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degree

noun: a position on a scale of intensity or amount or quality ("A moderate degree of intelligence")
noun: the seriousness of something (e.g., a burn or crime) ("Murder in the second degree")
noun: the highest power of a term or variable
noun: a measure for arcs and angles ("There are 360 degrees in a circle")
noun: a unit of temperature on a specified scale ("The game was played in spite of the 40-degree temperature")
noun: a specific identifiable position in a continuum or series or especially in a process ("A remarkable degree of frankness")


Keely
The individual molecules constantly oscillate through one third the molecular diameter, with a frequency of 20,000 per second. The range of oscillation inducted molecular substances by the same initial vibration differs in degree, which can be measured in substances and metals and expressed mathematically. This was actually so done in certain substances and metals by Keely, who called this mathematical ratio of frequency transmission the "coincident of transmission." [Snell Manuscript - the book, MOLECULAR AGGREGATES]

"The normal brain is like a harp of many strings strung to perfect harmony. The transmitting conditions being perfect, are ready, at any impulse, to induce pure sympathetic assimilation. The different strings represent the different ventricles and convolutions. The differentiations of any one from its true setting is fatal, to a certain degree, to the harmony of the whole combination. If the sympathetic condition of any physical organism carries a positive flow of 80 per cent on its whole combination, and a negative one of 20 per cent, it is the medium of perfect assimilation to one of the same ratio, if it is distributed under the same conditions to the mass of the other. If two masses of metal, of any shape whatever, are brought under perfect assimilation, to one another, their unition, when brought into contact, will be instant.'' [Keely and His Discoveries, Chapter 7] [Assimilation]


Schauberger
This explains why, for example, the hitherto incurable can suddenly be healed and the hitherto healthy can become incurably ill (e.g. suffer a stroke). It also explains the hitherto inexplicable effect of the water long known to the ancients as healing, or more correctly all-healing water, which 'specifically' densifies to the highest degree. Such water carries within it the relatively highest-grade products of synthesis derived from the above higher-grade dissociation and therefore is able to reprogramme the molecular fermentation process and thus specifically to heal the condition of disease caused by the opposite primary metabolic processes. [The Energy Evolution - Harnessing Free Energy from Nature, Cadaverine Poison in Ray-Form - Ptomaine Radiation]

Therefore if the media of water or air are moved naturalesquely (and the trick is how to do this) then the bipolar gases are initially transformed into aetheric and ultimately into energetic stocks of subtle matter. These are then bound in the self-evolving juvenile media (air and water) and what has been increased in this way is rendered homogenous and specifically densified. That is to say, they intensify the carrying capacity and tractive force to such a degree that in such waters material with a higher specific weight than the transporting medium, even ore with a specific weight of 1.9, readily floats down the centre of the axis, where the strongest suctional force acts downstream and the strongest reactive force acts upstream in the form of a dynagen gradient, but which, however, has no effect on raw material structures to the extent that these do not involve life-forms. [The Energy Evolution - Harnessing Free Energy from Nature, The Life-Current in Air and Water]

In order to throw more light on their origins, there are two types of seeds:

1. Those responsible for all physical forms of growth, which according to their degree of maturity fall down and upon returning into the earth, germinate and produce the increased and qualitatively ennobled forms of growth. These are the provenances of sweet-matter (carbones), or the
2. Seminal fruits, which having fulfilled their reproductive function, become dormant, die off and become the seminal substances, as it were, for the creation of quality-matter, which after decomposition are then transmuted through 'cycloid-space-curve-motion'. [The Energy Evolution - Harnessing Free Energy from Nature, The Economy Founded on Reactively Produced Energy]

By means of progressive interactions with reactive forms of potential, this results in the segregation of those elements, which in the form of allotropic intermediate substances were left untouched, whereas the more inferior substances descend even further under even stronger influences of heat and are even further broken down. Once again what is still useful will be precipitated out and deposited, until the most inferior substances of all attain their relatively lowest state of evolvement and thereby their greatest degree of separation from the most noble, which on the other side has risen to the highest state. In terms of its height and depth, this is how the above threshold-element deposit comes into being. Therefore through a graduated process of deposition according to quality, the variously potentiated indifferent elements have different developmental periods. Those with a smaller separation interact earlier than the others, and logically, have to cover shorter developmental paths in order to reach the next higher evolved state. [The Energy Evolution - Harnessing Free Energy from Nature, The Economy Founded on Reactively Produced Energy]


Ramsay
The individual character of any note, and the comparative degree of contrast between any two notes in the system, depends on at least three different causes. The first is the genetic relation of the two notes. If the one note has 2 vibrations and the other 3, or the one 4 and the other 5, or the one 5 and the other 8, because of this, and because of the excess of the vibration of the one over the other, "a third sound" or "grave harmonic" being awakened between them, the different ratios have different degrees of complexity, and, in a general way, the greater the complexity the greater the [Scientific Basis and Build of Music, page 60]

contrast. In the fifth, the ratio being 2:3, the excess of 3 above 2 is 1; this 1 bears a simple relation to both the notes which awaken it. The grave harmonic in this case gives the octave below the lower of the two sounds; 1 is an octave below 2. This is the simplest relation "a third sound" can have to the two which awaken it, and that is why the fifth has the smallest possible degree of contrast. The octave, the fifth, and the fourth may be reckoned as simple ratios; the major and minor thirds and their inversions as moderately complex; the second, which has the ratio of 9:10, and the major fourth F to B and its inversion, are very complex. [Scientific Basis and Build of Music, page 61]

A second cause of difference in degree of contrast between two notes and other two notes in which the ratios are the same lies in this - whether the two notes belong to one chord or to different chords. Two notes in the subdominant chord have a different contrast from two in the dominant chord which have the same ratio. [Scientific Basis and Build of Music, page 61]

Having found the framework of the major scale by multiplying F1 three times by 3, find the framework of the minor by dividing three times by 3. But what shall we divide? Well, F1 is the unbegotten of the 25 notes of the great genetic scale; B45 is the last-born of the same scale. We multiply upward from F1 for the major; divide downward from B45 for the minor. Again, B45 is the middle of the top chord of the major system, a minor third below D, the top of that chord, and the top of the whole major chord-scale, so B is the relative minor to it. Now since the minor is to be seen as the INVERSE of the major, the whole process must be inverse. Divide instead of multiply! Divide from the top chord instead of multiply from the bottom chord. Divide from the top of the minor dominant instead of multiply from the root of the major subdominant. This will give the framework of the minor system, B45/3 = E15/3 = A5/3 = D1 2/3. But as 1 2/3 is not easily compared with D27 of the major, take a higher octave of B and divide from it. Two times B45 is B90, and two times B90 is B180, and two times B180 is B360, the number of the degrees of a circle, and two times B360 is B720; all these are simply octaves of B, and do not in the least alter the character of that note; now B720/3 is = E240/3 = A80/3 = D26 2/3. And now comparing D27 found from F1, and D26 2/3 found from B720, we see that while E240 is the same both ways, and also A80, yet D26 2/3 is a comma lower than D27. This is the note which is the center of the dual system, and it is itself a dual note befittingly. [Scientific Basis and Build of Music, page 81]

"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. [Scientific Basis and Build of Music, page 95]

WITH THEIR RATIO NUMBERS.


In the center column are the notes, named; with the lesser and larger steps of their mathematical evolution marked with commas, sharps, and flats; the comma and flat of the descending evolution placed to the left; the comma and sharp of the ascending evolution to the right; and in both cases as they arise. If a note is first altered by a comma, this mark is placed next to the letter; if first altered by a sharp or flat, these marks are placed next the letter. It will be observed that the sharpened note is always higher a little than the note above it when flattened; A# is higher than ♭B; and B is higher than ♭C, etc.; thus it is all through the scales; and probably it is also so with a fine voice guided by a true ear; for the natural tendency of sharpened notes is upward, and that of flattened notes downward; the degree of such difference is so small, however, that there has been difference of opinion as to whether the sharp and have a space between them, or whether they overlap, as we have shown they do. In tempered instruments with fixed keys the small disparity is ignored, and one key serves for both. In the double columns right and left of the notes are their mathematical numbers as they arise in the Genesis of the scales. In the seven columns right of the one number-column, and in the six on the left of the other, are the 12 major and their 12 relative minor scales, so arranged that the mathematical number of their notes is always standing in file with their notes. D in A minor is seen as 53 1/3, while the D of C major is 54; this is the comma of difference in the primitive Genesis, and establishes the sexual distinction of major and minor all through. The fourth of the minor is always a comma lower than the second of the major, though having the same name; this note in the development of the scales by flats drops in the minor a comma below the major, and in the development of the scales by sharps ascends in the major a comma above the minor. In the head of the plate the key-notes of the 12 majors, and under them those of their relative minors, are placed over the respective scales extended below. This plate will afford a good deal of teaching to a careful student; and none will readily fail to see beautiful indications of the deep-seated Duality of Major and Minor. [Scientific Basis and Build of Music, page 109]

When Ramsay gave a course of lectures in Glasgow, setting forth "What constitutes the Science of Music," his lecture-room was hung round with great diagrams illustrating in various ways his findings; an ocular demonstration was also given of the system of musical vibrations by his favorite illustration, the oscillations of the Silent Harp of Pendulums. A celebrated teacher of music in the city came to Mr. Ramsay's opening lecture, and at the close remained to examine the diagrams, and question the lecturer, especially on his extension of the harmonics to six octaves. Having seen and heard, this teacher went and shortly after published it without any acknowledgment of the true authorship; and it was afterwards republished in some of the Sol-Fa publications, the true source unconfessed; but our plagarist stopped short at C, the top of the tonic, instead of going on to F, the sixth octave of the root of all; the effect of this was to destroy the unity of the great chord. The 22 notes instead of 25, at which this teacher stopped, allowed him, indeed, to show the natural birthplace of B, which Ramsay had pointed, but it beheaded the great complex chord and destroyed its unity. If C, the root of the tonic, be made the highest note, having quite a different character from F, it pronounces its character, and mars the unity of the great chord. Similar diversity of effect is produced by cutting off only two notes of the 25 and stopping short at D, the top of the dominant; and also, though in a weaker degree, by cutting off only one note of the 25 and stopping at E, the middle of the tonic; this, too, disturbs the unity of the fundamental sound. [Scientific Basis and Build of Music, page 111]


Hughes
The twelve which develope twelve major harmonies are written thus

Half Note

the other six which are incapabable of developing major harmonies thus

Whole Note

without regard to musical time. The seven colours are shown to answer to the seven white notes, the other five being intermediate tones and colours. A flat marked to a note indicates that it is nearer to the tone or colour below; a sharp means that it is nearer to the tone or colour above. The notes and chasms are not written according to accurately measured degrees. [Harmonies of Tones and Colours, Diagram I - The Eighteen Tones of Keyed Instruments, page 22a]

THE term "key" in the minor developments must be taken in the sense in which it is understood by musicians, although it will be seen that it is only the seven of the harmony that are the relative minor keys of the majors, the scales with their chords sounding other keys. The grandeur, combined with simplicity, of the laws which develope musical harmonies are strikingly exhibited in the minor keys. Although at first they appear most paradoxical, and, comparing them with the majors, we may almost say contradictory in their laws of development, when they are in some degree understood, the intricacies disappear, and the twelve keys follow each other (with the thirteenth octave), all exactly agreeing in their mode of development. I shall endeavour to trace them as much as possible in the same manner as the majors, the lowest developments of the minor keys being notes with scales and chords, the notes always sounding their major harmonies in tones. Here an apparently paradoxical question arises. If the major keys are gained by the notes sounding the major tones, how are the minor keys obtained? Strictly speaking, there are no minor key-notes: the development of a minor harmony is but a mode of succession within the octave, caused by each minor key-note employing the sharps or flats of the fourth major key-note higher; and with this essential difference, it will be seen in how many points the developments of major and minor harmonics agree. I have carefully followed the same laws, and if any capable mind examines the results, I am prepared for severe criticism. I can only express that it was impossible to gain any other results than the seven of the harmony, the ascending and the descending scale and the chords combining three different keys. [Harmonies of Tones and Colours, Diagram VIII - On the Development of the Twelve Minor Harmonies, page 32]

See Also


Figure 18.06 - Hubbard Tone Scale of Degrees or Levels of Consciousness
Figure 3.29 - Discrete Degrees or Steps of Force and Energy
Figure 3.30 - Discrete Degrees or Steps in Gyroscopic Compression Motion
Figure 5.7 - Vortices on Three Planes 90 Degrees to Each Other
Figure 8.7 - Varying Degrees of Chordal Harmony and Discord
Gradient
Light Rings formed at 90 Degrees to Magnetic Center Line
State

Created by admin. Last Modification: Thursday October 6, 2022 12:41:44 MDT by Dale Pond.