See Ninths

"The human ear cannot detect the triple chord of any vibration, or sounding note but every sound that is induced of any range, high or low, is governed by the same laws, as regards triple action of such that govern every sympathetic flow in Nature. Were it not for these triple vibratory conditions, change of polarity could never be effected, and consequently there could be no rotation. Thus the compounding of the triple triple, to produce the effect would give a vibration in multiplication reaching the ninth, in order to induce subservience, the enumeration which it would be folly to undertake, as the result would be a string of figures a mile in length to denote it. [Snell Manuscript - The Book, DISTURBANCE OF MAGNETIC NEEDLE, page 8]

are always when they have returned to the side from which they were started. The Pendulographer, also, when writing the beautiful pictures which the musical ratios make when a pen is placed under the control of the pendulums, always finds his figure to begin again when the pendulums have finished their period, and have come for a fresh start to the side from which the period began. This confirms our author's definition of an oscillation of a pendulum. Fig. 3 is an illustration of the correct definition of a Musical Vibration, as also given in this work. Although the definition of an oscillation is not identical with that of a vibration, yet on account of their movement in the same ratios the one can be employed in illustration of the other as we have here done. Fig. 4 is a uniform rod suspended from the end as a pendulum; it will oscillate, of course, at a certain speed according to its length. In such a pendulum there are three centers related in an interesting way to the subject of Music in its three chords - subdominant, tonic, and dominant, which roots are F, C, and G. The center of gravity in the middle of the rod at 2, suspended at which the rod has no motion, corresponds to F, the root of the subdominant, in which there is the maximum of musical gravity. The center of oscillation at 3, which is one-third of the length of the rod from the end, is like the root of the tonic whose number is 3 in the genesis of the scale from F1. In this point of suspension the oscillations are the same as when suspended from the end at 1. The point at 9 is at a ninth from the center of oscillation. Our author discovered that, if suspended at this point, the pendulum had its highest rate of speed. Approaching the end, or approaching the center of oscillation from this point, the rate of speed decreases. Exactly at one-ninth from the center of oscillation, or two-ninths from the end, is this center of velocity, as Ramsay designated it; and it corresponds in some sort also to the root of the dominant G, which is 9 in the genesis of the scale from F1; its rate of vibration is nine times that of F1. The dominant chord is the one in which is the maximum of levity and motion in music. [Scientific Basis and Build of Music, page 105]

See Also

diatonic ninths
infinite ninths
interetheric ninths
introductory ninths
Major Ninth
ninth node
Part 14 - Keelys Mysterious Thirds Sixths and Ninths
Ponds Original Notes on the Scale of Infinite Ninths
Table 11.01 - Scale of Infinite Ninths its Structure and Base
Table 14.06 - All phrases occuring in HyperVibes containing the term ninths
11.02 - Attributes of the Scale of Infinite Ninths
11.03 - Development of the Scale of Infinite Ninths
11.11 - Explanations of the Scale of Infinite Ninths
12.07 - Keelys Thirds Sixths and Ninths
7.18 - Ninth

Created by Dale Pond. Last Modification: Monday January 18, 2021 04:34:01 MST by Dale Pond.