In all molecular dissociation or disintegration of both simple and compound elements, whether gaseous or solid, a stream of vibratory antagonistic thirds, sixths, or ninths, on their chord mass will compel progressive subdivisions. In the disintegration of water the instrument is set on thirds, sixths, and ninths, to get the best effects. These triple conditions are focalized on the neutral center of said instrument so as to induce perfect harmony or concordance to the chord note of the mass chord of the instruments full combination, after which the diatonic and the enharmonic scale located at the top of the instrument, or ring, is thoroughly harmonized with the scale of ninths which is placed at the base of the vibratory transmitter with the telephone head. The next step is to disturb the harmony on the concentrative thirds, between the transmitter and the disintegrator. This is done by rotating the siren so as to induce a sympathetic communication along the nodal transmitter, or wire, that associates the two instruments. When the note of the siren becomes concordant to the neutral center of the disintegrator, the highest order of sympathetic communication is established. It is now necessary to operate the transferable vibratory negatizer or negative accelerator, which is seated in the center of the diatonic and enharmonic ring, at the top of the disintegrator, and complete disintegration will follow (from the antagonisms induced on the concordants by said adjunct) in triple progression, thus: First thirds: Molecular dissociation resolving the water into a gaseous compound of hydrogen and oxygen. Second: sixths, resolving the hydrogen and oxygen into a new element by second order of dissociation, producing what I call low atomic ether. Third: ninths, the low atomic ether resolved into a new element, which I denominate high or second atomic harmonic. All these transmissions being simultaneous on the disturbance of sympathetic equilibrium by said negative accelerator. [Snell Manuscript - The Book, page 4]

together on radial lines from the center they appear grouped in various chords and combinations, dropping out and coming in in such succession as to constitute what Ramsay, whose genius was given to set this thus before us, calls "Nature's Grand Fugue." Beginning at F in the center at the top, and moving either to the right or to the left, after a run of 7 notes we have 4 consecutive Octaves, and then comes the Minor fifth, A-E, followed by the Major fifth, G-D; and this by another Major fifth, F-C; the combinations keep changing till at the quarter of the circle we come to F, A, C, E, G, a combination of the subdominant and tonic Major; and after another varied series of combinations we have at the half of the circle the elements of 2 minor chords, D, F, A and A, C, E, and one Major chord, C, E, G; at the third quarter we have a repetition of the first quarter group; and the various chords and combinations dropping out and coming in, fugue-like; finally we return to where we began, and end with the three-times-three chord, in which the whole 25 notes are struck together, and make that wondrous and restful close of this strange Fugue. No one can hear the thrice-threefold chord of this close and ever forget it; it is "the lost chord" found; and leads the saintly heart away to the Three in One who is the Lord of Hosts; Maker of Heaven and Earth, and all the host of them. [Scientific Basis and Build of Music, page 103]

The primitive laws of any science should be capable of succinct statement, but in combination with others they become more complex and delicate, and error is proved if in the developments they do not echo each other. If, therefore, musical harmonies are correctly gained, the same laws will develope harmonies of colour, and will agree with the colours of the rainbow, the circle of which is divided by the horizon. All who are interested in the laws which regulate these two sciences will doubtless know the interesting lectures delivered by W. F. Barrett (Professor of Experimental Physics in the Royal College of Science, Dublin), and the article written by him and published in the Quarterly Journal of Science, January, 1870, entitled "Light and Sound; an examination of their reputed analogy, showing the oneness of colour and music as a physical basis." I will quote shortly from the latter for the benefit of those who may not have met with it. "The question arises, Has all this æsthetic oneness of colour and music any physical foundation, over and above the general analogy we have so far traced between light and sound? We believe the following considerations will show, not only that it has some foundation, but that the analogy is far more wonderful than has hitherto been [Harmonies of Tones and Colours, On Colours as Developed by the same Laws as Musical Harmonies1, page 18]

"All theory must be founded on one great fact—harmony; for harmony is the chief beauty of two or more sounds heard together. There may be figure, schemata, and all other niceties of succession and combination; but if no harmony, the music is not beautiful. It is dim, dull, and disagreeable." [Harmonies of Tones and Colours, Fragments from the Last Note-book, page 50]

See Also

first combination of the three primary ratios
first comparison and combination of motions
first comparison and combination of quantities
harmonic combination
Law of Molecular Synthesis and Combination - Organic
second combination of the three primary ratios
second comparison and combination of the three primary ratios
sympathetic mechanical combination
third combination of the three primary ratios
third comparison and combination of the three primary ratios
three combinations of the three primary ratios

Created by Dale Pond. Last Modification: Wednesday April 7, 2021 04:49:27 MDT by Dale Pond.