A Rosetta Stone for the New Science Paradigm
Version 2.3
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.] |
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
"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) |
“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]
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)
“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.
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 Potentials. When 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.
1)
G = the Fifth of the Scale is a Double Tone - a Dual ONE - Yin and Yang
mated, not separare but together AS ONE. NOTE:
C## and Dbb are essentially the same being octaves of each other. |
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.
![]() |
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.
![]() |
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.]
Interval NOTE FREQ STEP MULT ADD INDIG Degree of Scale Octave
6 C##/Dbb 256
16 2^8
0
Sub-Octave, Octave 6 |
"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) |
Second
+ Second = Third Third
+ Third = Fifth Fifth
+ Fifth = Octave |
a b
c
d e
f
g
h
i
j
k
l
m
n |
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 |
11.23 -
The
Power of Two, Primes, Families & Differentiators
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 -
[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?
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.)
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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.
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 -
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)
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...
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.)
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.)
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