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Tone

Same as vibration, frequency.
MUSIC: One whole step. Same as a single pitch, sound or note but may also be a complex sound; i.e., composed of more than one single-frequency (multiple aliquot parts).

Keely
"In the image of man" Keely constructed his liberator. Not literally, but, as his vibrophone (for collecting the waves of sound and making each wave distinct from the other in tone when the "wave plate" is struck after the sound has died away) is constructed after the human ear so his liberator corresponds in its parts to the human head." [JOHN ERNST WORRELL KEELY]

Ramsay
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]

among the Greeks on account of having symmetry in itself. The primitive scale was doubtless that which is the model of all major music; and our minor model is its dual, as Ramsay has shown, which in its genesis indicates the duality of all the rest of the notes, although it is not probable that the Greeks saw the musical elements in this light. It is remarkable and significant that in their modes the Greeks did not lift up the scale of Nature into different pitches, preserving its model form as we do in our twelve major scales, but keeping the model form at one pitch they built up their symmetrical tetrachords, allowing the larger and lesser tones of the primitive scale to arrange themselves in every variety of place, as we have shown in the table of tetrachord modes above. Without seeing the genetic origin of music's duality they were led to arrange the modes by symmetry, which is one of the phases of duality. Symmetry is duality in practice. It may not always be apparent how symmetry originates in Nature; but in music, the art of the ear, duality emerges in the genesis of the minor scale; in the true mathematical build of the major on the root of the major subdominant F, and the true relation of the minor to it in the inverse genesis descending from the top of the minor dominant B. [Scientific Basis and Build of Music, page 46]

that Nature has done so.1 And in every new key into which we modulate Nature performs the same operation, till in the course of the twelve scales she has cut every greater note into two, and made the notes of the scale into twelve instead of seven. These we, as a matter of convenience, call semitones; though they are really as much tones as are the small intervals which Nature gave us in the genesis of the first scale between B-C and E-F. She only repeats the operation for every new key which she had performed at the very first. It is a new key, indeed, but exactly like the first. The 5 and 9 commas interval between E and G becomes a 9 and 5 comma interval; and this Nature does by the rule which rests in the ear, and is uttered in the obedient voice, and not by any mathematical authority from without. She cuts the 9-comma step F to G into two, and leaving 5 commas as the last interval of the new key of G, precisely as she had made 5 commas between B and C as the last interval of the key of C, she adds the other 4 commas to the 5-comma step E to F, which makes this second-last step a 9-comma step, precisely as she had made it in the key of C.2 [Scientific Basis and Build of Music, page 48]


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]


Russell
"Tone means sound. Mass accumulates all down the entire ten octaves; tone lowers from the highest note down the cosmic keyboard to the lowest." [Russell, The Universal One; Book 01 - Chapter 15 - The Formula of the Locked Potentials.]

Rudolf Steiner
Tone, however, is a direct expression of the will itself, without interpolation of the mental image. When man is artistically engaged with tone, he puts his ear to the very heart of nature itself.” [Rudolf Steiner]

See Also


Chord
Eighteen Attributes or Dimensions
Frequency
Interval
Laws of Being
Music
music note or sound colors
Note
Part 08 - What Vibration Is. - Part 1
Part 09 - What Vibration Is. - Part 2
Part 11 - SVP Music Model
Pitch
Progressive Evolution
Signature
Sound
Square Law
Vibration
12.40 - Color
12.42 - Tone

Created by Dale Pond. Last Modification: Sunday November 22, 2020 04:53:52 MST by Dale Pond.