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E flat

E♭

Keely
"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." [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. E♭, - transmissive chord or dominant; A♭ - harmonic; A♭♭ - 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]

"The experiment illustrating "chord of mass" sympathy was repeated, using a glass chamber, 40 inches in height, filled with water, standing on a slab of glass. Three metal spheres, weighing about 6 ounces each, rested on the glass floor. The chord of mass of these spheres was B flat first octave, E flat second octave and B flat third octave. Upon sounding the note B flat on the sympathetic transmitter, the sphere having that chord of mass rose slowly to the top of the chamber, the positive end of the wire having been attached, which connected the covered jar with the transmitter. The same result followed the sound of the other spheres, all of which descended as gently as they rose, upon changing the positive to the negative. J.M. Wilcox, who was present remarked: "This experiment proves the truth of a fundamental law in scholastic philosophy, that when one body attracts or seeks another body, it is not that the effect is the sum of the effects produced by parts of one body upon parts of another, one aggregate of effects, but the result of the operation of one whole upon another whole." [KEELYS SECRETS - 1888]

"The relations of the components of the electric streams are: Dominant E flat, harmonic A flat, enharmonic C double flat.
"The keynote of electromagnetic sympathy in "transmissive combinations" is:

"THIRDS ON FIRST OCTAVE SUBDIVISION B FLAT DIATONIC

"SIXTHS ON SAME SUBDIVISION OF THIRDS OCTAVE HARMONIC

"NINTHS ON SAME SUBDIVISION OF SIXTHS OCTAVE ENHARMONIC [Snell Manuscript]

Ramsay
The triplet B, D, F, has been called the imperfect triad, because in it the two diatonic semitones, B-C and E-F, and the two minor thirds which they constitute, come together in this so-called imperfect fifth. But instead of deserving any name indicating imperfection, this most interesting triad is the Diatonic germ of the chromatic chord, and of the chromatic system of chords. Place this triad to precede the tonic chord of the key of C major, and there are two semitonic progressions. Place it to precede the tonic chord of the key of F# major, and there are three semitonic progressions. Again, if we place it to precede the tonic chord of the key of A minor, there are two semitonic progressions; but make it precede the tonic chord of E♭ minor, and there are three semitonic progressions. This shows that the chromatic chord has its germ in, and its outgrowth from the so-called "natural notes," that is notes without flats or sharps, notes with white keys; and that these natural notes furnish, with only the addition of either A♭ from the major scale or G# from the minor, a full chromatic chord for one major and one minor chord, and a secondary chromatic chord for one more in each mode. [Scientific Basis and Build of Music, page 52]

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]

G# as it occurs in the scales of A, E, and B major, and A♭ as it occurs in the scales of F and B♭ minor, are only distant the apotome minor, and are well represented by one key of the piano. It is only G# as it occurs in the scale of F six sharps major, and A♭ as it occurs in the scale of E six flats minor, that is not represented on the piano. These two extreme notes F# and E♭ minor are at the distance of fifteenth fifths and a minor third from each other. This supplies notes for 13 major and 13 minor mathematical scales; but as this is not required for our musical world of twelve scales, so these far-distant G# and A♭ are not required. The piano is only responsible for the amount of tempering which twelve fifths require, and that is never more than one comma and the apotome minor. [Scientific Basis and Build of Music, page 80]

The reason why there are 13 mathematical scales is that G♭ and F# are written separately as two scales, although the one is only a comma and the apotome minor higher than the other, while in the regular succession of scales the one is always 5 notes higher than the other; so this G♭ is an anomaly among scales, unless viewed as the first of a second cycle of keys, which it really is; and all the notes of all the scales of this second cycle are equally a comma and the apotome higher than the notes of the first cycle; and when followed out we find that a third cycle is raised just as much higher than the second as the second is higher than the first; and what is true of these majors may be simply repeated as to the D# and E♭ of the minors, and the new cycle so begun, and all successive minor cycles. Twelve and not thirteen is the natural number for the mathematical scales, which go on in a spiral line, as truly as for the tempered scales, which close as a circle at this point. [Scientific Basis and Build of Music, page 89]

In a similar and responsive way Duality provides for the six major scales with flats.
The two new notes required for the scale of
F major are the B♭ of D, and the D of A minor;
for B♭ major, the E♭ of G, and the G of D minor;
for E♭ major, the A♭ of C, and the C of G minor;
for A♭ major, the D♭ of F, and the F of C minor;
for D♭ major, the G♭ of B♭, and the B♭ of F minor;
for G♭ major, the C♭ of E♭, and the E♭ of B♭ minor.1 [Scientific Basis and Build of Music, page 90]

sexual note in the scales of G major and E minor are the two A's; in D major and B minor, the two E's; in A major and F# minor, the two B's; in E major and C# minor, the two F's; in B major and G# minor, the two C's; and in F# major and D# minor, the two G's. These two last scales being the beginning of a second cycle of twelve scales when the scales are written half in flats and half in sharps, as we have done them in this case. Turning to the other half of our circle, those which we have, and which usually in music books are, written in flats, in F major and D minor the sexual notes are the two G's; in B♭ and G, the two C's, in E♭ and C, the two F's; in A♭ and F, the two B's; in D♭ and B♭, the two E's; and in G♭ and E♭, the two A's. [Scientific Basis and Build of Music, page 91]

This tune is in the key of E♭ Major, and the key into which it moves for a passage is the next above it, B♭ Major. The first chord, E♭ G B♭, is the tonic; the second and third are the tonic and dominant; the fourth, C E♭ G, whose full form would be C E♭ G B♭, is the compound subdominant of the new key, which suggests the approaching modulation. The next two chords, in which the measure closes, may either be viewed as the tonic and dominant of the key, or the subdominant and tonic of the new key. The second measure opens with the same chord which closes the first measure, and is best defined as the tonic of the new key; the second chord is clearly the dominant of the new key, and the whole of the second measure is in the new key, and reads, T. D. S. T. compound D. T. Some of these chords might be read as chords of the old key, so near to each other and so kindred are the contiguous keys. All contiguous keys to a certain extent overlap each other, so that some of the chords may be variously read as belonging to the one or to the other. [Scientific Basis and Build of Music, page 94]

SYSTEM OF THE THREE PRIMITIVE CHROMATIC CHORDS.


The middle portion with the zigzag and perpendicular lines are the chromatic chords, as it were arpeggio'd. They are shown 5-fold, and have their major form from the right side, and their minor form from the left. In the column on the right they are seen in resolution, in their primary and fullest manner, with the 12 minors. The reason why there are 13 scales, though called the 12, is that F# is one scale and G♭ another on the major side; and D# and E♭ separated the same way on the minor side. Twelve, however, is the natural number for the mathematical scales as well as the tempered ones. But as the mathematical scales roll on in cycles, F# is mathematically the first of a new cycle, and all the notes of the scale of F# are a comma and the apotome minor higher than G♭. And so also it is on the minor side, D# is a comma and the apotome higher than E♭. These two thirteenth keys are therefore simply a repetition of the two first; a fourteenth would be a repetition of the second; and so on all through till a second cycle of twelve would be completed; and the thirteenth to it would be just the first of a third cycle a comma and the apotome minor higher than the second, and so on ad infinitum. In the tempered scales F# and G♭ on the major side are made one; and D# and E♭ on the minor side the same; and the circle of the twelve is closed. This is the explanation of the thirteen in any of the plates being called twelve. The perpendicular lines join identical notes with diverse names. The zigzag lines thread the rising Fifths which constitute the chromatic chords under diverse names, and these chords are then seen in stave-notation, or the major and minor sides opposites. The system of the Secondary and Tertiary manner of resolution might be shown in the same way, thus exhibiting 72 resolutions into Tonic chords. But the Chromatic chord can also be used to resolve to the Subdominant and Dominant chords of each of these 24 keys, which will exhibit 48 more chromatic resolutions; and resolving into the 48 chords in the primary, secondary, and tertiary manners, will make 144 resolutions, which with 72 above make 216 resolutions. These have been worked out by our author in the Common Notation, in a variety of positions and inversions, and may be published, perhaps, in a second edition of this work, or in a practical work by themselves. [Scientific Basis and Build of Music, page 115]

PLATES XVII. & XVIII.


These two plates show the chromatic chord resolving into the twelve major and twelve minor tonic chords of the twenty-four scales. There seems to be twenty-five, but that arises from making G♭ and F# in the major two scales, whereas they are really only one; and the same in the minor series, E♭ and D# are really one scale. C in the major and A in the minor, which occur in the middle of the series, when both sharps and flats are employed in the signatures, are placed below and outside of the circular stave to give them prominence as the types of the scale; and the first chromatic chord is seen with them in its major and minor form, and its typical manner of resolving - the major form rising to the root, and falling to the top and middle; the minor form falling to the top, and rising to the root and middle. The signatures of the keys are given under the stave. [Scientific Basis and Build of Music, page 116]

advance by semitones, the keys with ♭s and #s alternate in both modes. The open between G# and A♭ in the major, and between D# and E♭ in the minor, is closed in each mode, and the scale made one. The dotted lines across the plate lead from major to relative minor; and the solid spiral line starting from C, and winding left and right, touches the consecutive keys as they advance normally, because genetically, by fifths. The relative major and minor are in one ellipse at C and A; and in the ellipse right opposite this the relative to F# is D#, and that of G♭ and E♭, all in the same ellipse, and by one set of notes, but read, of course, both ways. [Scientific Basis and Build of Music, page 117]

The inner stave contains the chromatic scale of twelve notes as played on keyed instruments. The flat and sharp phase of the intermediate notes are both given to indicate their relation to each other; the sharpened note being always the higher one, although seemingly on the stave the lower one. The two notes are the apotome minor apart overlapping each other by so much; ♭D is the apotome lower than C#; ♭E the apotome lower than D#; F# the apotome higher than ♭G; G# the apotome higher than ♭A; and A# the apotome higher than ♭B. The figures for the chromatic scale are only given for the notes and their sharps; but in the mathematical series of notes the numbers are all given. [Scientific Basis and Build of Music, page 120]

See Also


E flat minor
Interval
Key
Note

Created by Dale Pond. Last Modification: Wednesday January 6, 2021 03:25:51 MST by Dale Pond.