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direction

Line of force, see vector, vector field.

Ramsay
dominant; and either of these chords may also follow the tonic; but when the dominant follows the subdominant, as they have no note in common, the root of the subdominant is added to the dominant chord, and this forms the dominant seventh; and when the subdominant follows the dominant, the top of the dominant is added to the subdominant, and this forms the subdominant sixth. The sixth and seventh of the octave scale is the only place these two compound chords are positively required; but from their modifying and resolvable character they are very generally used. When the dominant is compounded by having the root of the subdominant, its specific effect is considerably lower; and when the subdominant is compounded by having the top of the dominant, its specific effect is considerably higher. In the octave scale the notes of the subdominant and dominant chords are placed round the notes of the tonic chord in such a way was to give the greatest amount of contrast between their notes and the tonic notes. In the tonic chord the note which has the greatest amount of specific gravity is its root; and in the octave scale it has below it the middle and above it the top of the dominant, the two notes which have the greatest amount of specific levity; and in the octave scale it has above it the middle and below it the root of the subdominant - the two notes which the greatest amount of specific gravity. The third note of the scale, the middle of the tonic chord, is the center of the system, and is the note which has the least tendency either upwards or downwards, and it has above it the root of the subdominant, the note which has the greatest amount of specific gravity, and it has below it the top of the dominant, the note which has the greatest amount of specific levity. Thus the root of the subdominant is placed above, and the top of the dominant below, the center of the system; the specific gravity of the one above and the specific levity of the one below cause them to move in the direction of the center. [Scientific Basis and Build of Music, page 98]

notes attracted by proximity are attracted in the direction of the center of the tonic chord, major or minor. But if D in the major is attracted by C, the root of the tonic, then it would be moving away from the center. Two notes which have the ratio of 8:9, as C and D, or two notes which are produced by the same ratio as C and D, or two notes where each of them is either a root or a top, as C and D, never resolve to each other by proximity. It is an invariable order that one of the notes should be the middle of a chord. [Scientific Basis and Build of Music, page 99]


Bob Proctor
"Your desire is the motorpower which will move you in the direction of your dream and expectation is the attractive force that will more your dream in your direction." [You Were Born Rich, page 97]


Cayce
"Keep in the way that is good, regarding the mental, the spiritual and the physical well-being; knowing that the mental is the builder, the DIRECTIONS are either from material or spiritual meaning. Be GUIDED by that which brings greater contentment for well-being at all times." [Cayce (228-3)]

See Also


center
centripetal
Figure 3.1 - In and Out Vectors or Directions
Figure 3.9 - Cardinal Directions of Force and Energy Flows
Figure 4.1 - Triple Cardinal Directions Vectors or Dimensions
Figure 4.2 - Russell Directions of Power Accumulation and Dispersion
spin direction
Vector
Vector Field
4.3 - Three Planes and Six Directions
6.3 - Six Directions

Created by Dale Pond. Last Modification: Thursday July 1, 2021 04:04:58 MDT by Dale Pond.