SVP Universal Cosmology

A Rosetta Stone for the New Science Paradigm

Version 2.3

Section Parts and Addenda
Part 00 - Executive Summary
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 07B - Origin and Formation of Matter
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 Research
- - - - - - - - - - - -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
96 - Index of ebooks
97 - Disclaimer
98 - Footnotes
99 - Compendium and Definitions


"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 06/02/09]

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©Dale Pond, 2007, 2008, 2009

Copyright Notice

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Part 11 - The SVP Music Model

11.01 - Introduction
11.02 - Attributes of the Scale of Infinite Ninths
11.03 - Development of the Scale of Infinite Ninths
     Figure 11.01 - Octave composed of Equal Thirds and Triads
11.04 - Nature Dances to a Natural Music Scale
11.05 - Something from Nothing?
11.06 - Something from Idea + Will
11.07 - Idea + Will + Spirit  = Manifestation
11.08 - Matter is an Effect of Will Force (polarized Thought)
     Figure 11.02 - Infinite Neutral Mind Centers and Controls All Motion
11.09 - Matter is the Recording of Thinking
11.10 - Matter is the Recording of Sequential and Successive Steps of Polarized Thought
     Table 11.01 - Scale of Infinite Ninths, its Structure and Base
11.11 - Explanations of the Scale of Infinite Ninths
11.12 - Hidden Powers of Numbers
11.13 - Dominant Conditions are Mated Opposing Pairs as Fifths
     Table 11.02 - G = Fifth, 4++ and Double Tone
11.14 - Indig Numbers (Fuller)
11.15 - Indig Numbers, Inert Gases and Octave Position
11.16 - Indig Numbers and the Power of the Powers of Two
11.17 - FOOT NOTES
     Figure 11.03 - Archangel Michael Symbolically Slaying the Dragon
     Figure 11.04 - Celestial and Terrestrial Forces Come Together to Manifest as All That Is
     Table 11.03 - Scale of Infinite Ninths, its Music Interval Relations
     Table 11.04 - Scale Structural Components and Relations
11.18 - Keely’s Dominant, Harmonic and Enharmonic
11.19 - Spirit is Dominant
     Table 11.05 - Comparison of Scale Structural Components and Relations
11.20 - Scale of Infinite Ninths compared to Classic Scale
     Table 11.06 - Scale of Infinite Ninths - Arithmetical Structure of Intervals
11.21 - Arithmetical Structure of Intervals
     Table 11.07 - Arithmetical Basis of Scale of Infinite Ninths
11.22 - Reciprocality of Dimensions and Music Intervals
11.23 - The Power of Two, Primes, Families & Differentiators
     Table 11.08 - Scale of Infinite Ninths - Power Bases of Intervals
11.24 - Notes and Thoughts on Octave Structure
11.25 - Notes and Thoughts on Harmonic Scale of Ninths
     Figure 11.05 - Russell's Scale of Locked Potentials - Centered at 0
     Figure 11.06 - Russell's Geometry and Mathematics of Octave Waves
     Figure 11.07 - Note Frequencies fit into Magic Squares
11.26 - Definitions and notes useful in this section
11.27 - Origin of C##/Dbb note
11.28 - Ninths in the literature - Keely on Ninths
11.29 - Conventional or Standard Musical Ninths Intervals
     Table 11.09 - Notes and Counting Steps, Standard Scale
     Table 11.10 - Chord of Ninths Notes and Counting Steps
     Table 11.11 - Scale of Infinite Ninths, numerics
11.30 - Russell's Locked Potentials Numbers
     Figure 11.08 - Russell's Music and Locked Potential Scales
     Table 11.12 - Musical Intervals, Locked Potential Numbers, Elements and Factors
     Table 11.13 - Three Octaves of Infinite Ninths Scale
     Figure 11.09 - Eye of Horus = Egyptian Arithmetic
11.31 - Egyptian Fractions and Measurements

The SVP Music Model


July 6, 2007: There is a glaring inconsistentency in all this (Russell's Locked Potentials and music note layout). If the lengths of volumes and areas are correct, as per the Locked Potentials, then the music note notations are wrong or this whole concept is far more mysterious than even I thought. This because the halving of lengths is an OCTAVE increase, not a fraction of an OCTAVE as a music note notation would indicate and as Russell has erroneously(?) depicted.

November 29, 2007: NOTE: This scale of Infinite Ninths was composed to overlay Russell's Indig numbering system of the Locked Potentials as though they were notes in  a single octave which we now know is not an accurate interpretation of his concept.

11.01 - Introduction - It is assumed by the author the reader has a working knowledge of Music Theory. If not there are a number of music theory books available in our online Music catalog and numerous similar materials on the web. The writer highly recommends "A Handbook on Acoustics" by Harris. A very important point is DO NOT assume our discussion of music theory and related matters pertains to music as music that sounds pleasing to the senses. That is, we are discussing naturally occurring vibrations and oscillations and these have very little to do with music you hear over your radio or iPod. To equate what is discussed below with sensual music is FATAL to understanding what is being presented and has led many astray into endless confusion and denial. While it may indeed be a "Musical Universe" its music is natural and divine and was not developed according to man's limited and decrepid ego and intellect. To consider it such would be the same mistake of dogmatic and tired religions in putting our limited image and Creative ability onto the Maker.

Music, as seen in and for the purposes of SVP, is from the natural harmonic series perspective and not from a melodious music one. In other words the current standard western model of music is not adhered to but may be used from time to time. The standard music scale where A = 440 cps is an inherited multi-century effort to create music that sounds (sensorially) pleasing. The standard western music model has at its core seven whole tones and five additional semi tones or sharps and flats. One of the difficulties of the standard model is the interval distance between all these tones varies by differing degrees. Thus when mingled as chords these notes create irregular and complex harmonics and overtones which can never be reconciled mathematically or acoustically hence the fudging when tuning. The standard music scale is in fact "enharmonic" excepting a few (very few) simple chords. In the SVP harmonic music scale model there are eight whole tones and eight half tones. The intervals are all equal proportionately and notes, whether sounded singly or in chords, do not create irregular harmonics and overtones. The SVP scale is therefore an "harmonic" scale when considering its base Key of C##. This designation of "C##" is an invented note because an additional note is required in the SVP scale and we didn't want to add an additional letter "H" to confuse matters any more than they already are. This scale is based on A = 416 cps (C = 256 cps) which is a frequency/note within a naturally occurring series of overtones.
 
A review of standard music theory and especially music scale development reveals the whole field of study is in a state of churning chaos. There appear to be as many music theories and scales as there are people developing them. It’s a mess from any viewpoint. To further complicate matters, our current scale is an artificial scale developed by committee (can you believe it?) after Keely did his work. Which is to say, what scales did Keely actually use? A was certainly not 440 cps in his day. Whatever SVP scales he may have used are most likely not for playing sensorial (egoic) pleasing music but for working with vibration in mechanics and physics. To associate Man's sensorial (egoic) values with natural states of universality is to anthropomorphicize nature i.e., create the universe in Man's (egoic) image instead of the other way around.

The universe operates on simple principles and laws. These principles and laws are not beyond finding out and indeed many have been long discovered and applied to music theory and practice and to science and mechanics by Keely. This author believes (after more than twenty year’s of research) these principles and laws can be found, re-evaluated and re-applied to develop a whole new (for us) music scale having unique and wonderful attributes not hithertofore experienced or appreciated unless by Keely himself.

It is felt the current music scale based on A = 440 and similar caprice or fiat parameters was contrived into being and use from a hodge-podge of hand-me-down parameters then purposefully manipulated to excite and appeal to sensual pleasure, excitation and social manipulation. Considerations of harmony have taken a back seat to sales and marketing through sensual (animal) appeal, beat, throb, rhythm and pedantic cadences - a general expenditure of energy. Melody has suffered as has spiritual upliftment, personal empowerment and energy accumulation as a personal power, attribute and tool for personal and societal growth and improvement. It is held music as currently and popularly exhibited contributes to moral, personal and social decadence and destruction.

"Laboratory tests confirming this implication of my own discoveries, showed that some great violins showed the instrument to have been crafted to C = 256, just as the greatest singers from the same generations as my parents' and my own, based their art on that Florentine bel canto standard: until the existentialist freaks of the (implicitly perverse) Congress for Cultural Freedom (CCF) imposed their own copy of Nazi Gleichschaltung, as elevated pitch, on the terrorized musical institutions. The strongest among some of the greatest voices of my lifetime testified to me personally and others, that they could survive the new standard imposed by the Congress for Cultural Freedom's variety of fascist tyranny on the stage, but the majority of relatively weaker voices could not, thus reducing competent solo performances to a relative handful of super-stars to hold up Italy's traditional great cultural tradition as long as they could maintain their performing careers." [When Fate Hangs on a Forecast, by Lyndon H. LaRouche, Jr.]

11.02 - Attributes of the Scale of Infinite Ninths
-
The writer, not finding any scale adequate in terms of harmony and versitility, created his own scale which would address certain natural paramets. This scale was given the name Scale of Infinite Ninths which term is a reference to Keely's use of "ninths" as an aspect of neutrality and hence infinity and Russell's 0 neutral of Infinite Potential within his scale of Locked Potentials. In this scale there are nine whole steps forming its octave all of which sync and find resolution in upper and lower octaves making its series auto-creation infinite in extent and ability. It is believed the Scale of Infinite Ninths, subject of this writing, is a moral, personal, social and power enhancing development. It is further postulated this Scale of Infinite Ninths is:

1) a pattern of the other Syntropic half of Nature wholly ignored by conventional science and music which focuses exclusively on the Entropic half.1
2) accurately and fully maps to Walter Russell’s Scale of Locked Potentials.
3) harmonic in many meanings of the term.
4) accurate arithmetically.
5) clear of myriads of confusing intervals, ratios and note nomenclatures.
6) so elegantly simple that anyone can understand and use it.
7) clear of historical and political patches, fixes and manipulations.
8) not melodic.

The development of this scale first came to mind after years of fruitlessly trying to understand and work with standard music scale methods. They were found to be confusing, disorderly, chaotic, contradictory, complicated and near meaningless when arithmetic was applied to the many views of what an interval is and why.

There had to be a better way....

11.03 - Development of the Scale of Infinite Ninths - Sometime in the summer of 20022 a method was developed to calculate intervals as though they themselves were discrete and equal quantities. From this it was seen that two Seconds should and ought to always equal a Third and two Thirds equal a Fifth and two Fifths equal a Ninth. From that humble beginning an entirely new scale was developed, piece by elegant piece, until it was not only clearly harmonic but also perfectly encompassed Walter Russell’s Scale of Locked Potentials. As his scale is a reflection or recording of natural phenomena this new scale also reflects or records natural phenomena - the naturally occuring overtone series as found in many (but not all) vibrating bodies. This scale is then a natural music scale developed from naturally occuring phenomena instead of the hodge-podge patchwork of classic scales developed from the intellect for the ego, body, religious and political agenda and pocket book.

The classic scale reflects destruction, discord, inharmonicity, chaos and dissipation of energy (entropy).

This new scale reflects creation, concord, harmonicity, order and accumulation of energy (syntropy).1

Harmonic Octave Triads

Figure 11.01 - Octave composed of Equal Thirds and Triads

11.04 - Nature Dances to a Natural Music Scale - If God played music it is certainly with this scale as it is the scale which nature resonates with and sings whether within an atom or a galaxy. Chords from this scale are creative, enlivening and empowering - instilling peace, harmony and positive development of life, physically, mentally and spiritually. These are the divine musical chords (true overtone ratios) of Life, Light and Love.

"Electricity or vibration is that same energy, same power, ye call God. Not that God is an electric light or an electric machine, but vibration that is creative is of the same energy as life itself." Cayce (2828-4)

"I center the moving shaft of My universe, yet I move not, although its power to move springeth from Me.
I center living things which manifest My life, but they live not. I alone live."
[Russell, The Secret of Light, page 74]

"Waves of motion spring from the stillness of the universal equilibrium. They are the universal heartbeat which manifests eternal life and power in God's stillness by eternal repetitions of simulated life and power as expressed in waves of motion."
[Russell, The Secret of Light, page 115]

"For the experience becomes rather as a very delicate instrument of music upon which the chords of life (which is God) are played." Cayce (1436-2)

What is matter? What is energy? What are we? What is consciousness? It may surprise some to learn these four seemingly different things are all the same thing varying only in rapidity and degree of intensity of polar antagonism (duality of syntropy and entropy). In a word they are all attributes or effects of Mind or consciousness in motion. Anciently this was known and attempts were made to document that knowledge and efforts engaged to perserve and pass that knowledge to successive generations. All this effort only partially succeeded. However, that old knowledge and its understanding is recoverable.

“In the beginning God created the heaven and the earth. And the earth was without form, and void; and darkness was upon the face of the deep.” [Genesis] 

11.05 - Something from Nothing? - So begins, according to historical documentation, every thing and non-thing that exists, has ever existed or will ever exist. The non-thing, or Void of Genesis, is what some call today anti-matter or Dark Matter. The Victorians called it ether. This anti-matter is unformed matter existing in a mostly depolar and dispersed state or condition, sometimes referred to as chaos or entropic condition. It is the proto-stuff (non-stuff) from which matter is eventually assembled by syntropic force. The assembly process is ordered by the Law of Assimilation and conforms and follows the mathematical sequence as below delineated. The 
Law of Assimilation is activated by polarization into seeming opposite states of attractive and repulsive conditions usually referred to as positive/negative, male/female, Light and Dark, Yin/Yang, assimilating/dispersing, gravity/levity, cold/hot, etc. There are many more synonyms. This depolar (neutral) state is the same as Undifferentiated Mind (quiescent thought) whereas its polar state is Differentiated Mind (active thinking). An Idea in the Undifferentiated Mind is a differentiation of quiescent Mind and as such begins the process of growth and gathers about itself its polar accretions we call sub-quantum particles or entities.


“And the Spirit of God moved upon the face of the waters. And God said, Let there be light: and there was light. And God saw the light, that it was good: and God divided the light from the darkness. And God called the light Day, and the darkness he called Night. And the evening and the morning were the first day.” [Genesis]


11.06 - Something from Idea + Will - In the above quote can be seen God had an Idea about He desired Light, it's differencing from Dark, labeling these as Day and Night. After each Idea the thing or state came to be or came into being. This, of course, according to these documents (Old Testament) as there were and are other documents attempting to describe these first few moments of Creative Ideation and Manifestation within and of the Mind of Diety. Creation was/is an act of Divine Will. There was the Divine Idea which came into form according to principles, laws and processes. This creative process, which never stops, is evolutionary in its process from Idea to Form. The great debate then is not either Creation or Evolution but how these two great forces work in concert to render all materiality and life on a continuous and never ending course through Time and Space.

"The mechanical principle by means of which power is expressed by the Creator is in the light waves of two-way motion which record His two-way thinking. Waves are two-way cycles which are divided equally to express the two desires of Mind to create form images of Mind imagining and to destroy those forms sequentially for reforming." [Russell, The Secret of Light, page 115] 

“The will! The spiritual life, the essence of God itself!” Cayce (911-70)

PS: Mentioning "God" herein does not mean an anthropomorphic God as in a being created in Man's image. "God" herein means a creative, sympathetic Awareness or Consciousness as in:

"The eternally conscious entity - call it by whatever name we please - moves in cycles as eternal and infinite as itself; it oscillates and vibrates perpetually and is never unconscious of any present condition, be it pain or pleasure, joy or sorrow, shame or glory; like the pendulum of a clock or the sun, moon, or tides, it swings from the one to the other of these conditions, now in pleasure, now in pain, by its contact with the extremes of all varying conditions, like a child which throws up its head and laughing for joy exclaims, I KNOW I AM." [Keely, Dashed Against the Rock]

11.07 - Idea + Will + Spirit  = Manifestation - The “Spirit of God” is the Will of God, an attribute of His Mind or consciousness. Will is the essence of Mind differentiated and activated as in thinking; desirous of an Idea. 

'Spirit' then is the motivating or activating of this process.

"Spirit is the First Cause, the primary beginning, the motivative influence, - as God is Spirit.

    "Spirit is the First Cause. Mind is an effect, or an active force that partakes of spiritual as well as material import. Mind is an essence or a flow between Spirit and that which is made manifest materially.

    "God, the First Cause, in spirit, created in spirit the separate influences or forces that are a portion of, and manifested in the spirit of, God. In that essence, to become materially manifested through the evolution of the spirit of God, sin first began.

    "The first concept as may be had of that in materiality is that it is an essence, without form, save as it begins to manifest, - as would be gas, odor, wind, smoke, - yet that it has with it the will, the mind, the power to make manifest by that with which, in which, it manifests, - as does also odor, gas, wind and the like.

"Thus - as the activities came - we may assume that the First Cause was Spirit, Mind, Will."
 Cayce (262-123) 

"The spirit is the impelling influence of infinity, or the one creative source,  force, that is manifest.  ...spirit is the life-giving force in every condition,  whether of mental or material action."  - Cayce (5749-3)

"Mr. Keely affirms, with other philosophers, that there is only one unique substance, and that this substance is the Divine spirit of life, and that this spirit of life is God, who fills everything with his thoughts, disjoining and grouping together these multitudes of thoughts in different bodies called atmospheres, fluids, matters, animal, vegetable, and mineral forms."
Clara Bloomfield-Moore


11.08 - Matter is an Effect of Will Force (polarized Thought) - Will therefore is a polar force or activator (causer) of motion.

"Will force," writes Keely, "is a latent, spiritual element, neither gaseous nor otherwise. Its evolution is brought into action under certain spiritual conditions not now understood by science. Its protoplastic element is actually luminous, in respect to its latent flow from the cerebral domain; but all the flow that has ever been registered from the time of the birth of every volume of thought — all that ever existed, or will ever exist in the future — would not produce a substance of matter the size of a molecule." [Keely, Keely and His Discoveries

Mind Centered Universe of Motion

Figure 11.02 - Infinite Neutral Mind Centers and Controls All Motion
(courtesy University of Science and Philosophy)

Will is non-observable and initiates motion by virtue of its polar conditioning of neutral (depolar) characteristics. Will polarizes or organizes nonpolar or depolar chaos (Undifferentiated Light which appears dark) into orderly bipolar pairs which then interact according to law, time and number as observable matter. These then condense into what we call matter.

"God is Light. God is Universal Mind. Mind is Light. Mind knows." [Russell, The Secret of Light, page 12]

"God moved, the spirit came into activity. In the moving it brought light, and then chaos. In this light came creation of that which in the earth came to be matter; in the spheres about the earth, space and time; and in patience it has evolved through those activities until there are the heavens and all constellations, the stars, the universe." Cayce (3508-1)

11.09 - Matter is the Recording of Thinking - For in the beginning there was no thing other than Mind, awareness or consciousness. When Light came into being it came as Light of Mind or consciousness, awareness, understanding or knowing. This is the prime moment of polarization between seemingly opposite states or conditions: Light as Day and Dark as Night. Concurrently all effects of polarization came into being - rotation, orbital motion, color, tone, high and low temperatures and pressures, etc. These are all effects of synchronous and reciprocal motion of seeming opposed states or conditions. One polar state is chaos or dispersion (euphemistically 'Satan'; i.e., Death and Disorder). The other polar state is order or accumulation (euphemistically 'God'; i.e., Life and Order). These are not independent states existing separate from each other. They are interdependent states existing by virtue of the other’s existence; i.e., can’t have one without the other. As all matter is an effect of these polar motions, themselves derived from polar Mind in motion we can say the universe is a projection of that Mind or a thought in that Mind, awareness or consciousness. Matter is then seen as a frozen thought and an effect of the Mind in its thinking as also our writing in Part 1 concerning Mind as the foundation non-substance of all Matter.

"God's Creation is the imaged patterned form of God's imagining, built on His image. It is the body of God, the record of His thinking, created by Him for expressing the One-ness of Life, Love, Mind, Soul and Power which is in Him alone." [Russell, The Secret of Light, page 12]

“This universe of matter in motion is but the electric record of thought.” [Russell, The Secret of Light, page 50]

11.10 - Matter is the Recording of Sequential and Successive Steps of Polarized Thought -The music scale below illustrates a naturally occuring evolution of polar states in their rhymical motions generally considered as vibration or vibratory/oscillatory periodic motions. Polar states begin a long climb from a depolar non-vibratory condition (entropic dispersion) to a high state of intense vibratory action (syntropic consolidation). This climb from low energy to high energy and activity is reflected in number and (arithmetical) relations between those numbers. (See Russell's Scale of Locked Potentials.)

2002, 09/06: Question to Dawn: (paraphrased from memory) “Did John Keely use the term ‘ninths’ like we use the term ‘octave’”?

DAWN: "Yes, the ninths are infinite in latency and from which all else comes as in ‘zero’ point where ‘C’ or the fundamental resides at the octave location in a scale. Keely would use a violin or harmonica because he could ‘slide’ the tones to match a harmonic pitch."


This scale is about the sequential and successive polarization/depolarization of Mind Force as it becomes observable matter and returns to non-observable anti-matter (non-matter, the Void of Space). See Chart of Matter and Energy, Part 1.

One of the scales Keely used, in some of his work, has nine tones with sixteen half steps. The ninth tone (the octave position) being Keely’s "infinite ninths". The ninth tone is not a true music tone, as generally considered, but it is the progenitor (ala Pythagoras) from which the other tones are created by differentiation or refraction (addition, subtraction, division and multiplication) and represent depolar non-activity. Therefore the fundamental or tonic of a scale is considered as an undifferentiated tone (depolar) while all the others within its octave family are progressively differentiated and somewhat less harmonious because of their duality and they are all EFFECTS of the ONE TONIC of the scale - everything being relative of course. (One should not look through a music playing musician's eyes/ears when studying this scale. To do so would be exceedingly misleading and frustrating.)

The process of differentiation of the depolar Quiescent Neutral State (Void) to the Individuated Unit is acomplished by addition, powers and multiplication when increasing energy. The process of differentiation of the polar Individuated Unit to 
Quiescent Neutral State is accomplished by subtraction, square root and division when decreasing energy.

This table is of the 9th octave (256 - 512 cps) which scale series

began with 1 on the 1st octave, 2 on the 2nd, etc.

A                   B             C        D    E     F          G

Classification      Interval      Note     cps  Size  2^* x      Indig

Compound Etheric    16 Octave     C##/Dbb  512   16   2^9          0
                    15 Minor 9th  C#       496   16   2^4 x 31
                    14 Major 8th  C        480   16   2^5 x 3*5    1-
                    13 Minor 8th  B#/Cb    464   16   2^4 x 29
Enharmonic          12 Major 7th  B        448   16   2^6 x 7      2-
                    11 Minor 7th  A#/Bb    432   16   2^4 x 3^3
                    10 Major 6th  A        416   16   2^5 x 13     3-
                    09 Minor 6th  G#/Ab    400   16   2^4 x 5^5
Harmonic            08 Major 5th  G        384   16   2^7 x 3      4++
                    07 Minor 5th  F#/Gb    368   16   2^4 x 23
                    06 Major 4th  F        352   16   2^5 x 11     3+
                    05 Minor 4th  E#/Fb    336   16   2^4 x 3*7
Enharmonic          04 Major 3rd  E        320   16   2^6 x 5      2+
                    03 Minor 3rd  D#/Eb    304   16   2^4 x 19
                    02 Major 2nd  D        288   16   2^5 x 3^2    1+
                    01 Minor 2nd  Db       272   16   2^4 x 17
Compound Etheric    00 Tonic      C##/Dbb  256   16   2^8          0


Table 11.01 - Scale of Infinite Ninths, its Structure and Base

11.11 - Explanations of the Scale of Infinite Ninths - The columns above in Table 11.01 are explained thusly:

A - Classification - This is the breakdown as per Keely into three distinct types and ranges of energy.

B - Interval - The scale divided into 16 Steps associated with standard music nomenclature. In this scale each note/interval has and is composed of two equal steps.

C - Note - Musical note designation for each step as per standard music methods but with the addition of C##/Dbb as the octave.

D - cps - Cycles per Second of each Step, Note or Interval.

E - Size - The 'size' (in cps) of the interval between notes. This quantity, of course, doubles (power of 2) every octave when going up and halves when going down. Demonstrating that as octaves increase so too does the Rate of Delta increase, encompassing or harnessing higher and higher Energy Densities when going up. This illustrates Russell's "winding speed into power" principle as also energy increase in vibratory rate parallels decrease in oscillatory rate (tightening of the spring).

F - 2^n X y - This column shows the number base of each note/interval. For instance, a Major Third, regardless of octave, is always expressed as "2^n X 5" where n equals the Root Octave of interest. These note equations are the same for all notes in all octaves and reflect the aliquot parts or component frequencies making up that note/interval. This demonstrates the SVP principle that each and every note/interval has its own unique character (when considered within its associated octave) and MUST NOT be considered as a simple frequency or number "just like any other frequency rate" or number. In other words note equations determine degree of harmonicity: relative proportions of harmonic (creating concordant overtones and consequently forming harmonies) and enharmonic (creating discordant overtones and consequently forming discords). Naturally, reducing ratios and proportions to a decimal approximation is (almost) never encouraged.

G - Indig - This column lists the appropriate Locked Potential number designation developed by Russell. (See Part 12.) We call this numbering system after Buckminster Fuller's use of that term because he explained the origin of these numbers which shows their origin and quantitative relationships. They are not just a convenient numbering system. 

11.12 - Hidden Powers of Numbers - Each number has an unique power structure and is not to be considered as simply incrementing a linear count. How an hidden power in numbers may be developed is shown in column "F" in Table 11.01. These equations contain and show a rhythmic pattern of octave-like powers making up each unique quantity of vibrations/oscillations. In music and physics numbers, rates or counts of frequencies are not stand-alone quantities but are relative, dependent and associative to other like quantities otherwise they would be meaningless expressions of incrementing quantities within a linear system of enumeration and we all know music is anything but linear. Numbers in music are relative quantities and not simple sequential steps along linearity.

11.13 - Dominant Conditions are Mated Opposing Pairs as Fifths - According to Russell the 4++ position is the point where polar forces - syntropic/contractive and entropic/dispersive - come together, focus and accumulate. This is the position, form and function of a musical fifth or Dominant8.2 position, within his system as also musically speaking. According to Keely "All the dominant conditions of nature represent the focal centers towards which like surrounding ones become sympathetically subservient."9. The focal center is that point where syntropic sympathy, affinity, attraction, focus and motion coincide. It can further be presented the fifth of the scale is a naturally occuring harmonic (2:3) and by which music scales may be mapped in their evolution and progressions as in the Circle of Fifths concept. They are the centers about which seeming opposing polar forces seek and congregate to create form we call matter. The musical fifths are the same as Russell's 4++ position of his Scale of Locked PotentialsWhen the two mated pairs come together in balanced opposition at the 4++ or fifth position there is created a third condition of etheric vacuum, relativistically speaking. These three highly dynamical states constitute the focal center about which "like surrounding .. conditions are sympathetically subservient". More on this later.

NOTE: The concept above concerning syntropic and entropic focus and accumulation, while true about Russell's statements, is not strictly true (not entirely accurate) about what actually happens in nature. The why and how of this ascertion will be shown later.

G = The Fifth, 4++ and Double Tone

1) G = the Fifth of the Scale is a Double Tone - a Dual ONE - Yin and Yang mated, not separare but together AS ONE.

2) G = a Double Tone? By counting up a fifth and down a fourth it is a Double Tone.

3) G at 4++ is possibly the 5th octave configuration where Carbon is perfected harmony of components in opposition, ala Fuller's Tensor Force or  Tensional Integrity.

4) The 0 (zero) positions of C## and Dbb are without polarity (i.e., depolar) therefore do not have a positive and negative oscillation (tone). The Inert or Noble gases reside at the 0 (zero) locations or very close thereto. Russell says of this "The Inert Gases are not elements and are therefore toneless and colorless."
The Universal One, page 249. However, we know from mmodern chemistry these elements are not perfectly neutral and do combine with other elements under certain conditions.

5) In Table 11.01 we see the Fifth has its arithmetical root in the next lower octave.

NOTE: C## and Dbb are essentially the same being octaves of each other.

6) G is the average of these two as also the sum of the two lower octaves:

(512 + 1024)/2 = 768
 256 +  512    = 768


[See Russell, The Universal One, pages 9, 11 and 249]


Table 11.02 - G = Fifth, 4++ and Double Tone

11.14 - Indig Numbers (Buckminster Fuller) and Octave Roots - Counting by Indig Numbers marks points (column G in Table 11.01) which points coincide with Russell's numbering system used in his Scale of Locked Potentials. These Indig points coincide with an increase in Power of Two with a lesser Power of Two on either side of it. For instance we see below 2^4 on either side of 2^5 (column F in Table 11.01) . Powers of Two (doubling or squaring) indicate octave relationship. This indicating Indig Points have their root in lower octaves, thus demonstrating a continuity in progressive evolution of music notes and they are not directly generated within the octave they appear in - as seemingly everyone presumes music notes to be derived. This pattern persists with all Indig points; i.e., Russell's Locked Potential notes. This concept of roots developing notes in higher octaves was covered quite well by Hughes in her book "Harmonies of Tone and Colours - Developed by Evolution". There are other curious arithmetical relationships in these numbers and no doubt many more than I've found.
EDITED TO HERE 02/23/09

Roots, Powers of Two and Indig

C##/Dbb  512   16   2^9          0
C#       496   16   2^4 x 31
C        480   16   2^5 x 3*5    1-
B#/Cb    464   16   2^4 x 29
B        448   16   2^6 x 7      2-
A#/Bb    432   16   2^4 x 3^3
A        416   16   2^5 x 13     3-
G#/Ab    400   16   2^4 x 5^5
G        384   16   2^7 x 3      4++
F#/Gb    368   16   2^4 x 23
F        352   16   2^5 x 11     3+
E#/Fb    336   16   2^4 x 3*7
E        320   16   2^6 x 5      2+
D#/Eb    304   16   2^4 x 19
D        288   16   2^5 x 3^2    1+
Db       272   16   2^4 x 17
C##/Dbb  256   16   2^8          0

Table 11.03 - Roots, Powers of Two (Octaves) and Indig Numbers


11.15 - Indig Numbers, Inert Gases and Octave Position - Indig points represent the degree of duality of mated polar forces. 1-1+ combine in least polarity while 4+4+ where polarity or duality is at its maximum tension in opposition. Combined with Russell’s Indig notation we see he marks the Infinite Ninths (octave) position as having zero polarization where reside the Inert Gases. Thus supporting his contention the inert gases are not matter as considered within this system.

"The master-tones which represent a state of motion-in-inertia and are the inert gases, bear the same relationship to the elements that white bears to the colors. They are a registration of them all. White is not included in the spectrum, it has no place there. The inert gases should not be included in the elements. They have no place there. Of this more shall be written later in its proper place." [Russell, The Universal One, Book 1, Chapter 2, The Life Principle]

This means the Indig points are derived from a Higher Power of Two multiplied times a small more harmonic multiplicand, ala Pythagoras (small number ratios are more harmonious than large numbers). In other words the Power of Two from a lower octave source is being increased (raised up) by virtue of the harmonic or higher powers of the multiplicand which is 2, 3, 4 or 5. This coincides with Russell’s statements that elements are octave derivatives of lower octaves. The inter-indig numbers are all Prime Numbers of a higher value thus contributing to dispersion of harmonics (more superharmonic discord). They do not possess the harmonic assimilative force as much as the Indig number values and positions. Each polarity must possess some of the opposite polarity.

The working value in this scale is not the whole number frequency. These frequency numbers are effects of the equations in the respective activities of the numbers and their operations of the equations whether powers, addition or multiplication. The equations, as shown in column F, are for increasing rates. When decreasing rates the operations are square root, subtraction and division. Energy is increased in the former operations. Energy is decreased in the latter operations - always reciprocal and proportional.

11.16 Indig Numbers and the Power of the Powers of Two represent or create or determine octave. The only difference between one octave and any other octave is the power of two, all other factors being the same. In real vibratory terms this means a halving of length to increase by an octave or doubling of length to decrease by an octave.

Multiplicant determines relative placement, tone, note or degree of modulation or differentiation within the octave derived from the fundamental or tonic. The only arithmetical difference between one tone and any other tone within an octave is the relative value of the multiplicand.

A fundamental is a whole harmonic note from which all other notes of that octave are derived. In deriving these notes it is differentiated much like Undifferentiated White Light is refracted (differentiated) into its constituent colors. Russell says of this Universal Light:

“God is Light. God is Universal Mind. Mind is Light. Mind knows.” [Russell, The Secret of Light]

“There is but one thing in this universe - LIGHT - the still Light of all Knowing. The One Light which is God, God alone lives.” [Russell, The Secret of Light]

In this wise we can see why Keely labeled the tonic, fundamental and octave positions as the Infinite Ninths.

11.17 FOOT NOTES
to above section.

1 - God: The word “God” is herein used in a different context than generally used. God herein is not an anthropomorphic being, made in Man's image, sitting on a throne and passing whimsical judgement and punishment on sinners, his children. God is Love in the esoteric sense of being part and parcel of every thing that is, was or about to be. Pure Latency, Creative and fully aware of every thing everywhere. The connecting link between all that is is Love or sympathetic associative resonance whose velocity of propagation is instantaneous between sympathetic centers traveling on the High Neutral Streams of near infinite density and clarity. If you will, God is as "quantum entanglement" between all sub-quantum entities which connection being a sympathetic vibratory one.

“The eternally conscious entity - call it by whatever name we please - moves in cycles as eternal and infinite as itself; it oscillates and vibrates perpetually and is never unconscious of any present condition, be it pain or pleasure, joy or sorrow, shame or glory; like the pendulum of a clock or the sun, moon, or tides, it swings from the one to the other of these conditions, now in pleasure, now in pain, by its contact with the extremes of all varying conditions, like a child which throws up its head and laughing for joy exclaims, I KNOW I AM." [Keely in Dashed Against the Rock]

2 - Genesis of the Old Testament.

3 - Law of Assimilation: “Every individualized object tends to assimilate itself to itself, in successive moments of its existence, and all objects to assimilate one another.”
[Keely and His Discoveries] This law functions according to Keely’s Law of Attraction: "Juxtaposed coherent aggregates vibrating in unison, or harmonic ratio, are mutually attracted." (Keely, pre1894) See also Bjerknes Effect.

4 - Genesis
of the Old Testament.

5 - Keely and His Discoveries

6 - The Secret of Light, page 50.

7 - Fundamental is also known as Major Ninth, tonic, octave, keynote and Infinite Ninths.

8 - Actually this is not Satan opposing God but Satan opposing Archangel Michael. God is the perpetually Undisturbed and Undifferentiated Divine Latent Mind Potential of the Void (quiescent Whole Mind of perfect sympathetic continuity wherein no division can happen or exist). God, being Love, has no opposite. Whereas once a portion of this Void appears to differentiate and individuate there are then two seeming polar opposite conditions come into being and activity - one Creative and one Destructive - seemingly forever warring with each other. Other analogies are St. George fighting the Dragon or St. Michael fighting a Dragon or the Egyptian Osiris (Sun) consuming/eating/killing Horus (Night). Without fundamental polarity or polarization there can be no materiality.

Archangel Michael Slaying Dragon

Figure 11.03 - Archangel Michael Symbolically Slaying the Dragon

Fundamental: 1. The tones from which harmonics are generated. 2. Usually the lowest frequency component in simple waveforms, perceived as the "pitch" of the sound. 3. The lowest tone of a chord when the chord is founded on that tone; also, the lowest note in the harmonic series.

“One desire (of Mind) is for separation from Oneness into unbalanced multiplicity and the other is for voidance of multiplicity into balanced Oneness. One desire is for action and the other for rest.” [Russell, The Secret of Light] Illustrates the dual yet unmanifest nature of the fundamental tone. It “wishes” or desires to be both expanding and contracting, yet does neither. It’s offspring, the octave tones, do however manifest these two desires. The One fundamental Tone will divide and multiply itself into a multiplicity of tones of the octave and reabsorb that multiplicity back into Oneness. See Ramsay's The Scientific Basis and Build of Music to see how a fundamental builds into an octave series with overtones and reabsorbs them all back into the fundamental from whence they came.

8.2 - Dominant: ADJECTIVE: 1. Exercising the most influence or control. 2. Most prominent, as in position; ascendant. 3. Genetics Of, relating to, or being an allele that produces the same phenotypic effect whether inherited with a homozygous or heterozygous allele. 4. Ecology Of, relating to, or being a species that is most characteristic of an ecological community and usually determines the presence, abundance, and type of other species. 5. Music Relating to or based on the fifth tone of a diatonic scale.

NOUN: 1. Genetics; A dominant element or trait. 2. Ecology; A dominant species. 3. Music; The fifth tone of a diatonic scale. [The American Heritage® Dictionary of the English Language: Fourth Edition. 2000.]

9 - page 179 of Keely and His Discoveries

10 - Mind: “...the cerebral being the high dominant, or compound etheric, the luminiferous proper." Keely. We could and probably should view this use of "Dominant" by Keely as the merging/averaging of the Octave Positions of the Celestial and Terrestrial being the Dominant Position where Man resides.

Celestial Terrestrial Triangle

Figure 11.04 - Celestial and Terrestrial Forces Come Together to Manifest as All That Is.

“God is Light. God is Universal Mind. Mind is Light. Mind knows.” [Russell, The Secret of Light]
[The above materials are from an article originally written by Dale Pond, 2002, 11/02.]


Scale of Infinite Ninths
Basic Structure of Notes and Interval Meanings

Interval    NOTE    FREQ STEP MULT ADD INDIG   Degree of Scale

Octave 6    C##/Dbb 256   16  2^8        0     Sub-Octave, Octave 6
Minor 2nd   Db      272   16  2^4  17
Major 2nd   D       288   16  2^5   3^2  1+
Minor 3rd   D#/Eb   304   16  2^4  19
Major 3rd   E       320   16  2^6   5    2+
Minor 4th   E#/Fb   336   16  2^4   3*7
Major 4th   F       352   16  2^5  11    3+
Minor 5th   F#/Gb   368   16  2^4  23
Major 5th   G       384   16  2^7   3    4++   Subdominant, Under-Dominant
Minor 6th   G#/Ab   400   16  2^4   5^5
Major 6th   A       416   16  2^5  13    3-
Minor 7th   A#/Bb   432   16  2^4   3^3
Major 7th   B       448   16  2^6   7    2-    Submediant, Under-Mediant [Enharmonic?]
Minor 8th   B#/Cb   464   16  2^4  29
Major 8th   C       480   16  2^5   3*5  1-    Leading Note
Minor 9th   C#      496   16  2^4  31
Major 9th   C##/Dbb 512   16  2^9        0     Tonic, Keynote, Octave 7
Minor 2nd   Db      544   32  2^5  17
Major 2nd   D       576   32  2^6   3^2  1+    Supertonic
Minor 3rd   D#/Eb   608   32  2^5  19
Major 3rd   E       640   32  2^7   5    2+    Mediant [Harmonic?]
Minor 4th   E#/Fb   672   32  2^5   3*7
Major 4th   F       704   32  2^6  11    3+
Minor 5th   F#/Gb   736   32  2^5  23
Major 5th   G       768   32  2^8   3    4++   Dominant
Minor 6th   G#/Ab   800   32  2^5   5^5
Major 6th   A       832   32  2^6  13    3-
Minor 7th   A#/Bb   864   32  2^5   3^3
Major 7th   B       896   32  2^7   7    2-
Minor 8th   B#/Cb   928   32  2^5  29
Major 8th   C       960   32  2^6   3*5  1-
Minor 9th   C#      992   32  2^5  31
Octave 8    C##/Dbb1024   32  2^10       0     Octave, Octave 8


Table 11.04 - Scale of Infinite Ninths, its Music Interval Relations

1st Degree I Tonic or Keynote The note from which the whole scale or tonality springs.
2nd Degree II Supertonic The note next above the tonic.
3rd Degree III Mediant The note MIDWAY between the tonic and the dominant. Is midway between the tonic and the dominant.
4th Degree IV Subdominant The UNDER-DOMINANT, the same position UNDER the tonic as the dominant is above. A fifth below the tonic.
5th Degree V Dominant The note next in importance to the tonic, having a dominating influence over the entire key. A fifth above the tonic.
6th Degree VI Submediant The UNDER-MEDIANT, the note midway between the subdominant and the tonic, holding the same position as the mediant does above the tonic, between it and the dominant. Is midway between the tonic and subdominant.
7th Degree VII Leading Note The note that leads to the tonic, sometimes called the sensitive note.

Table 11.05 - Scale Structural Components and Relations

11.18 - Keely’s Dominant, Harmonic and Enharmonic - These three interval designations appear to be correct as they are part of a system of energy and coincide with known musical terminalogy. The Dominant or 4++ position is a place of extreme polarization and power. The Harmonic/syntropic (3+, 2+, 1+) and Enharmonic/entropic (3-, 2-, 1-) are opposites with less the power of 4++. This number pair sequence is a gradient of power accumulation and dispersion and makes sense when considered as an associative triplet state as according to what Keely says:

"All the dominant conditions of nature represent the focal centers towards which like surrounding ones become sympathetically subservient." [pg 179 of Keely and His Discoveries]

"Magnetism is of the atomic order? and not molecular? then it is not electrical in nature; so what then is the influence in an electromagnetic? The Dominant current of the electrical stream." [Keely and His Discoveries]

"The Dominant (of the Electrical Stream) creates or governs Magnetism on the Atomic Order of Vibration (High Vibratory)." [Keely and His Discoveries]

"Keely classes the cohesive force of molecular masses as the dominant order of the electric stream, the molecule owing its negative attractive quality to the magnetic element." [Keely and His Discoveries] This is what we today call valence.

"The Dominant current of the electrical stream is the electricity luminous." [Keely and His Discoveries]

"The fundamental mode of vibration changes as we reach the fifth subdivision [etheric], to the dominant, the diatonic third of the mass chord, which controls the vibratory states of both etheron and interetheron." [Keely and His Discoveries]

"The magnetic cannot lead the electric, nor the electric the gravital, nor the gravital the magnetic. All are subservient to the dominant, as a train of cars is subservient to the locomotive which pulls it along; the only difference between the two is that one is sympathetic, the other mechanical. Though this is a crude illustration, it conveys a great truth in sympathetic philosophy. All sympathetic flows have this triune condition associated with them, the same as the molecular, atomic and etheric aggregations of all forms of visible matter; the compound etheric, or dominant, being the leader and yet one of the constituents of the molecule itself. The dominant we may call the etheric portion of the molecule; the harmonic, the atomic; and the enharmonic, the molecule itself. The dominant parts of the triune combination of the sympathetic streams are the leaders, toward which all co-ordinate to make up the sympathetic terrestrial envelope of the earth; the cerebral being the high dominant, or compound etheric, the luminiferous proper." [Keely and His Discoveries] As we have associated the etheric with things Spiritual we see in Keely's above statement support to the adage that "spirit leads materialism".

11.19 - Spirit is Dominant - "Spirit is a universal essence pervading all nature, even unconscious matter, and manifesting in many ways, such as cohesion, adhesion, etc. It is a Divine, universal, essence-like Soul, but of a lower rate. Spirit essence makes its first material manifestation in the formation of electrons, which enter into the composition of atoms. Soul, as an essence, can manifest only psychically, because of its very high rate of vibration."   Dr. H. Spencer Lewis, AMORC

"The basis of and the individuality of an entity must come from its ideal spirituality.  For all is born first in spirit, then in mind, then it may become manifested in the material plane.  For God moved and the heavens and the earth came into being.  God is Spirit.  Man with his soul, that may be a companion to the Creative Forces, is of that same source.  Thus to grow in grace and knowledge, one applies, one has, one uses one's spiritual self.  And with what spirit we apply, we grow also in mind and body." Cayce (3424-1)

“Like fire, which is a spiritual order of vibration, spirit is latent in all matter. One might as well try to operate a steam-engine without its boiler as to give motion to matter against the conditions imposed by nature, or to propose a new method of controlling the action of our physical organisms (other than through the sympathetic transfer of our mental forces) as an improvement on the one instituted by the Almighty." [Keely, A Newton of the Mind]

"Spirit being its portion of the Creator, its soul that of its entity itself, making itself individual, separate entity, that may be one WITH the Creative Force from which it comes - or which it is, of which it is made up, in its atomic forces, or in its very essence itself."
 Cayce (364-10)

"There is a vast difference between spiritual and soul forces, for, as given, about each force there has been set guards or bounds.  Spirit forces are the animation of ALL LIFE giving life-producing forces in animate or inanimate forces.  Spiritual elements become corporeal when we speak of the spiritual body in a spiritual entity; then composed of spirit, soul, and superconsciousness...

"Spiritual forces being the life, the reproductive principle, the soul, the development principle...The active principle is the spirit."
  Cayce (900-17)


Scale Structure Components

Table 11.06 - Comparison of Scale Structural Components and Relations


11.20 - Scale of Infinite Ninths compared to Classic Scale - The two scales under discussion are listed side-by-side above, in three columns: Ninths Note, Equivalent and Classic. The Equivalent column is the transposition or translation between Ninths and Classic counting and notation schemes and is nothing more than a relabeling of the Ninths Scale. We can see from each of their respective ratios, decimal equivalents and cps how closely these two scales match or mismatch as per any considerations for ‘step’ size. In the Ninths (and Equivalent) column the step is 1/16th of the keynote. In the Classic scale the step size is all over the place numerically speaking. Hence there is no conceivable way to harmonize the Classic Scale or to properly tune any keyed instrument except by fudging individual notes as a peiano tuner is forced to do. There will always be beats occuring to whatever degree, power and inharmonicity. Therefore the Classic scale cannot be used to produce pure Syntropic forces, states or conditions. The Classic scale may accurately be labeled an Entropic scale, containing only varied places of harmony but mostly inharmonicities with varying degrees of dispersive forces. Even so the dispersive series or notes still retain certain amounts of Syntropic associations else no affinitizations, harmony, associations, mergings of materiality would or could happen. The Associative Syntropic Factor would have to be the twoness of the powers of two comprising each frequency as shown in Tables 11.01 and 11.03. This, of course, as opposed to numeric value base of 3, 5 or 7.

1) Classic Scale column is computed with A=440 and shows the impossibility of calculating its intervals using whole number fractions/ratios. Unresolved decimal remainders are inharmonic. Music composed and played with this scale will excite and disturb - anything but peace and harmony - unless great care be taken. It (on any key) is inharmonic, chaotic and dispersive. While the Scale of Ninths (Key of C##) is harmonic, orderly and assimilative - vibration-wise but not sensorially.
2) According to Russell the keynote 0 positions are not true notes. They are neutral or inert and are The Source for all the other notes of their respective octave series.

3) Each Ninth scale begins and ends with a “C##/Dbb”. One rises while the other descends, by Seconds and Thirds*, meeting at “G” where they void against/with each other. This is the 4++ Point of Voiding indicated by Russell. “G” is the point of maximum power, density, heat, light and rotation.

4) It appears from the above correlations the interval between “B” and “C” of the Equivalent column was miscounted within Classic scales. It is interesting Keely equates Bb to the resonance of the Earth and is the keynote for Dynaspheres which are fractals of the Earth in dynamical relations. These “B” intervals are the mysterious “7ths” often referred to by Keely.
*5) Interval Arithmetic: In the Infinite Ninths Scale two Seconds always equals a Third; two Thirds always equals a Fifth; two Fifths always equals an Octave or Ninth as designated within this scale.

Interval/Step Relations

Second + Second = Third
Second X   2    = Third
Second X   3    = Fourth
Second X   4    = Fifth
Second X   5    = Sixth
Second X   6    = Seventh
Second X   7    = Eighth
Second X   8    = Octave

Third  + Third  = Fifth
Third  X   2    = Fifth
Third  X   3    = Seventh
Third  X   4    = Octave

Fifth  + Fifth  = Octave
Fifth  X   2    = Octave


Table 11.07 - Scale of Infinite Ninths - Arithmetical Structure of Intervals 

11.21 - Arithmetical Structure of Intervals -
1) With these intervals there are no fractional or decimal remainders causing discordant beats.
2) There is no manipulative fudging to increase or decrease intervals or steps so they ‘fit’ numerically.
3) There is no bizarre or mysterious collection of odd ratios and intervals attempting to create conformity or explain nonconformity.
4) There is no need for ‘cents’ (decimal) division as vibrations naturally conform to simple whole number ratios and their proportionalities - something not possible in the decimal (metric) system.

Arithmetical Basis of Scale of Infinite Ninths & Indig Numbers

a  b   c    d    e    f      g               h          i       j       k       l    m           n
     (9^2)     (8^4) 16  a^n         (2^(n+1))        X+1    C##/Dbb  Octave    0
8 64 (8^2) 512 (8^3) 15  a^n * 15/16 (2^(n-4) * (3*5)        C        Har 8th      X-4*3*5 (15) +1
4 16 (4^2)  64 (8^2) 14  a^n * 7/8   (2^(n-3) * (7)   X-3*7  B        Har 7th  +2
2  4 (2^2)   8 (8^1) 13  a^n * 13/16 (2^(n-4) * (13)         A        Har 6th      X-4*13       +3
1  1 (1^2)   1 (8^0) 12  a^n * 3/4   (2^(n-2) * (3)   X-2*3  G        Har 5th  +4
2  4 (2^2)   8 (8^1) 11  a^n * 11/16 (2^(n-4) * (11)         F        Har 4th      X-4*11       -3
4 16 (4^4)  64 (8^2) 10  a^n * 5/8   (2^(n-3) * (5)   X-3*5  E        Har 3rd  -2
8 64 (8^2) 512 (8^3)  9  a^n * 9/16  (2^(n-4) * (3*3)        D        Har 2nd      X-4*3*3 (9)  -1
     (9^2)     (8^4)  8  a^n * 1/2   (2^(n))          X      C##/Dbb  Octave    0

a = Wave Length (Distance/Radius)
b = Area
c = Area factor
d = Volume
e = Volume factor
f = Frequency
g = Frequency Rising w/ fractions
h = Frequency Rising factoring
i = Factoring Reduction
j = Music Note
k = Music Interval
l = Even Indig Numbers
m = i Resolved
n = Odd Indig Numbers

Table 11.08 - Arithmetical Basis of Scale of Infinite Ninths


11.22 - Reciprocality of Dimensions and Music Intervals -
An Interval times 1/8 = the same interval opposite decreasing.
An interval times 8/1 = the same interval three octaves above.
An interval times 8/1 = the same interval opposite increasing.
An Interval times 1/4 = the same interval two octaves below.
An Interval times 1/4 = the same interval one octave higher decreasing.
An Interval times 1/2 = the same interval one octave below.
An Interval times 1/2 = the same interval two octaves higher decreasing.

11.23 - The Power of Two, Primes, Families & Differentiators

C##/Dbb Ninth   = Result of multiples of  2
C       Eighth  = Result of multiples of 15 (3 * 5)
B       Seventh = Result of multiples of  7
A       Sixth   = Result of multiples of 13
G       Fifth   = Result of multiples of  3
F       Fourth  = Result of multiples of 11
E       Third   = Result of multiples of  5
D       Second  = Result of multiples of  9 (3 * 3)
C##/Dbb Ninth   = Result of multiples of  2

Table 11.09 - Scale of Infinite Ninths - Power Bases of Intervals

11.24 - Notes and Thoughts on Octave Structure - 12/21/04: See Keys wherein above multiples govern all intervals of each Key.
See Fractal Iteration formula. The Modifier is the OCTAVE (a power of two). (X)

These formulae show every interval has its root in a lower octave and all intervals are directly relative to each other.

Every numeric quantity is established within or by the Power of Two (once 2 is reached as Octave, i.e., doubling of 1).

Frequencies for all notes within an octave first occurs in Fourth Octave. Because multiples of 4 (2 squared) as roots do not occur in first, second or third octaves.

11.25 - Notes and Thoughts on Harmonic Scale of Ninths -

10/27/03: A few points about the Harmonic Scale of Infinite Ninths -

1) Beats will 'disappear' into the sounds as all beats are equal divisions of all other notes. This is true for primary harmonics. I haven't calculated secondary and tertiary additive and subtractive derivatives yet.

2) There is no comma when counting up or down by Fifths.

3) The key of C can be broken out into all other keys but the number and identity of sharps and flats does not change. However the differentiator multipliers do change.

4) Which means the intervals do not change or move or lose their identities from key to key. (12/25/04: This is not strictly true in all cases.)

5) All intervals are the same regardless of key so there may not be any need to use any key other than C. Once one gets over the unusualness of this scale it is seen as simplicity itself. (12/25/04: This is not strictly so as Step or size of intervals increases directly as octave/frequency increases.)

6) All sharps and flats are interchangeable. A sharp and a flat are the same frequency and difference exactly half-way between adjoining notes. This too does not change in any key.

7) Arithmetic of Intervals never changes. Meaning two Thirds ALWAYS equals a Perfect Fifth, two Fifths ALWAYS equals a Perfect Ninth, etc.

8) Every interval has two equal and equivalent sizes: Minor and Major. There are no Augmented or Diminished intervals which could be created if desired.

9) Every note designation has three equal and equivalent sizes: nflat, n and n#

10) The scale perfectly matches Walter Russell's Indig Number Scale (which he calls Scale of Locked Potentials) mentioned in his 
The Universal One book. Which means this scale matches his and Keely's physics! 

[12/26/04]: Take this another step: a) the 0s are places of zero vibration or polarity/duality while b) the 4++ is a place of extreme polarity, light, heat, etc. Therefore could we safely say the 0s represent depolarity within a given range of frequencies and the 4++ is a place of extreme polarity natural overtone development somehow extending to the etheric level/realm?

Russell's Scale of Locked Potentials

Figure 11.05 - Russell's Scale of Locked Potentials - Centered at 0
(courtesy University of Science and Philosophy)

So perhaps the Indig Numbers are as KEYS or streams of overtone series generation. The “G” or 4++ creates a series of (possibly infolded harmonics) of extreme power and sensitivity. Evidence of this hidden power could be revealed by factoring each and every key or overtone series. (See page 16 of original notes.)

Russell Octave Wave System

Figure 11.06 - Russell's Geometry and Mathematics of Octave Waves
(courtesy University of Science and Philosophy)

11) The scale fits perfectly into Searl's Magic Squares. Standard Diatonic scale does not do this.

Magic Squares and Music

Figure 11.07 - Note Frequencies fit into Magic Squares

12) The underlying arithmetical formulae are elegantly 'perfect'!! Takes one's breathe away to see them laid out together..... like viewing the Mona Lisa or another of God's creations....

13) All intervals are equivalent and proportionate regardless of octave and relative within that octave.

14) All higher octave notes are equivalently proportionate to lower octaves from which they directly ALL derive. This is especially important when tuning pianos. No more mistuned pianos but they will have to add some additional keys....

15) I suspect that a chord will sound the same in any octave which is not the case with standard music. Won't know for sure until we try it.... (Chords sounded in one octave on a piano do not sound the same as in other octaves. Nor do they have the same power.)

16) This scale perfectly matches naturally occuring harmonics (overtones) which the standard music scale does not. (12/25/04)

17) When two Fifths equals a Ninth and the Ninth is the Octave, either up or down, there is then no comma within the Circle of Fifths or as in counting up seven octaves over counting up by Fifths.

11.26 - Definitions and notes useful in this section -

Comma: The small interval between a major and a minor tone, that is whose ratio is 8:9 and one whose ratio is 9:10. The ratio of a comma is therefore 80:81. A Pythagorean comma is the difference between the note produced by taking 7 octaves upwards and 12 fifths. [A Dictionary of Musical Terms]

No doubt there are more points of interest to add. Whenever I think/work on this scale more comes to light.

Points #7, #8 and #9 are what induced me to develop this scale. About five years ago [winter of 2001/2002] I had discovered and was developing an Arithmetic of Intervals as though they were uniform or equalized building blocks; two Seconds equal a Third or two Thirds equals a Fifth sort of thing. But because of the variable interval sizes the arithmetic never worked. One had to fudge, round off or wholy ignore numbers (or diminish and augment intervals) that didn't work. Standard music intervalization is a complicated mess with no solution. The math/science and the practice/playing NEVER coincided except in the scale of C, and that barely. I now know why standard music is so messy, complicated and convoluted.

Potential Position: Russell’s Scale of Locked Potentials is a scale based on relative position and potential. Likewise this scale reflects that relativity. These two scales appear to be Logarithmic Invariant. (12/25/04)

Contraction/Expansion: "The ratios of contraction and of expansion pressure shall herein be termed "The universal ratios."
Law: Expansion pressure is in direct ratio to the square of the distance, area, plane, orbit or time unit, and to the cube of the volume.
Law: Contraction pressure is in inverse ratio to the square of the distance, area, plane, orbit or time unit, and to the cube of the volume.
Law: Every mass in the universe occupies a measureable potential position."
[Russell, The Universal One, page 162]

12/25/03: There is probably no reason the sharps and flats could not be whole tones.... They are generated AFTER the whole tones though. Reckon it depends on how far one wishes to challenge The (music) System or how far out in left field one dares venture. They are however intermediary tones. The main/lettered tones are significant as applied to energy/sound manifestations as discrete steps. More on this later.

A fretless instrument would play this scale with no problems after the ear is tuned to work with it.

Any naturally occuring harmonics would be the sharps and flats - but everything being harmonic they would not sound out of place; i.e., sound sharp or flat. This is an aspect of this scale that bothers me because it will not create music in minor or major keys. In fact, computing key signatures result in nothing more than the same scale and the same sound. Unless I'm missing something by extrapolating standard key generation techniques to it. Again we can only tell by tuning an instrument to various keys and hear what happens. We might be surprised.

11.27 - Origin of C##/Dbb note - The idea of C##/Dbb comes from Walter Russell. He places the Infinite (God/Potential) between C and D. If you have a copy of The Universal One handy you can see in his charts this is also the place of non-motion inertial planes. As there are no other letters between C and D something had to be made up for a name/letter that would not be too far out of place within a musical construction. All other notes fairly well match step for step (more or less) standard notation. Since this is the place (fundamental) of non-differentiation (zero manifestation but omni-potentiality) it is called/symbolizes God, the Infinite Creative Source, and as it is the ninth position (counting with standard notation) we get the Infinite Ninths (God being Infinite). It is because of this unseen note I was able to decipher Russell's musical scale references which he overlays onto his scale of "Locked Potentials" but standard music theory concepts cannot reconcile his "Locked Potentials" with music because standard music left God out of its counting/constructions/equations.

I conclude this is God's music scale which He uses to create and orchestrate all activity in the Universe. According to what I understand from Russell this is 100% true because this scale conforms completely and perfectly to his scale of "Locked Potentials" (Indig Numbers) which he claims is the mode/method God uses to create/uncreate all matter.

One could get religious (but why would one?) and make a connection to C##/Dbb with God having no name (nameless one or nameless note) from which all else (all other notes) derives as meaningful (sensorally) harmonics/manifestations.

C##/Dbb also relates directly to Zero Point in physics - the claimed source of all/infinite power but is not manifested power itself; i.e., scalar. This position is referred to by Russell as 0 (zero) in his charts - set midway between C and D and this position has no polarity, bias or duality, yet paradoxically it generates all the other tones.

If this is truly God's Music Scale then I want to hear it too. It should, theoreticaly, make truly Divine Music.

Check out the Thirds and Fifths in this scale. Always and in all cases two Seconds makes a Third, two Thirds makes a Fifth and two Fifths or four Thirds always makes an octave. This is not so in standard music construction because there are different kinds (sizes) of Seconds and Thirds. You can add the frequency numbers to see this.

11.28 - Ninths in the literature - Keely on Ninths: "At present (1892) Keely is concentrating his efforts on the perfecting of his mechanical conditions to that point where, according to his theories, he will be able to establish, on the "Ninths"[*], a sympathetic affinity with pure polar negative attraction minus magnetism. In his own opinion he has so nearly gained the summit, or completion of his system, as to feel that he holds the key to the infinitely tenuous conditions which lie before him to be conquered, before he can gain control of the group of depolar discs that he is now working upon. Twenty-six groups are completed, and, when the twenty-seventh group is under equal control, he expects to have established a circuit of vibratory force for running machinery both for aerial navigation and for terrestrial use. If this result be obtained, Keely will then be in a position to give his system to science and to demonstrate the outflow of the Infinite mind as sympathetically associated with matter visible and invisible. In commercial use he asserts that when the motion has been once set up, in any of his machines, it will continue until the material is worn out. It is this claim which has caused him to be classed with perpetual-motion seekers." Bloomfield-Moore
[*] Keely is herein using "ninths" as in "Full Harmonic Current/Chord" of transmission. See Keely's Mysterious Thirds, Sixths and Ninths.

11.29 - Conventional or Standard Musical Ninths Intervals: 1) The interval of an octave and a second. 2) A compound interval, equal to a second in the superior octave. It may be major, minor, or augmented. 3) In music a ninth is an interval containing an octave and a second. The term also describes a chord of the dominant seventh with the ninth added. 4) A chord having usually, but not necessarily, five tones, the interval between the base note and the highest note being a ninth.

Minor Ninth 32:15
Major Ninth 9:4

Natural Ninth: The chord includes the pitch a major ninth (major second) above the root of chord when the numeral 9 is part of the chord symbol.

Lowered Ninth: The chord includes the pitch a minor ninth (minor second) above the root of the chord when (9) is part of the chord symbol. The symbol (9) is preferred indicator, but (-9) is also used. This alteration occurs on dominant seventh type chords.

Raised Ninth:
The chord includes the pitch an augmented ninth (augmented second, usually spelled enharmonically as a minor third) above the root of the chord when (9) is part of the chord symbol. The symbol (9) is the preferred indicator, but (+9) is also used. This alteration occurs on dominant seventh type chords. (See graphics on 9ths.)

Chord of the Suspended Ninth: A name given to the chord of the ninth on the tonic, as opposed to that of the ninth of the dominant, owing to the fact that the former is more often used as a prepare discord than the latter. The ninth may or may not be accompanied by the seventh. The ninth and seventh are both used with the fourth, or, as it is more properly termed, the eleventh on the tonic; under "Suspension". The division of discords into discords of suspension, discords of retardation, discords by addition, and fundamental discords, is purely arbitrary, consequently hardly any two authors apply these names in the same way. It is hardly desirable that a simple and consistent method of arranging chords should be generally adopted.

Chord of the Major Ninth: A chord formed by a combination of thirds starting with the dominant or fifth of the scale, called by some writers the "added ninth", because it consists of a chord of the dominant seventh, with the addition of the ninth; by others the "dominant ninth", because it occurs on a dominant bass. It is composed of five sounds, and, therefore has four inversions. Like all chords of the ninth, in it inversions, the root or ground-note is seldom heard.

Chord of the Minor Ninth: One of the most important ingredients of modern music. Not only is it exceedingly beautiful to the ear, but from its peculiar form it gives the greatest possible facilities for modulation from key to key, whether closely related or not. It consists of a dominant, its major third, major (perfect) fifth, minor seventh, and minor ninth. In its inversions the dominant, that is, the root or ground-note, is nearly always omitted. The chord is as often found in music in a major key, as in that in a minor. The beauty of the inversions no doubt arises from the fact that they consist practically of a combination of minor thirds. The alteration of the notation of the inversion of this chord gives scope for rapid enharmonic modulation. Without altering the sound of a chord (ninth) it may be made to lead into any key. Such a change of notation as this, without a change of sound, is termed an enharmonic modulation. It has already been shown that the chord may resolve either into the major or minor mode; therefore the tonic minors of the chord, and also the keys related to them, may be reached with equal facility. [A Dictionary of Musical Terms]

Chord of Ninth: Take another look at the C Major scale this time with a few notes from the second octave added. You can see that the Ninth note is a D, which has already appeared once before as the second note of the scale. The reason that it has changed from a second to a ninth is because the note is now an octave and a tone above the root or starting note of the chord...

                                    Musical Steps
01. C = 1st............Starting or root note
02. D = 2nd............Tone
03. E = 3rd............Tone
04. F = 4th............Semi-tone
05. G = 5th............Tone
06. A = 6th............Tone
07. B = Major 7th......Tone
08. C = Octave 8th.... Semi-tone - Octave
09. D = Ninth..........Tone Semi-tone pattern repeats.
10. E = Tenth..........Tone
11. F = Eleventh.......Semi-tone
12. etc.


Table 11.09 - Notes and Counting Steps, Standard Scale

Dominant Seventh: Ninth chords always must also contain the Dominant seventh, unless it is specified as an Added Ninth. In that circumstance, the Dominant 7th is omitted. See Figure 11.11 below.

(12/25/04: Added Chords of Ninths definitions and notations.)

The chord of C 9th (C9)              The chord of C add 9th (C + 9)
C  - 1st note of the scale           C - 1st note of the scale
E  - 3rd note of the scale           E - 3rd note of the scale
G  - 5th note of the scale           G - 5th note of the scale
Bb - Dominant 7th note               D - In the Second Octave
D  - In the Second Octave            *****************

Table 11.10 - Chord of Ninths Notes and Counting Steps

NOTE TO SELF: Reconfigure the notation to where C## is named C so as to better conform to standard acknowledgement. (This may not be possible.)

In the creation of chords, thirds for example, two seconds added together makes always and exactly one third in the SVP Scale of Infinite Ninths. In standard music calculations two seconds added together do make a third but not always the same kind of third (Minor or Major) and the value of a Minor or Major third may vary. It can be seen the SVP Scale of Infinite Ninths is much simpler, cleaner, trimmer and tidy as compared to standard musical scales.


Table 11.11 - Scale of Infinite Ninths, numerics
 
11.30 - Russell's Locked Potentials Numbers - Another feature of the SVP model (called SVP Scale of Infinite Ninths) is its conformity with Russell's Locked Potential scale of numbers describing natural evolutionary progressions of motion, temperature, power, etc. The Locked Potentials Scale can be seen in the far right column in Figure 11.12 and below in the second row of Figure 11.13.


Figure 11.08 - Russell's Music and Locked Potential Scales
(courtesy University of Science and Philosophy)

NOTE TO SELF: The various columns below correspond to KEYS of the SVP Scale of Infinite Ninths. QV. Write an expose of each of these KEYS with FACTORS, etc.
 

Table 11.12 - Musical Intervals, Locked Potential Numbers, Elements and Factors


Table 11.13 - Three Octaves of Infinite Ninths Scale

Eye of Horus Eye of Hours Fraction Math

Figure 11.09 - Eye of Horus = Figure 11.10 - Base Two Fractional Egyptian Arithmetic

11.31 - Egyptian Fractions and Measurements -
Notice column two in Figure 11.07. As interval fractions are parts of a Whole Octave so was the Egyptian Numbering system. The Eye of Horus was a fractional quantification system to measure parts of a whole. The fractions the Eye represent are the relations as found in Syntropic Force accumulation. As this force originates in the Sun, as intermediary, and begins its electrical accumulation via Acteinic Rays it can be seen the Egyptians well knew from whence Life Force derived and was the Life Giving power in their world as represented by the out-stretched hand from the Sun (anhk). Egyptian Math is a natural system designed to accurately track and record natural events and things like crop yields. This system is fascinating and pertinent but outside the scope of this work. (Although I feel it is at the very core of it. See Smythe's The Great Pyramid wherein he discusses the virtues of the natural Egyptian system as compared to the UNnatural metric system he vehemently condemned.) Egyptian Math needs to be more fully analyzed in terms of physical sciences; i.e., sound, vibration, mass, force, etc. It will reveal an immense quantity of new and interesting relationships demonstrating the harmonic nature of nature. Keely hints at this importance in his Law of Transformation of Forces and the Law of Variation of Atomic Oscillation by Temperature.
Section Parts and Addenda
Part 00 - Executive Summary
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 07B - Origin and Formation of Matter
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 Research
- - - - - - - - - - - -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
96 - Index of ebooks
97 - Disclaimer
98 - Footnotes
99 - Compendium and Definitions


"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 06/02/09]

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Copyright Notice

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Part 11 - The SVP Music Model

11.01 - Introduction
11.02 - Attributes of the Scale of Infinite Ninths
11.03 - Development of the Scale of Infinite Ninths
     Figure 11.01 - Octave composed of Equal Thirds and Triads
11.04 - Nature Dances to a Natural Music Scale
11.05 - Something from Nothing?
11.06 - Something from Idea + Will
11.07 - Idea + Will + Spirit  = Manifestation
11.08 - Matter is an Effect of Will Force (polarized Thought)
     Figure 11.02 - Infinite Neutral Mind Centers and Controls All Motion
11.09 - Matter is the Recording of Thinking
11.10 - Matter is the Recording of Sequential and Successive Steps of Polarized Thought
     Table 11.01 - Scale of Infinite Ninths, its Structure and Base
11.11 - Explanations of the Scale of Infinite Ninths
11.12 - Occulted Powers of Numbers
11.13 - Dominant Conditions are Mated Opposing Pairs as Fifths
     Table 11.02 - G = Fifth, 4++ and Double Tone
11.14 - Indig Numbers (Fuller)
11.15 - Indig Numbers, Inert Gases and Octave Position
11.16 - Indig Numbers and the Power of the Powers of Two
11.17 - FOOT NOTES
     Figure 11.03 - Archangel Michael Symbolically Slaying the Dragon
     Figure 11.04 - Celestial and Terrestrial Forces Come Together to Manifest as All That Is
     Table 11.03 - Scale of Infinite Ninths, its Music Interval Relations
     Table 11.04 - Scale Structural Components and Relations
11.18 - Keely’s Dominant, Harmonic and Enharmonic
11.19 - Spirit is Dominant
     Table 11.05 - Comparison of Scale Structural Components and Relations
11.20 - Scale of Infinite Ninths compared to Classic Scale
     Table 11.06 - Scale of Infinite Ninths - Arithmetical Structure of Intervals
11.21 - Arithmetical Structure of Intervals
     Table 11.07 - Arithmetical Basis of Scale of Infinite Ninths
11.22 - Reciprocality of Dimensions and Music Intervals
11.23 - The Power of Two, Primes, Families & Differentiators
     Table 11.08 - Scale of Infinite Ninths - Power Bases of Intervals
11.24 - Notes and Thoughts on Octave Structure
11.25 - Notes and Thoughts on Harmonic Scale of Ninths
     Figure 11.05 - Russell's Scale of Locked Potentials - Centered at 0
     Figure 11.06 - Russell's Geometry and Mathematics of Octave Waves
     Figure 11.07 - Note Frequencies fit into Magic Squares
11.26 - Definitions and notes useful in this section
11.27 - Origin of C##/Dbb note
11.28 - Ninths in the literature - Keely on Ninths
11.29 - Conventional or Standard Musical Ninths Intervals
     Table 11.09 - Notes and Counting Steps, Standard Scale
     Table 11.10 - Chord of Ninths Notes and Counting Steps
     Table 11.11 - Scale of Infinite Ninths, numerics
11.30 - Russell's Locked Potentials Numbers
     Figure 11.08 - Russell's Music and Locked Potential Scales
     Table 11.12 - Musical Intervals, Locked Potential Numbers, Elements and Factors
     Table 11.13 - Three Octaves of Infinite Ninths Scale
     Figure 11.09 - Eye of Horus = Egyptian Arithmetic
11.31 - Egyptian Fractions and Measurements