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Duality

Duality
Dot
Duality

Two-ness, polar, sex, bi, di
Polarity
Syntropy / Entropy
Father / Mother
Sex

Music
DUALITY. - Two-ness. [Scientific Basis and Build of Music, page 25]

Keely
"The Keely Motor secret teaches that the various phenomena of the human constitution cannot be properly comprehended and explained without observing the distinction between the physical and material and the moral and spiritual nature of man. It demonstrates incontrovertibly the separate existence and independent activity of the soul of man, and that the spirit governs the body instead of being governed by the body." [CJBM in Keely and His Discoveries, 1893]

Ramsay
There are joinings, however, though at a wilder limit. The system of music is not a spiral line. The minor scale is developed from the major by the law of Duality; and when this is done, D26 2/3, the root of the subdominant minor, is so near to D27, the top of the dominant major, that one note may be made to serve for both; and this joins the one extreme of the major and minor systems in this note D, which has thus duality in itself. The only other place where the dual system of major and minor stands open is at the other extreme of the two modes, between B, the top of the dominant minor, and F the root of the subdominant major; and these unjoined ends reach away till at three fifths below F, namely A♭, and at three fifths above [Scientific Basis and Build of Music, page 38]

B, namely G#, they come in touch of each other like the two D's. When this three fifths below F major and three fifths above B minor have been developed, the extremes A♭ and G#, though standing like the two D's in duality, are so near that here again one note can be made to serve both. The major series of scales and the minor series at these limits are thus by two notes which have duality in themselves hermetically sealed; but not till Nature has measured off for any one of these scales a sphere of twelve keys in which to move in perfect freedom of kinship by softly going modulations. [Scientific Basis and Build of Music, page 39]

"All things are twofold, one over against another,
And He hath made nothing to stand alone."

Duality - that is, two-ness - is a general feature of Creation. It is the law of sex all through the animal and vegetable worlds. It is beautifully expressed in the response of Parallelism in poetry, especially the Eastern poetry so fully illustrated in the Holy Scriptures: [Scientific Basis and Build of Music, page 41]

save in polarity with the idea of the infinite. Victor Cousin, in exhibiting the primary elements of the human consciousness, shows that there are two dualities. Let a man turn his attention in upon himself, he will find, first of all, the me and the not me as a dual conception. Apart from all details of information about the me or the not me, different persons know, some more, some less, about either or about the two, every infant, even in the very first moment of contact, is conscious of the me and the not me as an inevitable dual conception. But both of these are found in the limitation they impose on each other; and lo! there springs up here another idea, the idea of the limited - the finite; but this cannot be conceived apart from the simultaneous conception of the infinite; the finite has no meaning save as the pole or dual of the infinite. Here, then, is duality or polarity among the primary contents of the consciousness. And this but the beginning of the polarity of thought. [Scientific Basis and Build of Music, page 42]

Duality is the law of witness-bearing, and the confirmation of truth; - "If I bear witness of Myself, My witness is not true. There is another that beareth witness of Me." - John v. 31, 32. "At the mouth of two witnesses, or three witnesses, shall he that is worthy of death be put to death; but at the mouth of one witness he shall not be put to death." - Deut. xvii, 6. "He that despised Moses' law died without mercy at the mouth of two or three witnesses." - Heb x. 28. "The dream was doubled unto Pharaoh twice; it is because the thing is established by God, and God will shortly bring it to pass." - Gen.xli. 32. [Scientific Basis and Build of Music, page 42]

THE GREEK MODES AND DUALITY
BY THE EDITOR

The Greeks most probably constructed their musical tetrachords in a symmetrical order in analogy with their sculpture, and showed the ear identical with the eye in its love of symmetry. With them, therefore, the Dorian mode would have a certain pre-eminence. Beginning this mode on D, without knowing the musical mystery that resides in D, they had two tetrachords with the semitones symmetrically in the middle in one mode; it was next possible for them to arrange in pairs, symmetrically, the other tetrachords.

D8 E5 F9 G8 A9 B5 C9 D
E5 F9 G8 A9 B5 C9 D8 E -- C9 D8 E5 F9 G8 A9 B5 C
F9 G8 A9 B5 C9 D8 F5 F -- B5 C9 D8 E5 F9 G8 A9 B
C9 D8 E5 F9 G8 A9 B5 C -- E5 F9 G8 A9 B5 C9 D8 E
B5 C9 D8 E5 F9 G8 A9 B -- F9 G8 A9 B5 C9 D8 E5 F
A9 B5 C9 D8 E5 F9 G8 A -- G8 A9 B5 C9 D8 E5 F9 G
G8 A9 B5 C9 D8 E5 F9 G -- A9 B5 C8 D9 E5 F9 G8 A

[Scientific Basis and Build of Music, page 45]

among the Greeks on account of having symmetry in itself. The primitive scale was doubtless that which is the model of all major music; and our minor model is its dual, as Ramsay has shown, which in its genesis indicates the duality of all the rest of the notes, although it is not probable that the Greeks saw the musical elements in this light. It is remarkable and significant that in their modes the Greeks did not lift up the scale of Nature into different pitches, preserving its model form as we do in our twelve major scales, but keeping the model form at one pitch they built up their symmetrical tetrachords, allowing the larger and lesser tones of the primitive scale to arrange themselves in every variety of place, as we have shown in the table of tetrachord modes above. Without seeing the genetic origin of music's duality they were led to arrange the modes by symmetry, which is one of the phases of duality. Symmetry is duality in practice. It may not always be apparent how symmetry originates in Nature; but in music, the art of the ear, duality emerges in the genesis of the minor scale; in the true mathematical build of the major on the root of the major subdominant F, and the true relation of the minor to it in the inverse genesis descending from the top of the minor dominant B. [Scientific Basis and Build of Music, page 46]

There was, then, something of truth and beauty in the Greek modes as seen in the light now thrown upon them by the Law of Duality, at last discerned, and as now set forth in the genesis and wedlock of the major and minor scales. The probably symmetrical arrangement of the modes, all unwitting to them, is an interesting exhibition of the true duality of the notes, which may be thus set in view by duality lines of indication. We now know that B is the dual of F, G the dual of A, C the dual of E, and D minor the dual of D major. Now look at the Greek modes symmetrically arranged:

D EF G A BC D
C D EF G A BC EF G A BC D E
A BC D EF G A G A BC D EF G
F G A BC D EF BC D EF G A B

Thus seen they are perfectly illustrative of the duality of music as it springs up in the genetic scales. The lines reach from note to note of the duals. [Scientific Basis and Build of Music, page 46]

There are two Diatonic systems in Music - the major and the minor. With the exception of one note, all the notes of the one system are identical with those of the other. The major key C has all the notes of the minor key A excepting D, the root of the minor subdominant; and the minor has all the notes of the major exception D, the top of the major dominant. These twain are one music, the masculine and feminine of a twofold unity; one system in duality rather than two systems. [Scientific Basis and Build of Music, page 50]

Ramsay being also the center of the diatonic triplet, B, D, F, which is the diatonic germ of the chromatic system. Four minor thirds upward or downward from C# we have a second chromatic chord, its central note being G. The dual1 of C# is E♭; and there is the same order of keys on the keyboard2 below C# as there is above E♭. Four minor thirds from E♭ upward or downward forms a third chromatic chord, the central note of which is A. The dual A, the center of the third chromatic, is G, the center of the second; and these two notes, by their duality, and by the duality of the two chords throughout, balance each other exactly on the keyboard on either side of the first chromatic chord, which contains all its own duals, and by this self-duality sits in the center, like the tonic chord among the diatonic three. [Scientific Basis and Build of Music, page 57]


George Gurdjieff
"But this duality would seem to alternate; what is victor today is the vanquished tomorrow; what guides us today becomes secondary and subordinate tomorrow. And everything is equally mechanical, equally independent of will, and leads equally to no aim of any kind. The understanding of duality in oneself begins with the realization of mechanicalness and the realization of the difference between what is mechanical and what is conscious. This understanding must be preceded by the destruction of the self-deceit in which a man lives who considers even his most mechanical actions to be volitional and conscious and himself to be single and whole." [George Gurdjieff]

Ernst Haeckel
Dualism - "The system which admits two ultimate realities. Dualism, in the widest sense, breaks up the universe into two entirely distinct substances - the material world and an immaterial God, who is represented to be its creator, sustainer and ruler." [Ernst Haeckel; The Riddle of the Universe - at the Close of the Nineteenth Century; Watts & Co., London, 1906]

See Also


Celestial and Terrestrial Domains
Dual
Duality Spiral
Electric
Etheric Elements
Father-Mother
Figure 2.12.1 - Polarity or Duality
Figure 2.8 - Alchemists Artwork showing duality or Polar States
Figure 3.16 - Idea Preceeds Manifestation in Material Form using Cubes and Cones
Figure 3.36 - Contracting and Expanding Duality
Jachin and Boaz
Law of Duality
mate-pairs
Maya
Materialism
Mind
Polarity
Ramsay - Duality as in the Greek Modes
Rhythmic Balanced Interchange
Sex
Sex Division
Sex Unity
Spirit
Spiritual
Sympsionics
1.14 - Materiality from Immateriality
2.24 - The Duality of One
3.12 - Reciprocating Duality

Created by Dale Pond. Last Modification: Friday October 30, 2020 03:53:29 MDT by Dale Pond.