"Keely has discovered and was the first to demonstrate that electricity has never been handled; that it is not merely a force or a form of energy, - that it is matter; and that what we call electricity, and have diverted for commercial use in electric lighting, is but one of the triune currents, harmonic, enharmonic, and diatonic, which are united in pure electricity; that the enharmonic current seems to be sympathetically and mysteriously associated with the dominant current; and that the dominant current can no more be brought under control than can the lightning itself. The diversion of the dominant current would mean destruction to any mechanical medium used for that purpose, and death to the operator. The intense heat evolved by the electric stream Keely attributes to the velocity of the triple subdivision at the point of dispersion, as each triple seeks its medium of affinity. Sudden unition induces the same effect; but demonstration shows that the concentration of this triple force is as free of percussion as is the breath of an infant against the atmosphere; for the three currents flow together as in one stream, in the mildest sympathetic way, while their discharge after concentration is, in comparison to their accumulation, as the tornado's force to the waft of the butterfly's wing. The enharmonic current of this triple stream, Keely thinks, carries with it the power of propulsion that induces disturbance of negative equilibrium; which disturbance is essential to the co-ordination of its flow, in completing the triune stream of electricity. When this fluid is discharged from the clouds, each triplet or third seeks its terrestrial concordant, there to remain until that supreme law which governs disturbance of equilibrium again induces sympathetic concordant concentration, continuing to pass through its evolutions, positively and negatively, until the solar forces are expended." [Keelys Contributions to Science]

"Life begets life; the celestial life begets the terrestrial life; the God-life begets the man-life. Celestial Radiation is the pure soul of all matter, both earthy and gaseous. Thus we are linked in all our environments to the divine, our cerebral aggregations being the highest medium whereby celestial sympathetic reflection associates with our organisms, and is our only source of knowledge of ourselves. We have, with our mental and physical forces, a duality of action which, when combined with the celestial, makes up the triplet or trinity. With the mental, the superficial visible, or outward sight; with the inward, or spiritual invisible, we have the spiritual link connecting mind and matter, the order of transfer being:

"First. Celestial Radiation, or etheric.

"Second. Mental impregnation, or interatomic.

"Third. Physical movements, or intermolecular.

"Or again:

"Ninths. Sympathetic transfer from the celestial luminous.

"Sixths. Sympathetic impregnation of matter.

"Thirds. Physical movements." [Newton of the Mind]

MUSIC: Three single-frequency tones or sounds sounded simultaneously. See also Triad, Chord

Three acting in concert, concord, harmony or as one. See Sympathetic Vibration, Sympathetic Oscillation, Divine Trinity, rotating envelope

Diagram 1

Triple Cardinal Directions, Vectors or Dimensions
Three Vectors
(click to enlarge)
Triple Cardinal Directions, Vectors or Dimensions
Three Planes
(click to enlarge)
Triple Cardinal Directions, Vectors or Dimensions
Three Spheres
(click to enlarge)

Figure 4.13 - Triplet Originations and Centralizations of Matter resultant from Three Relative Motions, Planes and Axis

See Also

velocity of rotating etheric stream

Rotating Triplets Animation
Figure 7B.06 - Rotating Triplets Animation
Showing Rotation on Three Planes

Three Rotating Bodies on Three Planes

"The modest statement that "one sound contains three different sounds" has been disputed on the ground that "a simple vibration is surely a most possible thing, and therefore also a simple sound." There are no simple effects in Nature. Gravity gradually retards a rising body, and accelerates a falling body; an inclined plane is a diminished falling body; a pendulum is an interrupted inclined plane; and a musical string vibrating is a double compound pendulum, having its center of oscillation and velocity acting spontaneously and simultaneously on each side of the center of gravity.
Another objection to a sound being made up of different sounds was that "these sounds would beget other sounds, and this would go on ad infinitum. Thus a musical note should consist at once of every possible sound; and yet we know that this would be a jarring noise." It did not occur to these objectors that as Nature mixes her chemical elements in very various proportions, and adapts them to our constitutions and our wants, she could likewise mix her musical elements in such proportion as not to offend our ears." [Scientific Basis and Build of Music, page 18]

The common chord is a group of notes which come together by generic affinity, much like the chemical combinations of our system of atoms. The common chord is a triplet, and in the progression from one chord to another these triplets have always something in common; by the law of continuity one of the notes of the chord first is also found in chord second; and chord second also finds one of its notes in chord third. This is the way Nature gives them to us [Scientific Basis and Build of Music, page 48]

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]

The triplet B, D, F, has been called the imperfect triad, because in it the two diatonic semitones, B-C and E-F, and the two minor thirds which they constitute, come together in this so-called imperfect fifth. But instead of deserving any name indicating imperfection, this most interesting triad is the Diatonic germ of the chromatic chord, and of the chromatic system of chords. Place this triad to precede the tonic chord of the key of C major, and there are two semitonic progressions. Place it to precede the tonic chord of the key of F# major, and there are three semitonic progressions. Again, if we place it to precede the tonic chord of the key of A minor, there are two semitonic progressions; but make it precede the tonic chord of E♭ minor, and there are three semitonic progressions. This shows that the chromatic chord has its germ in, and its outgrowth from the so-called "natural notes," that is notes without flats or sharps, notes with white keys; and that these natural notes furnish, with only the addition of either A♭ from the major scale or G# from the minor, a full chromatic chord for one major and one minor chord, and a secondary chromatic chord for one more in each mode. [Scientific Basis and Build of Music, page 52]

In going round the circuit of the common chords of the major and its relative minor, and beginning our circuit with the minor, we encounter a triplet,2 differing from all the rest in its constituents, thus -


Here we have passed through minor and major from D to D, and seem to have come to the point from which we started; but we know that these two D's are [Scientific Basis and Build of Music, page 53]

"Triplet means in this usage simply three notes without regard to time." [Scientific Basis and Build of Music, page 53]

not mathematically identical, the genetic number of the last D, the top of the dominant major, being 27, and that of the first D, the root of the subdominant minor, being 26 2/3. Well, in the triplets of the minor we have minor thirds below their middles, D-F, A-C, E-G. In the triplets of the major we have minor thirds above their middles, A-C, E-G, B-D. But here between the triplets of the two modes we have a triplet which has minor third both below and above its middle note, two minor thirds and nothing else, B-D-F. Here, then, the Diatonic progression chords presents us with a 3-note Chromatic chord, and marchals us the way that we must go to find [Scientific Basis and Build of Music, page 54]

Helmholtz's experiments on developing colours shown to agree with the scheme
—The sounds of the Falls of Niagara are in triplets or trinities
—The Arabian system divides tones into thirds
—Two trinities springing from unity apparently the germ of never-ending developments in tones and colours
—Inequality of the equinoctial points; is the want of equilibrium the motive power of the entire universe?
—The double tones of keyed instruments, the meetings by fifths, the major and minor keys, so agree with the development of colours, that a correct eye would detect errors in a piece of coloured music
Numbers not entered upon, but develope by the same laws
Bass notes omitted in order to simplify the scheme, 18 [Harmonies of Tones and Colours, Table of Contents2 - Harmonies]

The development into triplets or trinities has been especially remarked in the harmony caused by the falls of Niagara.* "A remarkable peculiarity in the Arabian system of music is the division of tones into thirds. I have heard Egyptian musicians urge against the European systems of music that they are deficient in the number of sounds. These small and delicate gradations of sound give a peculiar softness to the performances of the Arab musicians." [Harmonies of Tones and Colours, The Arabian System of Music, page 21]

See Also

13.06 - Triple Currents of Electricity
13.11 - Triple Currents and Streams
14.35 - Teslas 3 6 and 9
14.36 - Triple Equations
16.29 - Triple Currents of Electricity
4.1 - Triple Vectors
4.2 - Triple Vectors and Rotation
4.5 - Triple Rotary or Vortex Motions
4.9 - Triple Contractive Motions
6.0.5 - Space seen as Constructive Cubes
6.10 - Nineness of Cubes
6.11 - Neutral Cubes
6.12 - Corner and Face Cubes
6.14 - Sphere and Cube
6.14.1 - Mirror Cube
6.2 - Development of Cubes
6.5 - Cubes divide into six tetrahedrons
6.6 - Cube Corner Retroreflectors
6.7.5 - Compound Cubes
7B.02 - Three Forces in Harmony
7B.04 - Triplets Form Larger Units of Unity
7B.05 - Rotating Triplets
atomic triplet
atomic triplets
binary triplet
clustered thirds
cold cube of space
common chord
Constructive Cubes
Corner Cube Prisms
Corner Cube Retro-Reflectors
Corner cube retroreflectors
Cube Matrix
cube mirrors of space
cube ratio
Cube Root
cube section
Cube Sphere
cube wave
cube wave-field of zero curvature
diatonic triplet
Divine Trinity
Dynaspheric Force
Figure 13.08 - Triple Streams of Electricity
Figure 14.03 - A section from one of Keelys charts showing his generous use of Triplets
Figure 14.12 - Triple Equations to Represent a Single Sympathetic Event
Figure 16.09 - Triple Streams of Electricity
Figure 2.10 - Triple Dual Vectors - In Rotary Motion
Figure 4.1 - Triple Cardinal Directions Vectors or Dimensions
Figure 4.13 - Triplet Originations and Centralizations of Matter
Figure 4.14 - Feynmans Triplet Structures of the Proton and Neutron
Figure 4.3 - Single Mode Electric Vector Generating Circular Motion also Shown within Triple Vectors
Figure 4.4 - Triple Vectors in Orthogonal Motions
Figure 4.6 - Triple Vectors in Motion on Triple Planes
Figure 4.7 - Triple Planes and Polar Vectors of Motion
Figure 4.8 - Triple Polar Rotations In and Out
Figure 6.14 - Triple Three Cubes
Figure 6.15 - The Neutral Cube
Figure 6.16 - Juxtaposed Corner Cubes
Figure 6.17 - Areas and Volumes - Relations and Proportions
Figure 6.19 - Sphere to Cube - Relations and Proportions
Figure 6.4 - Triple Interior Planes
Figure 6.5 - Triple Planes - May Underlay some Sacred Geometry or Religious Concepts
Figure 6.6 - Russells Multiple Views of Tripleness
Figure 7.3 - Step 3 - Sphere Forms Orthogonally Triple Compressing Shell Layers
Figure 7.6 - Keelys Triune Morphology
Figure 7B.05 - Triplet Forming a Unity
Figure 7B.06 - Rotating Triplets Animation
Figure 7B.09 - Feynmans Triplet Structure of Photon
Figure 7B.15 - Triple Planes relative to Center
Figure 9.8 - Triple Centers
Inverse Square Law
Magnetic cube of zero curvature
Musical Triplet
note in common
Part 06 - Formation of Cubes
Polar Interchange - Part I
prime 2
prime 3
Propositions of Astronomy
Quadrature of the Circle to see significance of 5153 and 6561
Ramsay - Materials of the Chromatic System
Rhythmic Balanced Interchange
rotating envelope
Russell Cube
sphere is a compressed cube
Square Law
sympathetic triplet
Table 12.01 - The Divine Trinity
Table 12.02 - Length Area and Volume Math
Table 13.02 - Vibratory and Oscillatory Triple Force Functions
three chords of three notes
Three Main Parts of a Wave
three times three chord
Triple Triplet Flows
Triple Triplet
Triplet Attraction
Triplet Rotation
Triplet Swirl
Wave Field
Quadrature of the Circle book, to see significance of 5153 and 6561

Created by Dale Pond. Last Modification: Thursday November 11, 2021 11:21:18 MST by Dale Pond.