfilled this graceful action, it immediately drops the assumed note, and closes the cadence in its own simple form.1 [Scientific Basis and Build of Music, page 71]

How far does this compounding process go? The dominant seventh has the first note of the subdominant; the dominant ninth has the second; if we should add a third note, where are we? G B D F A C; here would be the dominant with the whole of the subdominant welded to it; it would have to be called the dominant eleventh, and it has brought us right through to the root of the tonic C. What would be the use of such a chord? We might, in a similar way, add the dominant to the subdominant till we should be through to the tonic on the other side; it would be G B D F A C, and so we should have reached the top of the tonic G. This process shows us, however, that there is just a certain length that we can go, and there is satisfaction in seeing exhaustively that so it is. When the beautiful becomes the useless, it ceases to be the beautiful. [Scientific Basis and Build of Music, page 72]

The varied effect of position in chords. When a chord stands as C E G C, having its root also at the top, it has its softest, dullest, most united effect; it is undramatic, with little contrast. When it stands as E G C E, having its third at the top and bottom, it has a more ticklish, interesting, far-away effect. In reveries composers often finish thus, as if it had vanished - an unsettled effect. When it stands as G C E G, with its top at top and bottom, it has its most dominant character - loud, swelling. In the position C E G C it stands mixingly with the subdominant C E f G a C, and in this its first position its unseen filling in is chiefly from the region of gravity; hence its soft, grave, dull, heavy effect; and it passes very easily to the subdominant chord. When it stands as G C E G it stands mixingly with the dominant G b C d E G, and has its third position and most brilliant effect and uprising, for its unseen filling in is then chiefly from the region of levity; and it passes easily to the dominant chord. When in its second position, its middle position E G C E, its unseen filling in is mixingly both subdominant and dominant, E f G a b C d E; it has then its most interesting and puzzling effect; on the one hand its softest, dullest, and one-est, on the other hand its most brilliant effect, as if it would at once both sink and soar. [Scientific Basis and Build of Music, page 72]

"By affinity the notes group in chords. The tonic is the center chord, the key of 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 of equilibrium. This far AFFINITY." [Scientific Basis and Build of Music, page 91]

FILE NAME TERM
Keely Chronology subdominant current with the dominant
Keely Chronology altering the dominant or etheric mode of vibration
Keely Chronology "outreach" of the third or dominant current of the stream
Keely Chronology harmonic interaction of the dominant and enharmonic elements of the flow
Keely Chronology in magnetism, in gravity; and is the dominant current in each of these
Keely Discoveries 1 dominant etheric sixths, 8,100,000,000;
Keely Discoveries 2 dominant current can no more be brought under control
Keely Discoveries 2 diversion of the dominant current would mean destruction
Keely Discoveries 2 dominant order of the electric stream,
Keely Discoveries 2 power of the dominant third
Keely Discoveries 2 All the dominant conditions of nature
Keely Discoveries 2 alternating of the dominant alone,
Keely Discoveries 2 3rd dominant
Keely Discoveries 2 three currents, harmonic, enharmonic, and dominant
Keely Discoveries 2 1st, the dominant, 2nd, the harmonic, and 3rd, the enharmonic
Keely Discoveries 2 E flat-transmissive chord or dominant;
Keely Discoveries 2 I call the dominant, with the Polar harmonic current
Keely Discoveries 2 prime, luminous, dominant element.
Keely Discoveries 2 their leader, the dominant, form the first triple.
Keely Discoveries 2 dominant is electricity luminous, or propulsive
Keely Discoveries 2 dominant current would give
Keely Discoveries 2 interatomic conflict, as between the dominant and enharmonic.
Keely Discoveries 2 gold the enharmonic, and platina the dominant.
Keely Discoveries 2 chord on the dominant
Keely Discoveries 2 dominant being the leader and associate
Keely Discoveries 3 dominant thirds.
Keely Discoveries 3 polar dominant current, - the leader of the triune stream
Keely Discoveries 3 dominant concentration
Keely Discoveries 3 dominant and enharmonic forces exchange compliments
Keely Discoveries 3 attractive flow of the dominant current of the electric stream
Keely Discoveries 3 diverted from the Dominant, flowing in at the Negative end
Keely Discoveries 3 dominant current of the electric stream
Keely Discoveries 3 higher or dominant force which controls
Keely Discoveries 3 third represents the "dominant"
Keely Discoveries 3 study of the dominant
Keely Discoveries 3 altering the dominant or etheric mode of vibration
Keely Discoveries 3 "outreach" of the third or dominant current of the stream
Keely Discoveries 3 harmonic inter-action of the dominant and enharmonic elements of the flow
Keely Discoveries 3 dominant or high vibratory
Keely Discoveries 3 subdominant or low vibratory
Keely Discoveries 3 subdominant can be assimilated to the harmonic undulatory
Keely Discoveries 3 subdominant a concordant relation to the dominant
Keely Discoveries 3 concordant relation to the dominant
Keely Discoveries 3 concordance, as towards the dominant
Keely Discoveries 3 destructive effects of the dominant current
Keely Information dominant is the leader
Keely Information dominant as the sympathetic leader
Keely Information cerebellic being the dominant
Keely Information All are subservient to the dominant
Keely Information the compound etheric, or dominant, being the leader
Keely Information The dominant we may call the etheric portion
Keely Information dominant parts of the triune combination
Keely Information the cerebral being the high dominant, or compound etheric, the luminiferous
Keely Information the dominant - the cerebral
Keely Information ninths dominant, the sixths harmonic, and the thirds enharmonic
Keely Information mental flow is dominant over all the sympathetic conditions
Keely Information order of the subdominant
Keely Information dominantly independent
Keely Information LOVE, the dominant chord of the cycles
Keely Information concentration of the dominant bearing on the negative thirds
Keely Information predominant agents of advancement
Keely Information law that governs the dominant force
Keely Information dominant natural laws
Keely Information his discordant ways seem dominant
Keely Information laws of Nature are dominant
Keely Information man's laws are not truly dominant
Keely Information conflict between the dominant and enharmonic currents of the triune
Keely Information harmonic and enharmonic current with the dominant (in the electric stream)
Keely Information 3rd dominant
Keely Information harmonic interactions of the dominant and enharmonic modes of vibration
Keely Information Dominant Etheric 6ths
Keely Information subdominant current with the dominant
Keely Information hook on to the dominant
Keely Information third represents the "dominant"
Keely Information study of the dominant
Keely Information altering the dominant or etheric mode of vibration
Keely Information "outreach" of the third or dominant current of the stream
Keely Information harmonic interaction of the dominant and enharmonic elements of the flow;
Keely Information entropic forces as dominant powers
Keely's Laws of Harmony dominant thirds.
Keely's Laws of Harmony polar dominant current - the leader of the triune stream
Keely's Laws of Harmony difference of state, harmonic, dominant (neutral) or enharmonic.
Keely's Laws of Harmony Dominant current of the triune chord
Keely's Laws of Harmony their leader, the dominant, form the first triple.
Keely's Laws of Harmony dominant is electricity luminous, or propulsive
Keely's Laws of Harmony dominant current
Keely's Laws of Harmony diversion of the dominant current
Keely's Laws of Harmony dominant or high vibratory; 2nd. the subdominant or low vibratory
Keely's Laws of Harmony low vibratory conditions of the subdominant
Keely's Laws of Harmony subdominant a concordant relation to the dominant
Keely's Laws of Harmony concordance, as towards the dominant
Keely's Laws of Harmony destructive effects of the dominant current.
Keely's Laws of Harmony enharmonic, harmonic and dominant.
Locked Potentials Dominant Male (electric affinity) seeks center.
Locked Potentials Dominant Female (magnetic dispersive)
Locked Potentials Subdominant Male (attractive to Dominant Male)
Locked Potentials Subdominant Male (attractive to Dominant Male) coheres with Dominant Male
Locked Potentials Dominant Male coheres with Dominant Male to over ride Dominant Female.
Locked Potentials Dominant Male to over ride Dominant Female.
Locked Potentials Subdominant Male
Locked Potentials celestial current or etheric dominant which is also the prime third
Readings thirds - dominant, Sixth - enharmonic, and Ninth - diatonic
Russell higher or dominant force
Russell the dominant -the cerebral
SVP Articles dominant concentration
SVP Articles LOVE, the dominant chord of the cycles.
SVP Articles dominant place in nature
SVP Articles dominant vibration in the thought - atmosphere
SVP Articles 9ths, octaves harmonic, having the 3rd dominant, the 6th enharmonic and the 9th diatonic
SVP Articles harmonic interactions of the dominant and enharmonic modes of vibration
SVP Articles radiation, attraction, and dominant, respectively.
SVP Articles Assimilation, Individualization, and The Dominant
SVP Articles Laws of Radiation, Attraction, and the Dominant
SVP Articles higher or dominant force which controls these two tendencies
SVP Articles Dominant: called also the "Etheric", or the "Celestial"
SVP Articles three modes of vibration, dominant, harmonic, and enharmonic
SVP Reference dominant, the diatonic third of the mass chord
SVP Reference Law of the Dominant
SVP Reference higher or dominant force
The Universal One magnetically dominant.
The Universal One radiative force of magnetism is dominant.
The Universal One preponderant and dominant in the positive half
The Universal One dominant in the negative half
The Universal One dominantly radiative, or power releasive.
The Universal One dominantly electronegative, or disintegrative.
The Universal One subdominant and tonic
The Universal One dominant triad
Table 14.04 - Occurrences of the term "dominant" in SVP Keely files (HyperVibes) - some duplicate entries were deleted to conserve space. (Not all original Keely files have yet been digitized for searching.)

See Also


As a Man Thinketh
Awareness
Celestial Mind Force
Compound Interetheric
Consciousness
controlling center
Creative
Creative Force
Dispersion
Dominant
dominant chord
Dominant Current
Dominant Order
Enharmonic
Ether
Etheric Elements
Eternal Life
Figure 14.05 - The Dominant is the Light of the Mind of Diety
Figure 16.07 - Magnetism is Radiant while Electricity is Concentrative or Assimilative
Fulcrum
gas-filled tube
Harmonic
Idea
Law of the Dominant
Life
Life Force
Light
Luminiferous Ether
middle of the dominant
Mind
Mind Force is a pre-existing Natural Force
Neutral
Perfect Fifth
Philosophers Stone
Photon
Preponderance
Rad-Energy
Radiation
Ramsay - The Great Chord of Chords, the Three-in-One17
Rhythmic Balanced Interchange
Subdominant
Superdominant
Subdivision
sympathetic force
sympathetic negative attraction
sympathetic positive propulsion
The Connecting Link Between Mind and Matter - Keelys Progress - Part 2
Thought
Three Currents
tonic
tonic chord
Triplet
Triune Polar Flows
Void
Volition
Wave
Wave Field
Will
Will Force
Will of God
will power
willpower
Whole Mind
1.9 - Will as Force
15.16 - Controlling Ether by Will Force
18.12 - Body Motivated by Will Force
2.20 - Let there be Light
7.4 - Preponderant Sequentially
7B.09 - Luminiferous Ether or Light
11.13 - Dominant Conditions are Mated Opposing Pairs as Fifths
14.01 - Hints from Bloomfield-Moore
14.16 - Dominant
14.17 - Dominant is a Catalyst
14.19 - Dominant is Light
14.20 - Dominant is Light of Mind or Thought or Idea
14.22 - Dominant is the High Neutral
14.24 - Dominant causes Magnetism
14.25 - Dominant is Light of Electrical Spark
14.26 - Dominant is Light of Mind
14.27 - Mind being Dominant is Creative
14.30 - Effect of Preponderance
14.31 - Preponderance Russell
14.33 - Mind Force - Light - Etheric Subdivision
15.23 - Water is Predominantly Diamagnetic
16.25 - Magnetic Attraction caused by Dominant Current of Electrical Stream
18.13 - Mind is the Active Force

Created by Dale Pond. Last Modification: Monday November 16, 2020 03:46:27 MST by Dale Pond.