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Harmony

Harmony

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Keely
"Harmony is the simultaneous vibration of two or more bodies whose harmonics do not produce discords, and whose fundamental pitches are harmonies of the lowest pitch, or are a unison with the resultant notes or overtones, or undertones, of any two or more of them." [Keely]

All abnormal discordant aggregations in these resonating convolutions produce differentiation to concordant transmission; and according as these differentiations exist in volume, so the transmissions are discordantly transferred, producing antagonism to pure physical action. Thus, in motor ataxy, a differentiation of the minor thirds of the posterior parietal lobule produces the same condition between the retractors and extendors of the leg and foot, and thus the control of the proper movements is lost through this differentiation. The same truth can be universally applied to any of the cerebral convolutions that are in a state of differential harmony to the mass of immediate cerebral surroundings. Taking the cerebral condition of the whole mass as one, it is subservient to one general head centre; although as many neutrals are represented as there are convolutions. The introductory minors are controlled by the molecular; the next progressive third by the atomic; and the high third by the etheric. All these progressive links have their positive, negative, and neutral position. When we take into consideration the structural condition of the human brain, we ought not to be bewildered by the infinite variety of its sympathetic impulses, inasmuch as it unerringly proves the true philosophy that the mass-chords of such structures are governed by vibratory etheric flows. There is no structure whatever - animal, vegetable, or mineral - that is not built up from the cosmic ether. Certain orders of attractive vibration produce certain orders of structure; thus the infinite variety of effects; more especially in the cerebral organs. Discordance cannot exist in the molecule proper. Discordance in any mass is the result of differentiated groups induced by antagonistic chords, and any differentiated mass can be brought to a condition of harmony or equation by proper chord media, and an equated sympathy produced whether the mass be metal or brain. [Vibratory Physics - The Connecting Link between Mind and Matter]

"Harmony is health. Discord is disease." [Keely]

WHAT KEELY MEANS BY "SYMPATHETIC FLOWS"

The action of Nature's sympathetic flows regulates the differential oscillatory range of motion of the planetary masses as regards their approach toward and recession from each other. These flows may also be compared to the flow of the magnet which permeates the field, existing between the molecules themselves, sensitising the combined neutral centres of the molecules without disturbing, in the least, the visible molecular mass itself. In the planetary masses - balanced as it were in the scales of universal space, floating like soap-bubbles in a field of atmospheric air, the concentration of these sympathetic streams evolves the universal power which moves them in their oscillating range of motion to and from each other. This sympathetic triple stream focalises and defocalises on the neutrals of all such masses polarising and depolarising, positive and negative action, planetary rotation, etc., etc.. It is thus that all the conditions governing light, heat, life, vegetation, motion, are all derived from the velocity of the positive and negative interchange of celestial sympathy with the terrestrial.

Every harmonious condition of Nature's evolutions is governed by one incontrovertible law; that of concordant assimilative harmony. This concordant key is the ruling one over all the antagonistic, negative, discordant ones; the one that diverts the disturbance of sympathetic equilibrium to one general concentrative centre for redistribution. Harmony concentrates, Harmony distributes. The focalising point of concordant sympathetic concentration is the percussive electric field, where the velocity of its sympathetic streams rebounds with a power that throws them far out into universal space; and so far beyond their equative centre of equilibrium, as to bring them in sympathy with the universal attraction of the combined neutral centres of all planetary masses. KEELY. [True Science]

"In setting the conditions of molecular sympathetic transmission by wire," writes Keely, "the same law calls for the harmonious adjustment of the thirds, to produce a non-intermittent flow of sympathy. Intermission means failure here. That differential molecular volume is required of sympathetic flow, seems at first sight to controvert the very law established by the great Creator, which constitutes harmony, a paradoxical position which has heretofore misled physicists who have propounded and set forth most erroneous doctrines, because they have accepted the introductory conditions, discarding their sympathetic surroundings. The volume of the neutral center of the earth is of no more magnitude than the one of a molecule, the sympathetic condition of one can be reached in the same time as the other by its coincident chord." Keely has ... attained the transmission of the etheric current in the same manner as the electric current with this one notable difference, that, in order to show insulation to the skeptical, he passes the etheric current, through blocks of glass in running his vibratory devices." [JOHN ERNST WORRELL KEELY]

Quimby


"Discord is disease; harmony is health and every person starts from one or the other of these two bases. The word truth is applied to both, but if there was not any discord, there would be no need of harmony, for before there was discord all was quiet. So that it is a truth that there is such a state as discord in the mind, but the discord is in us and not in the thing spoken of. The discord is not in the tune but in those that hear it, for if there were no one to hear it, there would be no discord." [Quimby]

Cayce
"For the joy of living, in an material experience, is dependent upon the peace of mind - not indolence but activative peace, activative harmony. Though the entity has seen and has known and touched much dis-harmony; the desire for harmony reaches almost to that which is sought by the musician, in bringing about the arousal of the emotions ... which answer to the chords within the body; whether in movements of the dance, or arousal of emotions for the celestial or terrestrial activity in the emotions." [Cayce (880-1)]

"Know that all comes to him who puts his trust in the all-powerful influence of love and harmony, the real poem of life, and then works like thunder for same!" [Cayce (2337-1)]


"Do you know that our soul is composed of harmony?" [Leonardo da Vinci]


Christ Returns - Speaks His Truth
"I was brought to a realization of the INFINITE POWER of the 'Intelligent Creativity' ever active within creation, maintaining order, co-operation, harmony, daily productivity, unequalled by man anywhere, at any time." [Christ Returns - Speaks His Truth, Letter 1, page 15]

"Creation is the product of PRIMARY IMPULSES working individually and together - making impressions upon the other, fulfilling inbuilt needs imprinted within consciousness - these needs being, at the outset to increase and experience self-expression leading to further separation then - to restore a sense of inner security and comfort - to be re-united within the harmony of UNIVERSAL CONSCIOUSNESS. Out of this driving force for a re-united harmony of being, came the male-female drive for re-union to recapture the bliss which is buried in the soul consciousness." [Christ Returns - Speaks His Truth, Letter 5, page 23]

The face of BONDING drags, draws, attracts, demands, pulls, buys, grabs, clutches, clings to the people and possessions it craves. This IMPULSE creates an illusion of security in togetherness and possessions. It is the 'tool' of 'MOTHER CONSCIOUSNESS' inspiring the building of families, communities and nations. It can be productive of beauty, joy, harmony and love. It can also wreck lives and destroy communities when it is 'Ego' driven. The face of REJECTION repels, thrusts aside, pushes away, evades, everything - people, animals, possessions it does not want. Thus the IMPULSE of REJECTION creates an illusion of privacy and security. [Christ Returns - Speaks His Truth, Letter 5, page 25]


Mary Baker Eddy
"Harmony is produced by its Principle, is controlled by it and abides with it. Divine Principle is the Life of man. Man's happiness is not, therefore, at the disposal of physical sense. Truth is not contaminated by error. Harmony in man is as beautiful as in music, and discord is unnatural, unreal.

"The science of music governs tones. If mortals caught harmony through material sense, they would lose harmony, if time or accident robbed them of material sense. To be master of chords and discords, the science of music must be understood. Left to the decisions of material sense, music is liable to be misapprehended and lost in confusion. So man, not understanding the Science of being, - thrusting aside his divine Principle as incomprehensible, - is abandoned to conjectures, left in the hands of ignorance, placed at the disposal of illusions, subjected to material sense which is discord. A discontented, discordant mortal is no more a man than discord is music." [Mary Baker Eddy; Science and Health with Key to the Scriptures. 1971]


R. A. Schwaller de Lubicz
"Proportion belongs to geometry and harmony, measurement to the object and to arithmetic; and one necessitates the other. Proportion is the comparison of sizes; harmony is the relationship to measures; geometry is the function of numbers." [R. A. Schwaller de Lubicz, The Temple in Man, page 61]

"In fact, each of these individual members of the vegetable kingdom belongs to a genus, and this genus to a family; and these families belong to an original "lineage." At the head of this lineage is a Neter, a "Principle" synthesizing all the characteristics of this lineage; its number, its rhythm, its classification in the general harmony." [R. A. Schwaller de Lubicz, The Temple in Man, page 63]


Lydian Chromatic Concept
"The notion of chord/scale unity as the logical approach to the vertical manifestation of harmony was simply overlooked by classical Western theorists. The understanding that the term HARMONY means UNITY, and already complete VERTICAL ONENESS of elements existing in the momentary NOW above time was either missed or dismissed by the founding fathers of Western classical music theory." [Lydian Chromatic Concept, p. 222]


Blavatsky
"Harmony is the law of life, discord its shadow; whence springs suffering, the teacher, the awakener of consciousness." [Blavatsky's Gem of the Day]


Ramsay
"Since Savart and Chladni and Helmholtz and Tyndal, and others, have studied the notes of our diatonic scale by the aid of such instruments as mechanical art has put into the hands of science in these last days, we have come to have a much more perfect understanding of music in its acoustical domain, and have been given to behold the beautiful mathematical measurements which Nature has applied in the marshalling of this host of the lower heavens; and which may suggest similar, though grander, and probably more complicated rhythms and harmonies in the astral heavens far off." [Scientific Basis and Build of Music, page 21]

"centrifugal force. A third note produced by the prime 5 is derived from the note produced by the first power of 3, and this note by the first power of 5 having being slightly acted on by the force of gravity, and the first power of 5 having only a little centrifugal force, the result is that this note E in the scale of C, derived from the first power of 3 by the prime 5, is balanced between the two forces. It is the only note in the system which in the octave scale has not a large interval on the one side of it nor on the other, and consequently it is the only note which attracts and is attracted by two notes from proximity. Thus it is that the musical system is composed of three notes having specific gravity and three having specific levity or bouyancy, and one note, E, the center of the tonic chord, balanced between these two forces. As the attractions of notes from proximity take place when the notes with downward tendency meet the note with upward tendency, had the notes been animated by only one of these forces there could have been no system of resolutions of the notes either in melody or harmony; they would all have been by gravity weighing it downwards, or by levity soaring upwards." [Scientific Basis and Build of Music, page 28]

The law of gravitation is the law of Music as well as of Astronomy. The cycles of the distances, that is the intervals, in Music correspond to the cycles of the periods in Astronomy. In Astronomy the distances and quantities of matter are primary, and determine the periods; in Music the periods and quantities are primary, and determine the distances or intervals. In Astronomy the distances are commensurable; in Music the periods are commensurable. In Astronomy the periods are incommensurable; in Music the distances or intervals are incommensurable. In Astronomy, because the simplicity is not in the periods, the conjunctions are very few at one time; in Music, because the simplicity is in the periods, the conjunctions are very many at one time. And herein lies in the one case the harmony and permanence of the solar system, and in the other case the harmony and beauty of the musical system. The periods and distances in Astronomy and Music are inversely related. [Scientific Basis and Build of Music, page 30]

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]

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]

Moreover, it is only from one to five, that is from C to G in ascending, which is its proper direction in the genesis, that the major in being harmonized does not admit of minor chords, but if we descend this same natural major scale of the fifth from five to one, that is from G to C, the first chord is C E G; the next chord is F A C; if this is succeeded by the minor chord A C E, there are two notes in common and one semitonic progression, as very facile step in harmony; and the following two notes are most naturally harmonized as minor chords. So modulation into the minor, even in this major scale, is very easy in descending, which is the proper direction of the minor genesis.2 In a similar way, it is only from five to one, that is from E to A in descending, which is its proper genetic direction, that the minor in being harmonized does not admit of major chords; but if we ascend this same minor scale of the fifth from one to five, the first chord is A C E, the next is E G B, and if this chord be followed by the major C E G, there are here again two notes in common and one semitonic progression; and the two notes following are then most naturally harmonized as major chords. So modulation into the major, even in this minor scale, is very natural and easy in ascending, which is the proper direction of the major genesis.3 The dominant minor and the tonic major are, like the subdominant major and the tonic minor, very intimately related in having two notes in common and one semitonic progression. [Scientific Basis and Build of Music, page 65]

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]

Chords in a harmony are not at liberty to succeed each other in the way that single notes in a melody may. The notes in a melody may succeed in seconds, or they may succeed in larger intervals, any interval in the octave, even sometimes very effectively there may be a leap or fall of a whole octave. Chords cannot follow each other in this free way; they are under law, and must succeed accordingly. Their law is that they must be linked together either by having something in common in their elements, or have small intervals, semitonic progressions, between them. The former way, by notes in common, is the most usual way in diatonic succession of chords, the latter way, by semitonic progression, is a chief feature and charm in chromatic succession; but both in diatonic and chromatic progression of chords in harmony, notes in common and semitonic progression are usually found together. [Scientific Basis and Build of Music, page 68]

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]

Helmholtz falls into a mistake when he says- "The system of scales and modes, and all the network of harmony founded on them, do not seem to rest on any immutable laws of Nature, but are due to the aesthetical principle which is constantly subject to change, according to the progressive development of taste." It is true, indeed, that the ear is the last judge; but the ear is to judge something which it does not create, but simply judges. Nature is the maker of music in its scales and modes. The styles of composition may vary with successive generations, and in the different nations of men; but the scientific basis of music is another thing. It is a thing, belonging to the aesthetic element of our being and our environment; it is under the idea of the beautiful, rather than the idea of the useful or the just; but all these various aspects of our relation to creation have their laws which underlie whatever changes may be fashionable at any period in our practice. If the clang-farbe of a musical tone, that is, its quality or timbre, depends on the number and comparative strength of the partial tones or harmonics of which it is composed, and this is considered to be the great discovery of Helmholtz, it cannot be that the scales and modes are at the caprice of the fickle and varied taste of times and individuals, for these partials are under Nature's mathematical usages, and quite beyond any taste for man's to change. It is these very partials or harmonics brought fully into view as a system, and they lead us back and back till they have brought us to the great all-prevading law of gravitation; it is these very partials, which clothe as an audible halo every musical sound, which constitute the musical system of sounds. [Scientific Basis and Build of Music, page 78]

circumstances. And if we may add D to the subdominant chord of d F A C, so we may also, in other circumstances, add the subdominant chord as harmony to D, thus - D f a c, and no discord occur. There is only the interval of a second between F and G in this dominant 9th, and only an interval of a second between C and D in this subdominant 6th; a second standing alone is a discordant interval, as a poison by itself may kill; but as a poison by the processes of nature in chemistry compounded with something else may be an excellent medicine, so may a second when mixed and compounded with something else in music become an excellent harmony. Music is a great apothecary, skillful in compounds. [Scientific Basis and Build of Music, page 81]

See Also


Affinity
Attraction
Balance
Bells Inequality
Bjerknes Effect
Concord
Concordance
Depolar
enharmonic third
equilibrium
Figure 9.18 - Harmonized Motions
Figure 9.19 - Enharmonized Motions
Full Harmonic Chord
harmonic attractive chord
harmonic circles
harmonic current
harmonic scale
Harmonic Series
Harmonic
harmonicity
harmonics
Harmonies of Tones and Colours
harmonious
harmonium
harmonization
Harmonograph
harmony of the spheres
Helmholtz Subharmonic Series
inharmonic
inharmony
key of harmony
Kepler Theory of Harmony
Latent
Law of Attraction
Law of Harmonic Attraction and Repulsion
Law of Harmonic Pitch
Law of Harmonic Relationship
Law of Harmonic Vibrations
Law of Harmony
Love
Order
organic harmony
polar harmonic current
Poles in Harmonies
Power of Beat Harmonics
Quantum Entanglement
Scalar
superharmonic
Sympathetic Oscillation
Sympathetic Vibration
Sympathy
synchronicity
Syntropy
Table of Plate Harmonics and Intervals
Tertian harmony
Unison
Vibrating Rod Harmonics
8.17 - Law of Harmonic Vibrations
8.22 - Law of Harmonic Pitch

Created by Dale Pond. Last Modification: Wednesday November 25, 2020 05:36:59 MST by Dale Pond.