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thirds

"The rhythmic relations in which force acts are everywhere, under all conditions, and at all times, the same. They are found experimentally to be universally expressible by the mathematical relations of thirds. [Keely, KEELYS PHYSICAL PHILOSOPHY - Snell]

Keely
"The thirds, on the subdivision of the one hundred and twenty-eight thousand four hundred vibrations, represent the negative antagonism, whereby this peculiar condition is brought about, viz., forty-two thousand eight hundred on the positive; the same on the negative and on the neutral, as associated with the sympathetic negative transmitter." [The Operation of the Vibratory Circuit, 1891?]

"Electricity is the result of three differentiated sympathetic flows, combining the celestial and terrestrial flows by an order of assimilation negatively attractive in its character. It is one of Nature's efforts to restore attractive differentiation. In analyzing this triple union in its vibratory philosophy, I find the highest order of perfection in this assimilative action of Nature. The whole condition is atomic, and is the introductory one which has an affinity for terrestrial centers, uniting magnetically with the polar stream; in other words, uniting with the polar stream by neutral affinity. The magnetic or electric forces of the earth are thus kept in stable equilibrium by this triune force, and the chords of this force may be expressed as 1st, the dominant, 2nd, the harmonic, and 3rd, the enharmonic. The value of each is, one to the other, in the rates of figures, true thirds. E flat- transmissive chord or dominant; A flat- harmonic; A double flat- enharmonic. The unition of the two prime thirds is so rapid, when the negative and the positive conditions reach a certain range of vibratory motion, as to be compared to an explosion. During this action the positive electric stream is liberated and immediately seeks its neutral terrestrial center, or center of highest attraction." [Vibratory Physics - The Connecting Link between Mind and Matter]

"In analyzing this triple union in its vibratory philosophy, I find the highest order of perfection in this assimilative action of Nature. The whole condition is atomic, and is the introductory one which has an affinity for terrestrial centres, uniting magnetically with the Polar stream, in other words, uniting with the Polar stream by neutral affinity. The magnetic or electric forces of the earth are thus kept in stable equilibrium by this triune force, and the chords of this force may be expressed as 1st, the dominant, 2nd, the harmonic, and 3rd, the enharmonic. The value of each is, one to the other, in the rates of figures, true thirds. Eb, - transmissive chord or dominant; Ab - harmonic; Abb - enharmonic. The unition of the two prime thirds is so rapid, when the negative and the positive conditions reach a certain range of vibratory motion, as to be compared to an explosion. During this action the positive electric stream is liberated, and immediately seeks its neutral terrestrial centre, or centre of highest attraction." [True Science]

"The peculiar conditions as associated with the gaseous elements of which water is composed, as regards the differential volume and gravity of its gases, make it a ready and fit subject of vibratory research. In submitting water to the influence of vibratory transmission, even on simple thirds, the high action induced on the hydrogen as contrasted with the one on the oxygen (under the same vibratory stream) causes the antagonism between these elements that induces dissociation. The differential antagonistic range of motion, so favoring the antagonistic thirds as to become thoroughly repellant. The gaseous element thus induced and registered, shows thousands of times much greater force as regards tenuity and volume than that induced by the chemical disintegration of heat, on the same medium. " [THEORY AND FORMULA OF AQUEOUS DISINTEGRATION]

"A whole is considered as being composed of three parts. Each third part is a third. These three parts have a dynamic relationship." [See Law of Assimilation, Keelys Laws of Being, Laws of Being]

"In setting the conditions of molecular sympathetic transmission by wire," writes Keely, "the same law calls for the harmonious adjustment of the thirds, to produce a non-intermittent flow of sympathy. Intermission means failure here. That differential molecular volume is required of sympathetic flow, seems at first sight to controvert the very law established by the great Creator, which constitutes harmony, a paradoxical position which has heretofore misled physicists who have propounded and set forth most erroneous doctrines, because they have accepted the introductory conditions, discarding their sympathetic surroundings. The volume of the neutral center of the earth is of no more magnitude than the one of a molecule, the sympathetic condition of one can be reached in the same time as the other by its coincident chord." Keely has ... attained the transmission of the etheric current in the same manner as the electric current with this one notable difference, that, in order to show insulation to the skeptical, he passes the etheric current, through blocks of glass in running his vibratory devices." [JOHN ERNST WORRELL KEELY]

 Octave composed of Equal Thirds and Triads
Figure 11.01 - Octave composed of Equal Thirds and Triads


Musical Third
There are diverse musical thirds; Minor Third, Major Third and Augmented Third. [See Interval]

Ramsay
Euler, while treating of music, shows that there are just three mathematical primes, namely 2, 3, and 5, employed in the production of the musical notes - the first, in ratio of 2 to 1, producing Octaves; the second, in the ratio of 3 to 1, producing Fifths; and the third, in the ratio of 5 to 1, producing Thirds. [Scientific Basis and Build of Music, page 8]

"The system of musical sounds is derived from the laws of motion and a particular election of numbers which give the greatest variety of simple ratios.
There are three primary and pregnant ratios which produce the chords and scales. The first is the ratio of 1:2, producing Octaves, and nothing else; the second is the ratio of 2:3, producing Fifths; the third is the ratio of 4:5, producing Thirds." [Scientific Basis and Build of Music, page 26]

In order to find the notes for the next major key above C, we have to multiply the vibration-number of D, which is the top of the dominant C, by 3 and 5. It is out of the key of C at this point that the new key sprouts and grows, and by the primes and method which produce the key of C itself. So if we would find the relative minor of C, let us take the note which is a minor third below D - that is, B - to produce the minor. The minor sprouts and grows from this point of the key of C; for the relative minor grows out of the major, as out of the man at first the woman is taken. Moreover, B is the last-born of the notes for the major scale; for the middles, that is, the thirds of chords, are always produced by the prime 5; and the tops, that is, the fifths of chords, are produced by the prime 3, and are born before the thirds, though placed after them in the chords. Well, because B is the last-born note of the major, as well as a minor third below the top of the highest chord of the major, it seems that the minor should have this for its point of departure. Again, we have seen that the major and the minor are found in their strings and their vibrations by an inverse process, that one going back upon the other; and, there taking Nature's clue, let us proceed by an inverse process of generating the minor. Making B45 our unit, as F1 was our unit for the major, let us divide by 3 and 5 for a root and middle to B, as we multiplied by 3 and 5 for a top and middle to F. B45 divided by 3 is 15; here then is our E, the root of the chord, just where we had found it coming upward; for, remember, we found E15 by multiplying C3 by 5. This E, then, is the same in major and minor. Now B45 divided by 5 is 9; [Scientific Basis and Build of Music, page 31]

The major scale is composed of three fifths with their middle notes, that is to say, their thirds. And as three such fifths are two octaves, less the small minor third D to F, taking the scale of C for example, so these three fifths are not joined in a circle, but the top of the dominant and the root of the subdominant are standing apart this much, that is, this minor third, D, e, F. Had they been joined, the key would have been a motionless system, with no compound chords, and no opening for modulation into other keys. [Scientific Basis and Build of Music, page 38]

Hughes
"Music, pure, natural, and harmonical, in the true and evident sense of the term, is the division of any keynote, or starting-point, into it's integral and ultimate parts, and the descending divisions will always answer to the ascending, having reference to the general whole. The essence and mystery in the development of harmonies consists in the fact that every keynote, or unit, is a nucleus including the past, the present, and the future, having in itself an inherent power, with a tendency to expand and contract. In the natural system, as each series rises, its contents expand and fall back to the original limit from any point ascending or descending; we cannot perceive finality in any ultimate; every tone is related to higher and lower tones; and must be part of an organized whole." - [F. J. Hughes, Harmonies of Tones and Colours - Developed by Evolution, page 16. See Overtone Series]

thirds mentioned in the Keely Literature

adjusted thirds
antagonistic thirds
chord of its thirds
chords in intervals of thirds
chords of E flat with thirds
chords of the thirds
clustered thirds
compound vibration of their mass thirds
concentrative thirds
confliction by thirds
diatonic thirds
differential diameters of thirds
discordant thirds
dominant thirds
enharmonic thirds
expressible in thirds
harmonic attractive chord, thirds
harmonic thirds
harmonic undulatory by thirds
harmonious adjustment of the thirds
harmony of thirds
inversions of thirds
major thirds
mass thirds
mathematical relations of thirds
consonant thirds
minor thirds
molecular concordant thirds
movement in thirds
musical thirds
negative thirds
negative transmissive chords of the thirds
negatizing the thirds
neutral thirds
neutralized thirds
phased in thirds
progression of thirds
progressive thirds
proportions of thirds
relations of thirds
reverse thirds
simple thirds
subdivision of thirds
succession of thirds
summations of thirds
tempered thirds
thirds of the mass chord
thirds of the thirds
thirds of the whole
thirds untempered
thirds: molecular dissociation
triple thirds
varying thirds
vibrations in thirds


vibratory antagonistic thirds
Table 14.01 - All phrases in HyperVibes containing "thirds" found in the digitized Keely literature. (All of the Keely literature has yet to be digitized).


See Also


05 - The Melodic Relations of the sounds of the Common Scale
ATOMIC THIRD SUBDIVISION
celestial thirds
clustered thirds
diatonic third
enharmonic third
Figure 11.01 - Octave composed of Equal Thirds and Triads
Interval
introductory third
Keelys Laws of Being
Laws of Being - Annotated
Laws of Being
Major Third
Minor Third
minor
negative thirds
Part 14 - Keelys Mysterious Thirds Sixths and Ninths
Prime Third
sympathetic thirds
Table 1 - Relations of Thirds see also
Table 1 - Relations of Thirds
Table 14.01 - All phrases in HyperVibes containing the term thirds
Table 14.02 - Neutral Thirds - Energy Radiates from Center - Force Contracts to Center
third
third octave
Third subdivision
Three
12.07 - Keelys Thirds Sixths and Ninths
13.28 - Differentiating Thirds
14.04 - Thirds as Current
14.05 - Thirds as Differentiations
14.07 - Thirds in Magnetic Action
14.08 - Thirds as Assimilatives
14.10 - Thirds as Ratios within a Whole
14.28 - Thirds as Polar and Depolar Parameters
15.18 - Keelys Process for Liberating Ether from Water multiple mentions in this article
16.08 - Polar Link in Thirds
7.12 - Third

Created by Dale Pond. Last Modification: Sunday October 11, 2020 05:31:39 MDT by Dale Pond.