**Ramsay**

Now we come to a remarkable arrangement of Nature. The minor does not grow in the same way out of this third chord's top. Two features come before us: first the minor chord grows out of the major, but it is *taken not from the top but from the middle*, from a rib out of his side. B, the middle of the major dominant chord; B, the last-born of the major genesis; B is the point of departure in the outgrowth of the minor mode. The feminine is a lateral growth from the masculine. Another feature: it *grows downward*, like a drooping ash or willow. Its first generated chord is its dominant, and its last is its subdominant. Its middle chord, like the middle one of the major, is its tonic. Still further, it is *generated by division*, not multiplication; B45 is divided by 3 and by 5 for the root and middle of this highest chord, E and G. E15 is divided by 3 and 5 for the root and middle of the tonic chord, A and C. A5 is divided by 3 and 5 for the root and middle of the lowest chord, D and F. Thus we have the whole generation of the elements of music, six generations of harmony, like the six days of creation. Up to this point the whole process and aspect is * inverse*; growing from a middle; growing downward; growing by division;- while the major is growing from the top; growing upward; growing by multiplication. But here the

**inverse**aspect ends. The generating primes of the major are 3 and 5; 3 and 5 are also the generating primes of the minor. In this essential phase of their creation their comparison is

*direct*, not

**inverse**. [Scientific Basis and Build of Music, page 67]

All the **inverse** and reciprocal orders in music, whether of notes or chords, are produced by the law of *Duality*, and this gives them inevitably their symmetrical form. [Scientific Basis and Build of Music, page 79]

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]

round a common center which is lying between them, as the double stars do in the astral heavens. When this plate is reversed we have before us exactly the minor scale, and all the parts and attitudes related in exactly the **inverse** way, each to each, so perfect is the duality in unity of the two modes. [Scientific Basis and Build of Music, page 114]

Fig. 2. - In this figure the two modes are placed in their * inverse* relation, in order to show the notes standing opposite each other in their

*duality*. Here the two D's come also opposite each other, inasmuch as in the two modes the C-D-E interval is inverted, becoming C D E in the one and E D C in the other. And so the 9-comma second between C and D in the major comes opposite the 9-comma second between D and E in the minor, and the two 8-comma seconds, of course, come opposite each other also. [Scientific Basis and Build of Music, page 120]

**Hughes**

1872.—"It gives me great pleasure to write to you on this subject. Music deals more with the imaginative faculty than any other art or science, and possessing, as it does, the power of affecting life, and making great multitudes feel as one, may have more than ordinary sympathy with the laws you work upon. You say 'from E, root of B, the fountain key-note F, root of C, rises.' There is a singular analogy here in the relativities of sounds, as traced by comparing the numbers made together by vibrations of strings with the length of strings themselves, the one is the **inverse** or the counterchange of the other. The length of B and E are the counterchange of F and C, hence they are twin sounds in harmony." [Harmonies of Tones and Colours, Extracts from Dr. Gauntlett's Letters1, page 48]

See Also

**Figure 12.13 - Some Multi-Dimensional as Inverse and Direct Reciprocal Relationships**
**inverse chirp z-transform**
**inverse fugue**
**inverse genesis**
**inverse process**
**inverse progression**
**inverse relations**
**Inverse Square Law**
**inversion**
**Multiplicative inverse**
**Ramsay - Nature's Inverse Process for the Minor Genesis**
**reciprocal**
**reverse**