Sympathetic Vibratory Physics

A disturbance of equilibrium or harmony.

Keely
"No such thing as discord exists in the molecule. Discordance results from chords producing differentiation and may be equated by the proper chord of harmony. Every gaseous molecule is a resonator to any and all vibrations, whether concordant or discordant. That which we term discord exists in sound itself, not in matter." Snell Manuscript

"I find in my researches, as to the condition of molecules under vibration, that discordance cannot exist in the molecule proper; and that it is the highest and most perfect structural condition that exists; providing that all the progressive orders are the same. Discordance in any mass is the result of differentiated groups, induced by antagonistic chords, and the flight or motions of such, when intensified by sound, are very tortuous and zigzag; but when free of this differentiation are in straight lines. Tortuous lines denote discord, or pain; straight lines denote harmony, or pleasure. Any differentiated mass can be brought to a condition of harmony, or equation, by proper media, and an equated sympathy produced." [Keely and His Discoveries, Chapter VII]

"No such thing as discord exists in the molecule. Discordance results from chords producing differentiation and may be equated by the proper chord of harmony. Every gaseous molecule is a resonator to any and all vibrations, whether concordant or discordant. That which we term discord exists in sound itself, not in matter." [Snell Manuscript - the book]

John Stainer
Music: "A chord which when struck or sung requires to be resolved into a concord." [Stainer, John; Barrett, W.A.; A Dictionary of Musical Terms; Novello, Ewer and Co., London, pre-1900]

A combination of tones that are unresolved, jarring.

Ramsay
circumstances. And if we may add D to the subdominant chord of d F A C, so we may also, in other circumstances, add the subdominant chord as harmony to D, thus - D f a c, and no discord occur. There is only the interval of a second between F and G in this dominant 9th, and only an interval of a second between C and D in this subdominant 6th; a second standing alone is a discordant interval, as a poison by itself may kill; but as a poison by the processes of nature in chemistry compounded with something else may be an excellent medicine, so may a second when mixed and compounded with something else in music become an excellent harmony. Music is a great apothecary, skillful in compounds. [Scientific Basis and Build of Music, page 81]

Hughes
combinations of dissonance, rests, sounding neither scale nor chords. Dissonance does not express opposition or separation, for there is no principle in musical tones which is productive of contraries; the dissonances follow the attraction of the tonic, or key-note, and the neutralization of the musical disturbance is implied in the disagreement in their motion with the repose of the unit, or key-note. So far is this from producing separation, that the apparent discord is simply a preparation for growth, the life of harmony causing an inherent tendency towards closer union. [Harmonies of Tones and Colours, Combinations of dissonance, rests, page 24]

ON a keyed instrument only twelve are major key-notes, but as the double tones C#-D♭ and F#-G♭ are roots, there are fourteen different chords. The fourteen that are roots are written in musical clef. As an example of the major chords in the different keys, we may examine those in the key of C. A major fifth includes five out of the seven of its key; with the third or central note it is the threefold chord, or fourfold when the octave note is added. Including the silent key-notes, a threefold chord embraces eight, or, counting the double tones, not including E#, eleven. The first and second chords of the seven of the harmony are perfect major chords in the key of C; the central note of the third chord, being #C-♭D, is a discord. The first pair of fifths in the scale, with its central note, is a chord of the key; if we include the octave, the last pair of fifths, with its central note, is the same chord an octave higher than the lowest chord of the seven. Of the chords written in musical clef of the twelve keys, the octave chord is only written to C, the seven of each having two chords and the scale one, thirty-six in all, or forty-eight if the octave chords are added. Notice how the chords of each seven and the chord of its scale are altered. [Harmonies of Tones and Colours, Diagram V - The Chords of the Twelve Major Keys, page 27a]

"I esteem myself fortunate in being introduced to you, and becoming acquainted with your beautiful work on 'Tones and Colours.' I have, to the best of my ability, worked out your idea, by writing down in music the various discords in use amongst musicians, and resolving them according to the laws of Harmony, and I find in all cases the perfect triad agrees with what you term the trinities in colours. The way in which you find the whole circle of Major and Minor keys by pairs in colours is deeply interesting, and must be true. The only point of divergence between your system and that recognised by all musicians is the ascending Minor Scale. No musically trained ear can tolerate the seventh note being a whole tone from the eighth. The Minor second in the lower octave descending is very beautiful, and it is strange how all composers feel a desire to use it. To mention one case out of hundreds, I may cite Rossini's well-known air, 'La Danza.'
"Yours faithfully,
"W. CHALMERS MASTERS." [Harmonies of Tones and Colours, Supplementary Remarks and Diagrams, page 53]

sixth note, which would be Creation perfected, without entering upon the fifth higher key; and it cannot sound the seventh falling into the octave without discord. Therefore the eighth note is not the octave of the first, as it is the fourth note of the fifth higher key. [Harmonies of Tones and Colours, Supplementary Remarks, page 54]

The Minor Gamut modulating in the meeting of fifths through seven octaves. We may here trace the twelve, each fifth note becoming the higher key-note. But the sixth and seventh notes of the scale are discords. For example, in the key of A, the sixth note, F♮, is a discord with the second note, B♮; and the seventh note cannot be sounded as G# falling into the eighth, without being a discord with the third note, C♮. No octave can be sounded in the Minor Scale, as it has risen into the fifth higher key of E. [Harmonies of Tones and Colours, The Minor Gamut Modulating in the Meeting of Fifths61, page 65]

Harmonic Vibrations and Vibration Figures
Mechanical Oscillation: "Discord, indeed, involves a continuous change of phase, and it will be seen that if the penduluums are purposely adjusted for a slight discord, the pen will trace all the possible phases of the approximate harmony in succession." Harmonic Vibrations and Vibration Figures

Christ Returns - Speaks His Truth
"Until people truly wake up and open their eyes to the full realisation that they are the individualisation of the SOURCE of their BEING which is a combination of PERFECT IMPULSES of Creativity & Love, they will remain attracted to the enticements of materialism, satisfactions of body lusts, and the desire for self-promotion above all others - which ranges from take-overs and strikes in business and industries, and gross disharmonies in relationships to murder, rape and war. Wherever a person exerts his ego over another, angry discords abound.
This is the very first Law of Existence which must be publicised throughout the world." [Christ Returns - Speaks His Truth, Christ Letters - Letter 9, page 11]

"Most people will testify that laughter promotes a feeling of well-being, even if there was discord just a minute earlier. If a person can genuinely laugh, seeing the absurdity of a situation, where there has previously been annoyance or hurt, the tension is released and friendly relationships are restored spontaneously." [Christ Returns - Speaks His Truth, Christ Letters - Letter 9, page 14]

Sympathetic Vibratory Physics

Bridging Science and Spirituality

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