SVP
Universal Cosmology
"A
truth's initial commotion is directly proportional to how deeply the
lie was believed. It wasn't the world being round that agitated people,
but that the world wasn't flat. When a well-packaged web of lies has
been sold gradually to the masses over generations, the truth will seem
utterly preposterous and its speaker a raving lunatic."
~~~Dresden James [updated 06/06/09]
© Dale Pond, 2007
Delta Spectrum Research 921 Santa Fe Avenue La Junta, Colorado 81050 720-249-2731 (This is an incomplete presentation. Not every item is as it will be in the final version of these documents. Until the final version is published use the information presented herein at your own risk. In the meantime please peruse the SVP Recommended Reading List for additional background information.) |
Part 01 - Overall General View Part 02 - Origin of Polar States Part 03 - Polarity Creates Rotating Vortex Part 04 - Rotation on Three Planes Part 05 - Three Rotating Planes Become Spheres Part 06 - Formation of Cubes Part 07A - Origin and Formation of Matter - Part 1 Part 07B - Origin and Formation of Matter - Part 2 Part 08 - What Vibration Is. - Part 1 Part 09 - What Vibration Is. - Part 2 Part 10 - What Sympathy Is Part 11 - SVP Music Model Part 12 - Russell's Locked Potentials Part 13 - Rotation from Vibration/Oscillation Part 14 - Keely's Mysterious Thirds, Sixths and Ninths Part 15 - Dissociating Water Acoustically Part 16 - Electricity and Magnetism Part 17 - Gravity Part 18 - Mind as an Engineerable Force Part 19 - Musical Dynasphere, Historical Part 20 - Musical Dynasphere, Current - - - - - - - - - - - -Addenda - - - - - - - - - - - - 01 - Bjerknes Effect 02 - Chart of Locked Potentials 03 - Ether 04 - Origin of Matter 05 - Indig Numbers 06 - One Phase of Keely's Discoveries... 07 - Pond's Original Notes on the Scale of Infinite Ninths 08 - Laws of Being 09 - Table of the Elements 10 - Keely's Forty Laws 11 - Russell's Laws and Principles 12 - What Electricity Is. 13 - Puharich, Water Dissociation via AC 14 - As a Man Thinketh 15 - Genero-Radiative Concept 16 - The Action of Force is Spiro-Vortex 17 - Russell's Optic Dynamo-Generator 18 - Etheric Vibratory Scale 97 - Disclaimer 98 - Footnotes 99 - Compendium and Definitions |
For instance if two Mn2 (16:15) are added together AS STEPS they equal a Mj2 (9:8). Very neat.
But if we add 16:15 + 16:15 we get 32:15 which is a Mn9th!!!
The error is apparently the result of a misinterpretation of what 16:15 is. The reality is a Mn2 is NOT 16:15 (in this case). It is 1/15 plus the whole of 1:1 or 15:15 (Unison) which equals 16:15. So 1/15 + 15:15 = 16:15.
Since a Mj2 is 9:8 we must find the common denominator which is 120. 1/15 * 120 = 8. A Mn2 is 8 larger than Unison (120/120)+8/1 = 128/120. So each Mn2 step = 8. Which suggests a Mj2 is 8 larger than a Mn2 which works out to 136/120 where a Mn2 is 128/120. However error begins to creep in due to nonequivalence of fractional parts. In this case the error is 1/120. Because 16:15*120=128/120 and 9:8*120=135/120.
The bottom line is
a Mn2 = 1/15 (8/120) over and above Unison
a Mj2 = 1/8 (15/120) over and above Unison
a Mn2 step (from Unison) = 8/120
a Mj2 step (from Unison) = 15/120
The Mj2 which we consider as 2 X Mn2 is actually smaller than this by
1/120 of the octave.
The two intervals are not octave harmonically equivalent or proportional by 1/120th of the octave.
It is presumed similar differences exist throughout the interval chart. Hope the arithmetic doesn't turn you two* off. This may not seem important and may even seem a waste of time. But I submit neither premise is correct. Musicians count by steps because that is the way we've been taught - and it works for practical music purposes. The fact is, steps are unequal and disproporational arithmetically and therefore when we think they create harmony they are actually creating discord. In such suppositions we are operating from a place of illusion and nonreality and therefore we find ourselves fumbling around in the dark and not getting what we want or expect.
*2/23/05: the bulk of this early writing was done via email with Lynda Brazier and Luigi Martinelli. About the time I began mentioning the Scale of Infinite Ninths Luigi gets all upset and antagonistic eventually leaving the conversation. A year or so later he completes his book on music theory, shared it freely over the net and I have not read any of it.
Harmonic / Enharmonic Scale
All difference tones are base 2^3 and will not create discords.
Octave
C" 240/120
Minor 8th Cb 232/120
Major 7th B 224/120
Minor 7th Bb 216/120
Dim. 7th A# 208/120
Major 6th A 200/120
Minor 6th G# 192/120
Major 5th G 184/120
Minor 5th Gb 176/120
Major 4th F# 168/120
Minor 4th F 160/120
Major 3rd E 152/120
Minor 3rd D# 144/120
Major 2nd D 136/120
Minor 2nd C# 128/120
Unison C 120/120
2002, 09/01
Below is a "new" scale (subject to modification) that accounts for
harmony in such a way that all notes are equivalent and proportional.
Any note and its immediate harmonics will form harmony with all other
notes and their immediate harmonics. No unresolved beats will occur -
unresolved beats are a source of dissonance. A beat will resolve when
it forms harmony with the notes around it. All beats generated with
this scale are multiples of two as are all the notes as also immediate
harmonics. So any beats will resolve (form harmony) between themselves
and the surrounding notes. If we use conventional music intervals beats
occur which are unresolveable which means they may have a base of 1, 2,
3, 5 or 7. These odd numbers do not form harmony or unison with
anything other than themselves. Theoretically resolved beats will
"disappear" to the ear as they merge with neighboring sounds. I don't
know this for a practical thing but arithmetically and vibratorily this
appears to be the case. The proof will come in the actually playing and
hearing of it.
PS: As far as I know my idea of resolved and unresolved beats is new and unique. I've not read of it in any music theory I've come across. Gee! Maybe I could patent this and charge a fee for it - or I could present it here so we can all get on with some serious and legitimate research of solving some problems out there and creating new possibilities!
-- The
Dale Scale --
Interval Note cps/120
Octave C""" 2048
Minor 8th Cb 1920
Major 7th B 1856
Minor 7th Bb 1792
Dim. 7th A# 1728
Major 6th A 1664
Minor 6th G# 1600
Major 5th G 1536
Minor 5th Gb 1472
Major 4th F# 1408
Minor 4th F 1344
Major 3rd E 1280
Minor 3rd D# 1216
Major 2nd D 1152
Minor 2nd C# 1088
Octave C""' 1024
Minor 8th Cb 960
Major 7th B 928
Minor 7th Bb 896
Dim. 7th A# 864
Major 6th A 832
Minor 6th G# 800
Major 5th G 768
Minor 5th Gb 736
Major 4th F# 704
Minor 4th F 672
Major 3rd E 640
Minor 3rd D# 608
Major 2nd D 576
Minor 2nd C# 544
Octave C"" 512
Minor 8th Cb 480
Major 7th B 464
Minor 7th Bb 448
Dim. 7th A# 432
Major 6th A 416
Minor 6th G# 400
Major 5th G 384
Minor 5th Gb 368
Major 4th F# 352
Minor 4th F 336
Major 3rd E 320
Minor 3rd D# 304
Major 2nd D 288
Minor 2nd C# 272
Octave C''' 256
Minor 8th Cb 240
Major 7th B 232
Minor 7th Bb 224
Dim. 7th A# 216
Major 6th A 208
Minor 6th G# 200
Major 5th G 192
Minor 5th Gb 184
Major 4th F# 176
Minor 4th F 168
Major 3rd E 160
Minor 3rd D# 152
Major 2nd D 144
Minor 2nd C# 136
Octave C'' 128
Minor 8th Cb 120
Major 7th B 116
Minor 7th Bb 112
Dim. 7th A# 108
Major 6th A 104
Minor 6th G# 100
Major 5th G 96
Minor 5th Gb 92
Major 4th F# 88
Minor 4th F 84
Major 3rd E 80
Minor 3rd D# 76
Major 2nd D 72
Minor 2nd C# 68
Octave C'
64
Minor 8th Cb 60
Major 7th B 58
Minor 7th Bb 56
Dim. 7th A# 54
Major 6th A 52
Minor 6th G# 50
Major 5th G 48
Minor 5th Gb 46
Major 4th F# 44
Minor 4th F 42
Major 3rd E 40
Minor 3rd D# 38
Major 2nd D 36
Minor 2nd C# 34
Unison C
32
2005, 01/04: This scale was initially called “The Dale Scale” at that time for lack of a better name. That name was changed to “Scale of Infinite Ninths” some time in 2003.