In mathematics, a **geometric progression**, also known as a geometric sequence, is a sequence of numbers where each term after the first is found by multiplying the previous one by a fixed, non-zero number called the common ratio. For example, the sequence 2, 6, 18, 54, ... is a **geometric progression** with common ratio 3. Similarly 10, 5, 2.5, 1.25, ... is a geometric sequence with common ratio 1/2. The sum of the terms of a **geometric progression**, or of an initial segment of a **geometric progression**, is known as a geometric series. Wikipedia, Geometrical Progression

**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]

**Ramsay**

dividing itself by 2 or 3 or 5, *etc.*, up through the whole **geometrical series** of numbers, not keeping fixed at one thing; but while the whole length is vibrating the fundamental partial, it keeps shifting the still nodes along its length, and sometimes longer and sometimes shorter segments are sounding the other partials which clothe the chief sound. It has been commonly said that "a musical sound is composed of three sounds," for every ear is capable of hearing these three, and with a little attention a few more than these; but many will be startled when told that there are twenty-five sounds in that sound. Eighteen of them are simply the octaves of the other seven, all of these seven except one having one or more octaves in the sound. Four of the seven also are very feeble, the one which has no octave being the feeblest of all. Two of the other three are so distinctly audible along with the chief partial that they gave rise to the saying we have quoted about a musical sound being composed of three sounds.^{1} If the three most pronounced partials were equally developed in *one sound*, it could not be called one sound - it would decidedly be a *chord*; and when in the system they do become developed, they form a chord; but in the one sound they, the partials, having fewer and fewer octaves to strengthen them, fade away in the perspective of sound. The sharp seventh, which in the developed system has only one place, not coming into existence until the sixth octave of the genesis, is by far the feeblest of all the partials, and Nature did well to appoint it so. These harmonics are also sometimes called "overtones," because they are higher than the fundamental one, which is *the* sound among the sounds, as the Bible is the book among books. [Scientific Basis and Build of Music, page 59]

**Hughes**

In the diagrams the circles are not drawn as interlacing into each other, from the difficulty of representing them accurately as rising spirally in **geometric progression**. If we endeavour to realise the development of harmonies, both in geometric order, and at the same time advancing and retiring, as in musical clef, we must imagine a musician having the physical power of striking all the notes on a circular keyed instrument of seven octaves, linked to a lower series of seven octaves, and a corresponding series of seven higher. But in fact the depth of the lower series, and the height of the higher, are alike unfathomable to our present powers. C, the first note of the seven octaves, sounds the four lowest tones, F, G, A, B of the lower series; and B, the last and highest note of the seven octaves, sounds in its harmony C♮ and D# of the higher series of sevens. [Harmonies of Tones and Colours, The Method of Development or Creation of Harmonies3, page 17]

See Also

**1.20 - Evolution and Devolution of Frequency**
**12.18 - Multiple Octave Progression**
**12.19 - Fibonacci Relationships**
**12.21 - Fibonacci Whole Numbers v Irrational Decimal near Equivalents**
**12.38 - Orbital revolution**
**14.15 - Movement Caused by Spirit**
**15.15 - Progressive Dissociation**
**15.15.05 - Progressive Association**
**3.04 - Power Accumulation via Fibonacci-like Patterns**
**8.17 - Law of Harmonic Vibrations**
**8.22 - Law of Harmonic Pitch**
**Additive and Subtractive Synthesis**
**arithmetic progression**
**arithmetical progression**
**Dissolution**
**Evolution**
**Fibonacci Relationships**
**Fibonacci Series**
**Fractal**
**Genesis of the Scale**
**Geometric Progression**
**Golden Section**
**Growth**
**harmonic progression**
**Harmonic Series**
**Harmonic**
**Law of Harmonic Pitch**
**Law of Harmonic Vibrations**
**Life**
**Medu-Neter**
**Motion**
**Movement**
**musical progression**
**Neter**
**Overtone Series**
**Overtone**
**PHI**
**progression of adjacencies**
**progression of keys**
**Progression**
**Progressive Evolution**
**Progressive Science**
**Ramsay - PLATE II - The Genesis**
**Square Law**