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Effect

EFFECT: a phenomenon that follows and is caused by some previous phenomenon or cause. See Cause, Scalar, Thought

Keely
"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." [Snell Manuscript - The Book, page 3]

"The human ear cannot detect the triple chord of any vibration, or sounding note but every sound that is induced of any range, high or low, is governed by the same laws, as regards triple action of such that govern every sympathetic flow in Nature. Were it not for these triple vibratory conditions, change of polarity could never be effected, and consequently there could be no rotation. Thus the compounding of the triple triple, to produce the effect would give a vibration in multiplication reaching the ninth, in order to induce subservience, the enumeration which it would be folly to undertake, as the result would be a string of figures a mile in length to denote it. [Snell Manuscript - The Book, DISTURBANCE OF MAGNETIC NEEDLE, page 8]

Cause and Its Effects
Cause and Its Effects


Gustave Le Bon
"I must point out, by the way - and this observation will explain many historical events - that it is not only physical, but many social phenomena which can be likewise defined by curves possessing the properties we have just stated, and in which consequently, very small changes in a cause may produce very great effects. This is owing to the fact that when a cause acts for a length of time in a same direction, its effects increase in geometrical progression, while the cause varies simply in arithmetical progression. Causes are the logarithms of effects." [Gustave Le Bon, The Evolution of Matter, page 194]


MUSIC: "The mental impression produced by the performance of music, arising from the genius of the composer in the novel invention of pleasing or striking remedies, or telling harmonies, and the happy fitness of choice of certain passages, vocal or instrumental, in certain understood situations; or the clever interpretation of those passages by the performers." [A Dictionary of Music]

HEALTH: a symptom caused by an illness, belief or drug.

Illusion labeled and accepted as Reality
Figure 10.02 - Illusion labeled and accepted as Reality. Actuality (Truth) may be (and usually is) altogether different than the Perception.


Russell
Energy belongs to the invisible universe. It is extended into the visible universe of motion ONLY FROM A FULCRUM which is at rest. The energy, however, does not pass beyond the fulcrum into matter, or condition of matter, or motion of matter. That which passes beyond rest into motion is an expression of energy - a simulation of energy - an effect projected from a cause to demonstrate what energy can do when projected into the illusions of motion.

Energy thus expressed might be likened unto the countless actions of a motion picture. The motion thus expressed simulates the energy, and the IDEA, which has been projected from an undivided mental Source through a divided electric wave source by the way of a fulcrum zero upon which the wave oscillates. [Walter Russell, A New Concept of the Universe, pages 32-33]

Every effect of motion is voided as it occurs, is repeated as it is voided, and is recorded as it is repeated. [Atomic Suicide, page 287]

Opposite conditions ARE opposite conditions. Likewise, they are opposite effects caused by each thrusting in opposite directions. It is not logical to say that opposites fulfill any other office than to OPPOSE. Nor is it logical to say that opposing things attract each other. [A New Concept of the Universe, page 18]

"The centering consciousness of man, the PERSON, transforms information received by the senses into knowledge to the extent of which he is capable of recognizing CAUSE in spirit, back of the EFFECT which his senses record." [Walter Russell, The Secret of Light, page 58]


Schauberger
The potential differences in constant existence between inner and outer temperatures are none other than forms of energy, which complete the cycle of water and at the same time kindle it anew.

Evolutionary manifestations are therefore,
1. of material, and
2. of immaterial nature.

Stone, plant, animal, human being, planet and Sun are organisms possessed of body and soul. Every ray of light or heat requires a physical form in which it can evolve, or organise itself. Every body requires an inner energy that builds it up or transforms it. When a body disintegrates then those energies

8

that created it will again be freed. They are never lost. If they lose their place of abode with the decaying of the body, then they are willingly taken up by the water that eternally circulates in, on and above the Earth and which conducts them once more to a new life. Therefore wherever we look there is life, constant formation and transformation. Should we look into apparent emptiness, then a sea of spiritual life, passed and future generations, returns our gaze. Every material form of vegetation is always the reflection of an immaterial form consisting of light, heat and radiation.

Every change in sphere changes the outer and inner relations of the whole, changes the weight and the intensity of the inner radiation of water and thus the direction in which this carrier of life moves. Disturbances to the inner and outer conformities with natural law lead to a disturbance in the organisation of the whole evolution of life. The disappearance of water or its substantial transformation is a very serious warning sign, because the character of the water also changes with its inner composition, and with this the character of all forms of life, including human-beings. The qualitative decline of the vegetation and above all the deterioration of the highest plant-organism - the forest, the psychic and moral degeneration of humankind, are only the legitimate consequence of the disturbance of the physical composition of water and the disruption of the geosphere occasioned by humanity's subversive activity in the organism of the Earth.

What we are experiencing today is no crisis, but rather the demise of the whole, i.e. the qualitative, physical degeneration of all organisms, brought into effect through the disturbance of Nature's water-balance. In step with this devolution goes the moral, mental and spiritual collapse of humanity, which has already reached such an advanced state, that despite all warning signs people still do not recognise the seriousness of the situation. Worse than animals, they seek their final salvation in the decimation of humanity with weapons of war, that our priests even bless along with the banners under which our children are supposed to bleed to death.

The decision, whether we take the latter path or whether at the final hour we can protect ourselves from our own self-mutilation, only lies with us, or with those men of science and the state, who take upon themselves an altogether appalling responsibility, when out of personal interest, with no consideration of the gravity of the situation and being incapable of bringing any effective help, they continue to adhere to their present point of view. [The Energy Evolution - Harnessing Free Energy from Nature, Conclusions]

This 'original' cooling of the flowing water takes place because the medium can be accelerated without being retarded by the direct action of wall-pressures. In this case, therefore, the resistance to motion that normally increases by the square of the increase in velocity - the reactive effect of all centrifugal pressure - cannot develop. [The Energy Evolution - Harnessing Free Energy from Nature, Cadaverine Poison in Ray-Form - Ptomaine Radiation]

the alteration of the above fermentation process at its most fundamental phase. To make this even clearer: Allotropic oxygen conformations are liberated through pressure- and heat-intensifying dynamic effects or volume-enlarging thermal influences, because the fat-concentrates with opposite polarity become inactive and are maintained in a passive state under such influences. This results in the inner fission (dissociation) of the previously internally interconnected and highly evolved, therefore extremely pressure- and heat-sensitive trace-elements, which like yeasts initiate the process of raw-material transformation - the fermentation process described above. [The Energy Evolution - Harnessing Free Energy from Nature, Cadaverine Poison in Ray-Form - Ptomaine Radiation]

In Nature the purpose of temperature-form T1, which is associated with flow-form F1, is to transform [1]the condensed (allotropic) inner elements of organisms into aethero-energetic animating and kinetic energies. These T1 temperature-forms gives rise to falling and concentrating heat and exhibits rising and expanding cold effects. T2 triggers reduction processes and fosters apathogens. If T1 predominates, then an increase in raw materials and the qualitative improvement of all products of growth result. [The Energy Evolution - Harnessing Free Energy from Nature, NEW FORMS OF TEMPERATURE]

T2 temperature-forms exhibit rising and expanding forms of heat and falling (decadent) and condensing (concentrating) forms of cold. T2 furthers bacterial life. If T2 temperatures predominate, then a reduction in raw materials coupled with a simultaneous thriving parasitic activity results, the effect of which again reinforces the removal for reprocessing of everything unsuitable for higher purposes. [The Energy Evolution - Harnessing Free Energy from Nature, NEW FORMS OF TEMPERATURE]

All forms of heat that initiate rising and expanding effects, and all forms of cold which inaugurate falling and concentrating effects belong to group B and are therefore development-impeding (growth-destroying). [The Energy Evolution - Harnessing Free Energy from Nature, Bio-Technology: Active and Reactive Temperatures]

All forms of heat that give rise to falling and concentrating effects and all forms of cold that exhibit rising and expanding functions belong to group A and are thus development-promoting. [The Energy Evolution - Harnessing Free Energy from Nature, Bio-Technology: Active and Reactive Temperatures]

On the other hand, life-negating dynagen currents form if the oxygenic elements, which become free, unipolar and aggressive under the influence of usual forms of heat (B-group temperatures), consume (bind) the sweet-matter concentrates. Under such influence the latter become passive and increasingly dense as they inwardly contract. In solid, liquid and gaseous inorganic bodies these life-negating currents act in the same way as poisons do in living organisms, and provoke processes of decomposition, decay or combustion; in a word, they destroy everything ripe for development. In the form of a formative and upwardly impelling dynagen flow, the digestive product of the former metabolic process has development-furthering (growth-promoting) effects. [The Energy Evolution - Harnessing Free Energy from Nature, Bio-Technology: Active and Reactive Temperatures]

The fact of the matter, however, is that through these totally perverse procedures and all manner of unnatural activities, everything we are experiencing today that is difficult, disgraceful and degrading of human dignity had inevitably to happen. Deductively thinking logicians have therefore over-looked the causes of the supposed effects, out of which, depending on whether the form of motion is natural or unnatural, the respective ancillary forces that either affirm life or negate it come into being. In this regard the life-denying forces increase, reproduce and advance themselves in exactly the same way as their counterparts, which promote the naturally ordained course of further development through increase and qualitative improvement. This would be impossible, however, were it not for the temperature-forms responsible for expelling what is inferior and for purging, purifying and detoxifying organisms. It is out of these temperature-forms that the decomposing, analysing cavitation current arises, which today's science uses in the widest variety of ways and without exception for a supposed build-up of culture. Clearly the misfortunes we shall have to reap will be all the greater, the more widespread and intensive the activity of a science that makes use of these lower-grade temperature-forms. [The Energy Evolution - Harnessing Free Energy from Nature, The Life-Current in Air and Water]

Therefore if the media of water or air are moved naturalesquely (and the trick is how to do this) then the bipolar gases are initially transformed into aetheric and ultimately into energetic stocks of subtle matter. These are then bound in the self-evolving juvenile media (air and water) and what has been increased in this way is rendered homogenous and specifically densified. That is to say, they intensify the carrying capacity and tractive force to such a degree that in such waters material with a higher specific weight than the transporting medium, even ore with a specific weight of 1.9, readily floats down the centre of the axis, where the strongest suctional force acts downstream and the strongest reactive force acts upstream in the form of a dynagen gradient, but which, however, has no effect on raw material structures to the extent that these do not involve life-forms. [The Energy Evolution - Harnessing Free Energy from Nature, The Life-Current in Air and Water]

To group A belong all falling and concentrating heat-forms and all cold-forms, which initiate rising and expanding phenomena. To group B belong all rising and expanding heat-forms and all cold-forms having falling and concentrating effects. [The Energy Evolution - Harnessing Free Energy from Nature, The Life-Current in Air and Water]


Ramsay
Effect here means, of course, musical effect in the ear's appreciation of the notes. [Scientific Basis and Build of Music, page 28]

"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]

This subtracting and adding process of Nature by which she so freely handles the notes is the way she gives us the materials of the Chromatic Scale, in which an entirely new series of chords with strikingly different effects, and with exceedingly interesting, subtle, and at the same time easy progressions, is put in possession of the practical musician. This new series of chords forms, in fact, materials for the Chromatic System, which D. C. Ramsay has discovered, and which he has elaborated, as his custom was, exhaustively - his last labor in the interests of music science and art. [Scientific Basis and Build of Music, page 48]

Music, and mathematics have nothing more to do with it. Already the Law of Position has guided the genesis upward in the major; and while mathematical primes were generating the chords one after another in precisely the same way and form, like peas in a pod, the Law of Position was arranging them one over the other, and so appointing them in their relative position each its own peculiar musical effect bright and brighter. And when the major had been thus evolved and arranged by ratios and position, another law, the Law of Duality, gave the mathematical operation its downward direction in the minor; and while the primes which measured the upward fifths of the major also measure the downward fifths of the minor, the Law of Position is placing them in their relative position, and appointing each its own peculiar effect grave and graver. [Scientific Basis and Build of Music, page 68]

The peculiar effects are exhibited when the chord-scale is next set forth. We have seen that there are six chords evolved in the genesis upward and downward, 3 in the major form and 3 in the minor. In the fifths of the minor the semitone is always in the lower third, occurring between the second and third in the subdominant and tonic, and between the first and second in the dominant chord; whereas in the major it is always in the upper third, between the fourth and fifth in the subdominant, and between the third and fourth in the tonic and dominant chords. While the thirds which the fifths contain are thus so varied, the fifths themselves have always one magnitude, whether major or minor. [Scientific Basis and Build of Music, page 68]

The chord-scales may be either major or minor, or may be found in a sweetly mingled condition; a piece may be wholly major or wholly minor, but not wholly chromatic. Chromatic chords do not usually succeed each other, but come into diatonic compositions for the purpose of producing certain effects peculiar to them, or by solving difficulties which may arise in composition. They are used as musical condiments to spice or sweeten a passage; but nobody makes pudding all of spice or sugar. The structure, character, and progression of the various chord-scales will be found so amply set forth in several parts of this work that it is not necessary to enlarge further in this place. [Scientific Basis and Build of Music, page 69]

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]

less variety of effect than we find in the diatonic chords; for although these chords may appear with their notes diversely named, there are still only the three. On account of their cosmopolitan character they need, and they have, no compounding with anything else. They are themselves at home everywhere; like a universal joint, they can turn any way, and affiliate in all directions. Being 4-note chords, and all of minor thirds, their effect is always minor, and they fall with loving softness to the diatonic chords to which they resolve. How this chord in its germ is found in the diatonic chord-scale; how it becomes a 4-note chord of minor thirds; how it variously resolves, each one of the three, in three manners with 24 tonic chords - all this is so fully set forth in the pre-note and treatise on the chromatic chord that it need not be more discussed in this place. See also Plates XVI., XVII., XVIII., XIX., and XX. [Scientific Basis and Build of Music, page 73]

the excess of the vibrations of the one note over the other makes one or more sounds which are called "grave harmonics;" e.g., in the interval of the fifth, in the ratio of 2:3, the excess of 3 over 2 is 1, so the grave harmonic is an octave below the lowest of the two notes, that is, the ratio of 1:2. This reinforces the lowest note, 2, and gives it a solid effect. In this way the octave is incorporated into the fifth, and unity with variety is combined with the law of continuity at the very threshold of harmony. In 32 of the 42 intervals the grave harmonics are notes which belong to the natural scale. In the 10 remaining intervals which have not the exact number of vibrations found anywhere in the natural scale, 6 of them are from the number 7, thus - 7, 7, 7, 21, 21, 35; the remaining 4 are from 11, 13, 13, and 19. [Scientific Basis and Build of Music, page 77]

At the first, in the laws of quantities and motions adjusting musical vibrations, there is one chord of the three notes, F, A, C, the root, middle, and top of the five notes which compose the true natural scale; this one chord can be reproduced a fifth higher, C, E, G, in the same mathematical form, taking the top of the first for the root of the second chord. In like manner this second can be reproduced another fifth higher, G, B, D, still in the same mathematical form, and so fit to be a member of the chord-scale of a key. But the law does not admit of another reproduction without interfering with the first chord, so that a fourth fifth produces no new effect; but the whole key is simply a fifth higher, i.e., if the fifth has been properly produced by multiplying the top of the third fifth by 3 and by 5, the generating primes in music. That this carries us into a new scale is seen in that the F is no longer the F♮ but F#, and the A is no longer A♮ but A,. But if we suppose the fourth fifth to be simply the old notes with their own vibration numbers, then D, F, A would not be a fifth belonging either to the major or the minor mode, but a fifth a comma less. The letters of it would read like the minor subdominant, D, F, A; but the intervals, as found in the upward development of the major genesis, instead of being, when expressed in commas, 9, 5, 8, 9, which is the minor subdominant, would be 8, 5, 9, 8, which is not a fifth of the musical system; these having always, whether major or minor, two 9's, one [Scientific Basis and Build of Music, page 77]

The effects of different positions of chords. The first position is clear and solid; the second is light and pretty. The notes which have the most varied effect in a stream of harmony are the upper and under notes, the edges of the stream; the two outlines determine the effect:-

Image-page-84

[Scientific Basis and Build of Music, page 84]

Thus chord tends toward chord, and note leans toward note, and it has to be considered whether the attraction of affinity or proximity be strongest while working out the charming effects of a composition. [Scientific Basis and Build of Music, page 92]

Subdominant - F, A, C E G, B, D - dominant


- and it is balanced between the two forces. If the effects of notes or chords depended solely on their ratios, then the effect of the subdominant, tonic, and dominant would have been alike, for these chords have exactly the same ratios. The centrifugal force of the notes of the dominant chord would take if away from the tonic chord; but Nature, in her skill to build and mix, has in the octave scale placed the middle of the dominant B under the root of the tonic C, and the top of the dominant D under the middle of the tonic E; so that these two rising notes are inevitably resolved into the tonic chord. The gravitating tendencies of the notes of the subdominant would take it also away from the tonic; but in the octave scale Nature has placed the middle of the subdominant A above the top of the tonic G, and the root of the subdominant F above the middle of the tonic E; so that these two falling notes also are inevitably resolved into the tonic chord. In this way two notes resolve to the center of the tonic, D upwards and F downwards; one to the top, A to G, and one to the root, B to C. Nature has thus placed the notes which have upward tendencies under the notes having downward tendencies; she has also related them by proximity, the distance from the one to the other being always either a semitone or the small tone of the ratio 9:10. [Scientific Basis and Build of Music, page 95]


Here on the keyboard we see, nearest to the front, the great 3-times-3 chord of the full genesis of the scale from F1 to F64. When this chord is struck by the notched lath represented in front of the keyboard, the whole harmony of the key is heard at once. Behind this great chord are placed, to the left the subdominant, tonic, and dominant chords of the minor. D F A, A E C, E G B; and to the right the subdominant, tonic, and dominant chords of the major, F A C, C E G, G B D. When the notched lath is shifted from F to D, the minor third below F, and the 3-times-3 minor is struck down in the same way as the major, the whole harmony is heard; and the complete contrast of effect between major and minor harmony can be fully pronounced to the ear by this means. Behind these six diatonic chords, major and minor, on the part of the keyboard nearest to the black keys, are the three chromatic chords in their four-foldness, in both major and minor form. The center one shows the diatonic germ of the chromatic chord, with its supplement of G# on the one hand completing its minor form, and its supplement of A♭ on the other hand completing its major form. A great deal of teaching may be illustrated by this plate.

ERRATUM. - B♭, first chromatic chord, misplaced.
[Scientific Basis and Build of Music, page 104]


There are seven differential and eleven proximate periods all differing in their degrees of complexity according to the individual character of the ratio; and they illustrate to the eye what is the effect in the ear of the same ratios in the rapid region of the elastic vibrations which cause the musical sounds. [Scientific Basis and Build of Music,page 106]

THE GROWTH-LIKE CONTINUITY OF CHORDS AND KEYS.


Under the symbol of a music plant this plate gives us to realize the growth-like continuity of chords and scales. The roots of the three chords of a key are represented in F, C, and G of the key of C. The plant might be represented as a creeping stem, like the creepers of the strawberry, with its progressive roots struck into the earth; but it is better to show an upward stem with aerial roots, for such are the roots of the musical plant. The main stem of the plant has the three chords, F a C e G b D; that is, F a c, C e g, G b d, the subdominant, tonic, and dominant. The terminal chord, D f# a, is to show that the keys as well as the chords GROW out of each other. Include the side branches which terminate with the octave notes of the chords, read thus - F a c f, G e g e, G b d g, because a chord is felt to be most complete in its unity when thus shut in by the octave note of its root. This is the reason why the great three-times-three chord does not stop at D, the top of the dominant chord, but goes on to the sixth octave of the fundamental root, shutting all in by the great peacemaker, F, in order to preserve the unity of the effect which this chord of chords produces. Before D. C. Ramsay showed that the scale of Harmonics extended to six octaves, it was by teachers of the science of music only extended to four. [Scientific Basis and Build of Music, page 110]

When Ramsay gave a course of lectures in Glasgow, setting forth "What constitutes the Science of Music," his lecture-room was hung round with great diagrams illustrating in various ways his findings; an ocular demonstration was also given of the system of musical vibrations by his favorite illustration, the oscillations of the Silent Harp of Pendulums. A celebrated teacher of music in the city came to Mr. Ramsay's opening lecture, and at the close remained to examine the diagrams, and question the lecturer, especially on his extension of the harmonics to six octaves. Having seen and heard, this teacher went and shortly after published it without any acknowledgment of the true authorship; and it was afterwards republished in some of the Sol-Fa publications, the true source unconfessed; but our plagarist stopped short at C, the top of the tonic, instead of going on to F, the sixth octave of the root of all; the effect of this was to destroy the unity of the great chord. The 22 notes instead of 25, at which this teacher stopped, allowed him, indeed, to show the natural birthplace of B, which Ramsay had pointed, but it beheaded the great complex chord and destroyed its unity. If C, the root of the tonic, be made the highest note, having quite a different character from F, it pronounces its character, and mars the unity of the great chord. Similar diversity of effect is produced by cutting off only two notes of the 25 and stopping short at D, the top of the dominant; and also, though in a weaker degree, by cutting off only one note of the 25 and stopping at E, the middle of the tonic; this, too, disturbs the unity of the fundamental sound. [Scientific Basis and Build of Music, page 111]


This plate illustrates how the chromatic chord resolves into four key-notes, in different positions, by one semitonic progression and two notes in common; for example, G B D G, B D G B, D G B D. In a pianissimo and slow passage this resolution has a subtle, soft effect; like a snake in the grass. [Scientific Basis and Build of Music, page 116]


Hughes
study of the natural sciences, as we progress, we find that "hills peep o'er hills, and alps o'er alps arise." As regards keyed instruments, it appears that the effect of those notes which act two parts, such as C# and D♭, is rectified in some way so as to be perfectly attuned to the ideal of harmony within us. Again, the "Amen" sung by the choir in a cathedral may not be in accurate tune, but if nearly the correct intonation is sounded, after traveling along the aisles, the chords always return to the ear in perfect harmony, because the natural laws of music, assisted by the echoing power of the building, have attuned them to the perfect harmonical triad. If the "Amen" be too much out of tune, these laws decline to interfere, and there is no such helpful resonance.* [Harmonies of Tones and Colours, The Method of Development or Creation of Harmonies2, page 16]

See Also


Becoming
Cause
Cause and Its Effects
consequence
Error
Illusion
Karma
Law of Cause and Effect
Materiality
Mind Force - a Reproducible Effect
Miracle
Ramsay - The Musical Effect of Notes
Ramsay - Contrasting Effects of Music Sounds
Reality
result
Resultant Tone
Scalar
Scalar Potential
Symptom
Thought
10.02 - Reality vs Actuality

Created by Dale Pond. Last Modification: Friday August 5, 2022 05:49:43 MDT by Dale Pond.