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Law of Duality

"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 Laws of Ratios 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." [Laws of Music]

"There are joinings, however, though at a wider 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, D 26.666, 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; these unjoined ends reach away till at three fifths below F, namely Ab, and at three fifths above B, namely G#, they come in touch of each other like the two D's. When thus three fifths below F major and three fifths above B minor have been developed, the extremes Ab and G# though standing like the two D's in duality, are so near there here again one note can be made to serve for 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." [Laws of Music]

Ramsay
"While Mr. Ramsay was meditating on these teachings of the great mathematician, Euler, and studying these notes and their vibrations, he was led to discover that the order of quantities above F, when taken below B, constitutes the Minor System. This was the discovery of the Law of Duality in Music. This Law of Duality in Mr. Ramsay's hands asserts an importance not second even to the Law of Mathematical Ratios which rules in the genesis of the notes." [Scientific Basis and Build of Music, page 8]

"..partake of the law of Duality. There are two vibrations going on at the same time." [Scientific Basis and Build of Music, page 24]

"The perfect character of a musical sound is the result of the harmonious workings of the vibrations of the "perfectly elastic" air with the perfectly elastic string. The forces which act on the air and string being proportional to the distances passed through, makes the times of the vibrations equal,1 and the pitch of the sound the same throughout. These varied forces and distances, with the equal times of the vibrations, and with the simultaneous compressions and expansions of the air and string, are all according to the universal laws of Continuity and Duality. [Scientific Basis and Build of Music, page 24]

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]

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]

THE LAW OF DUALITY

"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]

It runs in all the polarities of Nature. Music, as belonging to Nature - as one of the things which the Great Numberer hath created - is under this Law of Duality as well as that of mathematical ratios and other laws. The Law of Duality in music gives the major and minor systems. As the major is derived from certain primes in ratios ascending, and the minor from the same primes in the same ratios descending, they are inversely related; and these diatonic scales have in the responding parts exactly the same quantities. But as multiplying by 3 three times gives the framework of the major system in the ascending genesis, and dividing by 3 three times gives the framework of the minor system in the descending genesis. They are in this view also directly related. The Law of Duality in music emerges into view from the genesis [Scientific Basis and Build of Music, page 42]

The specific levity of notes increases in proportion to the number of times the ratios are multiplied in order to produce them, going upward by sharps; and their specific gravity increase in proportion to the number of times the ratios are divided in order to produce them, going downward by flats. The knowledge of this is attained when everything is in its perfect order. It is the discovery of the Law of Duality in music which shows the method of applying the ascending and the descending ratios so as to exhibit that perfect order of Nature. [Scientific Basis and Build of Music, page 43]

It is according to the Law of Duality that the keys on the piano have the same order above and below D, and above and below G# and A♭, which is one note. In these two places the dual notes are given by the same key; but in every other case in which the notes are dual, the order above the one and below the other is the same. The black keys conform to the scale, and the fingering conforms to the black keys. On that account in the major scale with flats, for the right hand the thumb is always on F and C; and as the duals of F and C are B and E in the minor scale with sharps, for the left hand thumb is always on B and E. [Scientific Basis and Build of Music, page 44]

There is nothing too small or remote to get beyond the reach of the Law of Duality; it follows the major and minor scales through all their inverse and reciprocal progressions, and by-and-by it appears at the extremity of complex music in the shape of inverse fugue. [Scientific Basis and Build of Music, page 44]

It is in their inverse relations that the major and the minor are equal. Every note, chord, and progression in the one has its reciprocal or corresponding note, chord, and progression in the other. This is the Law of Duality. And this general law of Nature is so deeply rooted in music, that is the numbers which represent the vibrations in the major system be made to represent quantities of string, these quantities will produce the minor system (beginning, of course, with the proper notes and numbers); so that when the quantities are minor the tones are major, and when the quantities are major the tones are minor.1 [Scientific Basis and Build of Music, page 44]

Such is the economy of Nature, that from one system of proportions employed in two ways - in the one case as periods of vibrations, and in the other case as quantities of strings - everything in music is derived. The numbers which are the periods in the one are the numbers which are the quantities in the other. And abundantly throughout Creation reigneth the Law of Duality, which thus reigneth here in this region of most perfect response.2 [Scientific Basis and Build of Music, page 44]

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]

The various raisings and lowerings of notes in advancing keys, major and minor. - In each fifth of the majors ascending the top of the dominant is raised a comma. A40 in the key of C becomes A40 1/2 in the key of G; E60 in the scale of G is E60 3/4 in the scale of D; B90 in the scale of D is B91 1/8 in the scale of A. This alteration of the top of the dominant major goes on through all the twelve scales. Similarly, by the Law of Duality, each fifth in the minors descending has the root of the subdominant lowered a comma. D54 in the key of E minor is D53 1/2 in the key of A; G72 in the scale of A is G71 1/9 in the scale of D; C48 in the scale of D is C47 11/27 in the scale of G. This alteration of the root of the subdominant goes on through all the twelve minor scales. [Scientific Basis and Build of Music, page 62]

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]

lastly it is altered again and becomes, by the power of 3 once more, F#,#, and serves in four keys. But this carries us beyond the horizon of our musical world of twelve keys; for in B#, the top of the tonic E, we have reached our twelfth fifth, and it here coalesces with C of the seventh octave, and closes the circle. This is the way that all notes become alternately altered, either by commas and sharps in the upward genesis of scales, or by commas and flats in the downward genesis, by the alternate powers of 3 and 5. In the upward genesis in this illustration, notes by the power of 5 serve in three keys, and those by the power of 3 serve in four keys. In the minors it is just the inverse on this by the Law of Duality. But no note serves for more than either three or four keys, as the case may be. [Scientific Basis and Build of Music, page 63]

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]

All the inverse and reciprocal orders in music, whether of notes or chords, are produced by the law of Duality, and this gives them inevitably their symmetrical form. [Scientific Basis and Build of Music, page 79]

See Also


11.22 - Reciprocality of Dimensions and Music Intervals
12.00 - Reciprocating Proportionality
13.14 - Principle of Reciprocity
13.18 - Naturaly Occuring Reciprocity and Proportionality
13.20 - Principle of Reciprocity
2.24 - The Duality of One
3.12 - Reciprocating Duality
3.13 - Reciprocals and Proportions of Motions and Substance
6.1 - Reciprocal Radiations
7.3 - Law of Love - Reciprocal Interchange of State on Multiple Subdivisions
7.6 - Reciprocal Disintegration and Creation
7.7 - Reciprocal States of Matter and Energy
Akasa - Ether: The First Duality - Part II
Akasa - Ether: The First Duality
Balance
Chapter XI - Dynamic Individuality
Duality Spiral
Duality
Father-Mother
female
feminine
Figure 12.13 - Some Multi-Dimensional as Inverse and Direct Reciprocal Relationships
Figure 13.14 - Equilibrium as Reciprocal Forces
Figure 2.12.1 - Polarity or Duality
Figure 2.8 - Alchemists Artwork showing duality or Polar States
Figure 3.10 - Temperature Accumulates in the North and Cools in the South Reciprocally
Figure 3.36 - Contracting and Expanding Duality
Figure 7.5 - Triune Composition of Dualities of Matter and Energy
inverse chirp z-transform
inverse fugue
inverse process
inverse progression
inverse relations
Inverse Square Law
inversion
Law of Polarity
List of Synonyms for Polarity or Duality
Male
masculine
mate-pairs
Multiplicative inverse
Newton Third Law of Motion
Non-Duality
One Balanced Whole and Two Reciprocating Dynamics
Ramsay - Nature's Inverse Process for the Minor Genesis
Ramsay - PLATE XXIX - Illustrations of the operations of DUALITY in various spheres
Ramsay - Ramsay and Euler - Discovery of the Law of Duality
Ramsay - CHAPTER VI - TREATISE ON THE CHROMATIC SYSTEM
reciprocal progression
reciprocal
Reciprocating Duality
Reciprocating Proportionality
reciprocation
Reciprocity
Rotation and Revolution are Reciprocals
sex
Table of Cause and Effect Dualities
TWIN IMPULSES OF INDIVIDUALITY

Created by dale. Last Modification: Monday November 23, 2020 04:48:51 MST by Dale Pond.