true. Music is a network of orders, but three notes going to the root of the tonic does not happen to belong to any of them. [Scientific Basis and Build of Music, page 95]
     "The organic structure of music is formed by the three ratios of 1:2, 1:3, and 1:5, from the laws of quantities and motions; but as it is only the ratio of 1:2 that has a pure, unmixed, invariable character, and as the notes produced by the first, second, and third powers of THREE have different degrees of centrifugal force, and the character of the notes produced by the first power of FIVE depends on the character of the notes from which they are derived, so the final character of the 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 how these notes may be afterwards placed, like chemical elements, they never lose their original force.
     "The notes as they naturally arise from unity have different degrees of development, and according to the degree of development of each note is its specific levity or gravity. The three notes which form the subdominant chord have different degrees of gravity; the three which form the dominant chord have different degrees of levity. The remaining note is the center of the tonic chord -

              

- 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.
     "There are two distinct laws which rule in astronomy - viz., masses and distances; and there are two distinct laws which rule in music - affinities and proximities. The notes produced by simple ratios as 1:2, 2:3, 3:4, etc., are attracted to each other by the law of affinity; notes which are beside each other in the octave scale and have moderately complex ratios as 9:10 and 15:16, are attracted to each other by their proximities. F and C, and C and G, and G and D are related to each other by affinity. C is related to the fifth below and the fifth above; G is related to the fifth above and the fifth below. F and C, C and G, and G and D are never nearer to each other than a fifth or a fourth, and in either case they