noun: the act of changing the location of something
noun: a natural event that involves a change in the position or location of something (see Delta)
noun: the act of changing location from one place to another
noun: a change of position that does not entail a change of location

the major, the root of the major chord is the middle of the relative minor, and the middle of the major chord is the top of the relative minor; and as the note which has a semitonic progression downward to the top of the major has a semitonic progression upward to the root of the relative minor, so the same three notes which move in semitonic progression to the top, root, and middle of the major chord, likewise move by the semitonic progression to the root, top, and middle of the relative minor. In both cases the progressions are upward to the roots and downward to the tops; but in the major the movement is downward to the middle, while in the minor it is upward. So each one of these three of the four notes of the chromatic chord has two various movements.1 [Scientific Basis and Build of Music, page 53]

I had for a long time studied the development of the harmonics of colour, and believed that I had gained them correctly; but I saw no way of proving this. The thought occurred—Why not test the laws in musical harmonies? I wrote down the development of the seven major keys of the white notes in keyed instruments. I was perplexed by the movement as of "to and fro," but the development of numbers explained this point, and I found that the method of development in colours, tones, and numbers agreed. I remembered the keys with sharps, but had forgotten that B♭ belonged to the key of F, and here I thought that the laws failed. But I found by reference that all were correct, the eighth being the first of a higher series, the laws having enabled me to distinguish between flats and sharps, [Harmonies of Tones and Colours, General Remarks on Harmonies of Tones and Colours, page 12]

We here trace the twelve harmonies developing in succession. Notice how exactly they all agree in their mode of development; also the use of the chasms between E and F, B and C. Remark also the beautiful results from the working of the double tones, especially C#-D♭, and E#-F♭, causing the seven tones of each harmony, when ascending, to rise one tone, and, descending, to reverse this movement. F#-G♭ is the only double tone which acts as F# when a key-tone, and G♭ when the root of D♭. The root of each harmony is the sixth and highest tone in each succeeding harmony, rising one octave; when it is a double tone, it sounds according to the necessity of the harmony. The intermediate tones are here coloured, showing gradual modulation. The isolated fourths (sounding sevenths) were the previously developed key-tones; these also alter when they are double tones, according to the necessity of the harmony. Beginning with B, the isolated fourth in the harmony of C, the tones sound the twelve notes of a keyed instrument, E# being F♮, and the double tones, some flats, some sharps. [Harmonies of Tones and Colours, Combinations of dissonance, rests, page 24]

When the twelve minor harmonies are traced developing in succession, we notice how exactly they all agree in their method of development, also the use of the chasms and the double tones, the seven of each harmony rising a tone when ascending, but reversing the movement in descending; keys with sharps and those with flats are mingled. The intermediate tones are here coloured, showing gradual modulation. D♭ is shown to be an imperfect minor harmony, and E♭, by employing B as C♭, is seen to be equivalent to D#. [Harmonies of Tones and Colours, Diagram IX - The Minor Keynote A and Its Six Notes, page 34a]

"For movement is the effect of spirit. Spirit is life." [Cayce (705-2)]

Christ Returns - Speaks His Truth
"As I have told you before, were individuality able to enter the UNIVERSAL DIMENSION of the MUTUALLY-RESTRAINED IMPULSES of 'Movement & Bonding' - the individuality would be immediately dissolved and returned to the equilibrium of UNIVERSAL CONSCIOUSNESS. Ponder the unimaginable immensity of Power contained within the MUTUAL-RESTRAINT of the TWIN IMPULSES in UNIVERSAL CONSCIOUSNESS which are primarily

combined as
Intelligent Love        &        Loving Intelligence
Impulses of: Movement                  Bonding-Repulsion
ELECTRICITY ........ in equilibrium ........ MAGNETISM

The above describes the UNLIMITED UNIVERSAL DIMENSION before the BIG BANG!" [Christ Returns - Speaks His Truth, Letter 5, page 20]

"By working together as a team, separately but inseparable, in the visible world, these twin impulses were the means by which the substance of 'matter' itself has been created out of the sublime

One impulse of creativity is: the 'I'ness of ACTIVITY.
This impulse of activity is universal and stems from only one source.
'Activity' is a movement in CONSCIOUSNESS, and CONSCIOUSNESS in movement.
The other creative impulse possesses (figuratively speaking) two faces looking in opposite directions.
They are:

Pull towards>>>>>>>> the self<<<<<<<< Push away
otherwise known as

Attract>>>>>>>> to - THE SELF - from <<<<<<<< Repel

These are the ONLY means by which earthly existence has been achieved.

The entire universe is a manifestation of the 'Creative Power' active within these Twin Impulses of PHYSICAL BEING - creating 'matter' and individual form.
This is one of the fundamental 'secrets' of the universe.

I saw that the 'core' of the 'Personality' or 'ego' as it is now called, had been created
and was irresistibly imprinted with the magnetic impulse to ensure
For the protection of the individual 'I'ness
This was accomplished by using the two faces of the second Impulse of Being

BONDING - REJECTION to secure individuality.

[Christ Returns - Speaks His Truth, Letter 5, page 25]

See Also

Figure 7.8 - Gravity is the Life Sex and Power Principle
First Cause
Mind of God
movement of Creation
14.15 - Movement Caused by Spirit

Created by Dale Pond. Last Modification: Tuesday March 16, 2021 03:34:54 MDT by Dale Pond.