Sympathetic Vibratory Physics | Descending (original) (raw)

Keely
NOTE: Both pistons in the Keely Motor are descending pistons.

A small, , or axial->radial suffices to such a concentration of highly critical threshold matter in a into the relatively most powerful, destructive energy, whose decomposive force increases in proportion to the strength of the . Thus, for example, a in the form of a descending is triggered, which with disintegrates the resistance that brakes its lightning . [The Energy Evolution - Harnessing Free Energy from Nature, Magnetism is the Function of Levitism and Electricism is the Function of Gravitism]

If this of , almost exclusively composed of energies, is atomised and oxygen simultaneously infused through nozzles (viz. other forms of fertilisation), thus it with fertilising substances (these become passive at high centripetal velocity) and if this whole mixture is lightly compressed (warmed) by a descending , then the mixture is instantaneously transformed into the next higher state of or , namely into air. [The Energy Evolution - Harnessing Free Energy from Nature, The Liquefaction of Coal by Means of Cold Flows]

The twelve keys, their trinities, scales, and chords, rising times through seven octaves, each thirteenth note octave of the previous and first of the rising
—Descending, reversed
—Keys mingled
—The Pendulograph alluded to, . . . 28 [Harmonies of Tones and Colours, Table of Contents2 - Harmonies]

The same laws, developing the minor scales, show that the and descending scales vary from the harmony of the key-note and its trinities
—Each key developing three harmonies
—The tenth note of a minor scale modulates into a higher key, . . . . 36 [Harmonies of Tones and Colours, Table of Contents3 - Harmonies]

There is amazing grandeur, united with simplicity, in the working of 's laws in the development of harmonies of sound, so that the smallest conceivable point has its complementary and corresponding , which renders it capable of development into its peculiar harmony, causing the "multequivalency of harmonies" in endless variety, whether veering round, to and fro, or descending, or advancing and retiring in musical . [Harmonies of Tones and Colours, Dr. Gauntletts Remarks1, page 13]

Of course, true Art cannot be opposed to , although all the rules of the musician are not the facts of . , pure, natural, and harmonical, in the true and evident sense of the term, is the division of any key-note, or , into its and ultimate parts, and the descending divisions will always answer to the , having reference to a general whole. The and in the development of consist in the fact that every key-note, or , is a including the past, the present, and the future, having in itself an inherent power, with a tendency to and . In the natural system, as each rises, its contents and fall back to the original limit from any or descending; we cannot perceive finality in any ultimate; every tone is related to higher and lower tones, and must be a part of an organised whole. It is well known how deeply the late Sir John Herschel studied this subject; and it was his opinion that there was some in the science of music which had yet to be discovered.[Harmonies of Tones and Colours, The Method of Development or Creation of Harmonies2, page 16]

If the laws which I shall endeavour to explain develope the twelve major harmonies, with each note in expanding its six tones from within itself; and if each of these is found to be a lower development, which leads the to a corresponding higher of the twelve major key-notes, and the six tones of each and descending in an unbroken sequence from any consecutively, the being the octave of the first, which commences a higher or a lower ; and if the twelve minor harmonies are also gained by the same laws from their twelve relative key-notes (the again being octave): if, again, all other notes are shown to be but higher or lower repetitions of these twenty-four harmonies—may we not consider the problem as in some measure solved? especially as the proceed in geometric as well as harmonical ratio, and an accurate parallel can be traced between the development of notes and colours, which latter correspond with all the intricacies of harmonic sounds. [Harmonies of Tones and Colours, The Method of Development or Creation of Harmonies3, page 17]

suspected. Let us take as our standard of colours the given by the of white light, the so-called spectrum: as our standard of musical notes, let us take the natural or diatonic scale. We may justly compare the two, for the former embraces all possible gradations of simple colours, and the latter a similar of notes of varying pitch. Further, the of colours in the spectrum is perfectly to the . Their invariable is— red, orange, yellow, green, blue, indigo, and violet; any other arrangement of the colours is less enjoyable. Likewise, the of notes in the scale is the most agreeable that can be found. The is—C, D, E, F, G, A, B; any attempt to ascend or descend the entire scale by another is disagreeable. The of colours given in the spectrum is exactly the of luminous wave-lengths, decreasing from red to violet. The of notes in the scale is also exactly the of sonorous wave-lengths, decreasing from C to B." [Harmonies of Tones and Colours, On Colours as Developed by the same Laws as Musical Harmonies2, page 19]

The or life of musical and colours is E, or yellow; the B, or ultra-violet: these being, in fact, tints and shades of white and black. Ascending, they partake more of white; descending, of black: the former drawing tones and colours higher, the latter lower. [Harmonies of Tones and Colours, On Colours as Developed by the same Laws as Musical Harmonies2, page 19]

The tones between the seven white notes of keyed instruments, and the tints and shades between the seven colours, cause the multequivalency of colours and of tones; consequently every colour, as every musical harmony, has the capability of or descending, to and fro in circles, or advancing and retiring in musical . It is a curious coincidence that <Wünsch>, nearly one hundred years ago, believed in his discovery of the primary colours to be red, green, and violet; and in this scheme, red, answering to the note C, must necessarily be the first colour, followed by green and violet, but these not as primary colours, all colours in turn becoming and in the development of the various . To gain facts by experiment, the colours must be exactly according to natural proportions—certain proportions producing white, and others black. In this scheme, green and red are shown to be a complementary pair, and therefore (as Clerk Maxwell has proved) red and green in right proportions would produce yellow. The same fact has been proved in Lord Rayleigh's experiments with the . and ultra-violet, [Harmonies of Tones and Colours, On Colours as Developed by the same Laws as Musical Harmonies3, page 20]

A key-note developing its harmony may be compared to a striking its downwards, and rising upwards. On striking a note, it sounds from within itself, in a rapid and subdued manner, the six kindred tones necessary to its harmony, and all which do not belong to that individual harmony are kept under; thus all are in sevens. Each forms an and descending ; the is aware of the tones, but not of the in which they rise. [Harmonies of Tones and Colours, Diagram II - The Twelve Keynotes1, page 23]

We here trace the twelve harmonies developing in . Notice how exactly they all agree in their mode of development; also the use of the chasms between E and F, B and C. Remark also the beautiful results from the working of the double tones, especially C#-D?, and E#-F?, causing the seven tones of each harmony, when , to rise one tone, and, descending, to reverse this . F#-G? is the only double tone which acts as F# when a , and G? when the of D?. The of each harmony is the and highest tone in each succeeding harmony, rising one octave; when it is a double tone, it sounds according to the necessity of the harmony. The intermediate tones are here coloured, showing gradual modulation. The isolated fourths (sounding sevenths) were the previously developed key-tones; these also alter when they are double tones, according to the necessity of the harmony. Beginning with B, the isolated fourth in the harmony of C, the tones sound the twelve notes of a keyed instrument, E# being F?, and the double tones, some flats, some sharps. [Harmonies of Tones and Colours, Combinations of dissonance, rests, page 24]

THE term "key" will now be employed in the ordinary sense of the musician, as a note which keeps all those other notes under which do not belong to its harmony. A good requires that the first note struck should govern and regulate the rest, carrying on the intricacies of the key through the seven octaves and descending. [Harmonies of Tones and Colours, Diagram IV - The Development of the Twelve Major Scales, page 26a]

The twelve key-notes, with the six notes of each as they veer round in trinities, are again written in musical , and the scales added. The key-note leads the scale, and, after striking the two next highest notes of the of the harmony, goes forward, with its four lowest, an octave higher. The of each harmony have been traced as the three lowest, thus meeting the three highest in three pairs, the fourth note being isolated. Notwithstanding the curious of the three and four of the scale, the three lowest pair with the three highest, and the fourth with its octave. The four pairs are written at the end of each line, and it will be seen how exactly they all agree in their mode of development. Keys with sharps and keys with flats are all mingled in twelve successive notes. If we strike the twelve scales as they follow each other, each thirteenth note being octave of the first note of the that have developed, and first of the rising , the seventh time the scales gradually rise into the higher of seven octaves beyond the power of the instrument. Descending is reversed. After the and octave of a scale have been sounded , the seems to lead to the descending; but ten notes of any scale may be struck without the necessity of modulation; at the seventh note we find that the eleventh note in the progression of harmonics rises to meet the seventh. For instance, B, the seventh note in the scale of C, must have F#. This point will be fully entered into when examining the meeting of fifths. To trace the scale of C veering round as an example for all, we may begin with C in Diagram II., and go forward with F, G, A, and B an octave higher. If the twelve scales were traced veering round, they would be found to correspond with the as written in musical . [Harmonies of Tones and Colours, Diagram IV - The Development of the Twelve Major Scales, page 26a]

If the chords of the twelve keys and the thirteenth octave are struck, all agree in their method of development. We see here the in which the chords are repeated, and the working of the double tones. As an example of the latter, we may trace the chords belonging to the key of D?, and compare them with those belonging to the key of F#, also the first chord in the key of A?. The fourth note in depth, sounded last of the seven of each harmony, has been seen as preparing for the chords; it prepares equally for the scale, and the scale for the chords, the octave chord of the scale, , preparing for the latter to descend. Descending is reversed. [Harmonies of Tones and Colours, Diagram V - The Chords of the Twelve Major Keys, page 27a]

CHAPTER IX.

[Harmonies of Tones and Colours, The Twelve Keys Rising Seven Times, page 28a]

[Harmonies of Tones and Colours, Diagram VII - The Modulating Gamut of the Twelve Keys1, page 29]

The following table shows the regularity of each of the twelve key-notes by fifths, and the use of the two poles is again seen. The key-notes and their trinities are closely linked into each other, the three highest notes of the lower fifth key becoming the three lowest of the higher fifth key, and the four lowest becoming the four highest in an octave higher. The twelve keys, rising in each note a tone higher and descending a tone lower, cause the meetings by fifths. Having examined the table, we may strike the keys by fifths as written in the musical , beginning with the lowest C in [Harmonies of Tones and Colours, Diagram VII - The Modulating Gamut of the Twelve Keys1, page 29]

the bass clef, carrying each key-note a higher or descending a lower. A constant difficulty arises in explaining the development of tones and colours, from the fact that the notes on a keyed instrument are descending lines in musical , and the lines in musical in the retrogression of fifths must be gained by beginning below and following them upwards. They are therefore not repeated, either in the table or in musical , as descending. [Harmonies of Tones and Colours, Diagram VII - The Modulating Gamut of the Twelve Keys2, page 30]

In the development of the key-notes, the or is written to each note, but not to the keys. The reversal of the three and four notes of each of the twelve key-notes and their trinities meeting by fifths having been traced, we will now examine the twelve scales meeting by fifths, and the results arising from the of the three and four notes of each lower scale in the higher. Take as an example the scale of C: C D E F G A B, and that of G: G A B C D E F#. The four lowest notes of the of C are the four highest, an octave higher, in G; F, the central and isolated note of the of C, having risen a tone higher than the octave in the scale of G. The twelve scales thus modulate into each other by fifths, which sound the same as the key-notes and their trinities. Refer to the twelve scales written in musical by fifths, and strike them, beginning at the lowest C in the bass clef; this scale sounds no intermediate tones, but these must be struck as required for all the scales to run on in fifths. After striking the seven notes of C, if we fall back three, and repeat them with the next four notes of the ; or strike the and octave of C, and fall back four, repeating them and striking the next four, the four last notes of each scale will be found to be always in the harmony of the four first of the higher scale. When the twelve scales have been thus gained, as we trace them also on the table, they may be struck descending by following them as written in musical upwards, and [Harmonies of Tones and Colours, Diagram VII - The Modulating Gamut of the Twelve Keys2, page 30]

may be traced in the same way on the table; the third and seventh notes meeting, and descending, sounding one harmony. [Harmonies of Tones and Colours, The Twelve Scales Meeting by Fifths, page 31a]

Finally, trace the twelve keys by fifths as they veer round through the seven circles, each circle representing the eighteen tones. Beginning with C in the innermost circle , C becomes the root of G, G of D, and so on. In descending, begin with C in the outermost circle (though really the first of a higher which we have not the power of striking on instruments); F, its , becomes the key-note, B? the and then the key-note, and so on. The keys thus gained are written in musical below. [Harmonies of Tones and Colours, The Twelve Scales Meeting by Fifths, page 31a]

The 12 Major Keys meeting by fifths through 7 octaves; strike each Key-note, as having risen a higher , and fallen a lower descending. [Harmonies of Tones and Colours, The 12 Major Keys Meeting by Fifths, page 31c]

Ascending, begin with C in the innermost circle, F being its root. The Key-note C becomes the root of G, G becomes the root of D, and so on. In descending, begin with the octave Key-note C in the outermost circle. F, the root of C, becomes the lower Key-note. F is the next Key-note, and becomes the root of B?, &c. The 12 Keys in their are written in musical below. Lastly, the Keys of C and G, on a keyed instrument, are written in music as descending; therefore, to shew correctly notes and colours meeting, it is necessary to them, and write C below G. All are seen to be complementary pairs in tones and colours. [Harmonies of Tones and Colours, Diagram VII Continued2, page 31e]

THE term "key" in the minor developments must be taken in the sense in which it is understood by musicians, although it will be seen that it is only the seven of the harmony that are the relative minor keys of the majors, the scales with their chords sounding other keys. The grandeur, combined with simplicity, of the laws which develope musical are strikingly exhibited in the minor keys. Although at first they appear most paradoxical, and, comparing them with the majors, we may almost say contradictory in their laws of development, when they are in some understood, the intricacies disappear, and the twelve keys follow each other (with the thirteenth octave), all exactly agreeing in their mode of development. I shall endeavour to trace them as much as possible in the same manner as the majors, the lowest developments of the minor keys being notes with scales and chords, the notes always sounding their major harmonies in tones. Here an apparently paradoxical question arises. If the major keys are gained by the notes sounding the tones, how are the minor keys obtained? Strictly speaking, there are no minor key-notes: the development of a harmony is but a mode of succession within the octave, caused by each minor key-note employing the sharps or flats of the fourth major key-note higher; and with this essential difference, it will be seen in how many points the developments of major and minor harmonics agree. I have carefully followed the same laws, and if any capable mind examines the results, I am prepared for severe criticism. I can only express that it was impossible to gain any other results than the seven of the harmony, the and the descending scale and the chords combining three different keys. [Harmonies of Tones and Colours, Diagram VIII - On the Development of the Twelve Minor Harmonies, page 32]

When the twelve minor harmonies are traced developing in , we notice how exactly they all agree in their method of development, also the use of the chasms and the double tones, the seven of each harmony rising a tone when , but reversing the in descending; keys with sharps and those with flats are mingled. The intermediate tones are here coloured, showing gradual modulation. D? is shown to be an imperfect minor harmony, and E?, by employing B as C?, is seen to be equivalent to D#. [Harmonies of Tones and Colours, Diagram IX - The Minor Keynote A and Its Six Notes, page 34a]

THE same laws are followed here as in the development of the major scales. In that of A, F, the sixth note, has risen to F#, in order to meet B, which has previously sounded. In descending, the seventh note, B, falls to B?, in order to meet F, which has also previously sounded. The notes, or descending, always follow the harmony of their key-note, except when rising higher or falling lower to meet in fifths. We may here trace the , the scale sounding the fifth harmony higher than its key-note, and, in descending, sounding the lower harmony. The four pairs of each scale are written at the end of the lines. If we strike the twelve scales as they follow in , the thirteenth note being the octave of the first, and leader of a higher ; having gained them six times, at the seventh they gradually rise (though beyond the power of a keyed instrument) into the higher of seven octaves, and again, in descending, they fall lower, and are linked into the lower of seven octaves. Nine notes of any minor scale may be struck without the necessity of modulating beyond the fifth harmony. For example, in the scale of A, its tenth note, C#, rises to meet the sixth note, which has previously sounded. In descending, E?, the eleventh note, meets B?, the seventh note, which has previously sounded. The scale of A may be traced veering round by reference to Diagram IX., beginning with A, and carrying the four lowest notes an octave higher, F rising to F# in , B falling to B? in descending. [Harmonies of Tones and Colours, Diagram XI - The Twelve Minor Keynotes with the Six Note of Each, page 36a]

The roots of the Minor Chord. The difference between a Major and a Minor Chord. The chords of the 12 keys follow. The sharps or flats that vary from the seven of the harmony, in the scales written to each note. The last descending chord is here seen to be the same as the first , but this repetitive chord is only written in A. [Harmonies of Tones and Colours, The Roots of the Minor Chord, page 36c]

IF we strike the as written in musical , beginning with the lowest A in the bass clef, each key-note, with its trinities, scale, and chords, sounds three harmonics. We may follow with the twelve keys as they rise, and descend by following the keys upwards as written in musical , each key falling lower. [Harmonies of Tones and Colours, Diagram XIII - The Twelve Keynotes with Their Trinities, page 38a]

Let us first examine the meeting of the key-notes and their trinities in musical ; the isolated fourths rising through the of the now meet, and seven pairing. We must notice how closely they are linked into each other, the three highest notes of the lower being the three lowest of the higher an octave higher, and the four lowest becoming the four highest an octave higher; we descend by following the keys as written in musical upwards. [Harmonies of Tones and Colours, Diagram XIV - The Modulating Gamut of the Twelve Minor Keys by Fifths1, page 39]

We may also examine the table of the twelve tones gained through seven octaves: the or is written to each note, excepting in the keys as they unite in . Each key-note by fifths is seen to become a root of the fifth higher key-note: thus A becomes the root of E, and so on. In descending, each root of the fifth lower seven becomes the higher key-note; the key-note D has G for its , and so on. [Harmonies of Tones and Colours, Diagram XIV - The Modulating Gamut of the Twelve Minor Keys by Fifths1, page 39]

If we strike the ascending scales as written in musical again, beginning with the lowest A in the bass clef, we see that the second and sixth notes of each scale meet in higher harmony; the or of the scale which varies from the seven notes of its harmony is written to each note. We descend as written in musical upwards; each third and seventh note meet in lower harmony, and thus all exactly agree in their mode of development. Having examined the scales as written in the table below, where the or as before is marked to each note, but not to the keys, let us strike the key-notes, trinities, scales, and chords. The three harmonies of each key are written at the end of each line of musical . To descend, we follow the musical upwards, as before. [Harmonies of Tones and Colours, Diagram XIV - The Modulating Gamut of the Twelve Minor Keys by Fifths2, page 40]

Lastly, we trace the by fifths as they veer round through the seven circles, each circle representing the eighteen tones, beginning with A in the innermost circle. A becomes the root of E, E of B, and so on. In descending, we begin with A in the outermost circle, though it is in fact the commencement of a higher which we cannot strike. D, its , becomes the key-note lower, and so on. The keys of A and E are coloured, to show the result of the minor harmonies meeting by fifths. [Harmonies of Tones and Colours, Diagram XIV - The Modulating Gamut of the Twelve Minor Keys by Fifths3, page 41a]

Ascending, begin with A in the innermost circle, D being its . The Key-note A becomes the root of E, E becomes the root of B, and so on. Descending, take the Key-note A in the outermost circle. D, the root of A, becomes the lower Key-note, and G its , and then G becomes the Key- note, and C its . The same remarks concerning the writing of the meeting fifths, which are made below the corresponding diagram of the major gamut, apply to this one. [Harmonies of Tones and Colours, Diagram Shews the Modulating of the 12 Minor Keys, page 41e]

"I esteem myself fortunate in being introduced to you, and becoming acquainted with your beautiful work on 'Tones and Colours.' I have, to the best of my ability, worked out your idea, by writing down in music the various discords in use amongst musicians, and resolving them according to the laws of Harmony, and I find in all cases the perfect triad agrees with what you term the trinities in colours. The way in which you find the whole circle of Major and Minor keys by pairs in colours is deeply interesting, and must be true. The only point of divergence between your system and that recognised by all musicians is the Minor Scale. No musically trained can tolerate the seventh note being a whole tone from the eighth. The Minor second in the lower octave descending is very beautiful, and it is strange how all composers feel a desire to use it. To mention one case out of hundreds, I may cite 's well-known air, 'La Danza.'
"Yours faithfully,
"W. CHALMERS MASTERS." [Harmonies of Tones and Colours, Supplementary Remarks and Diagrams, page 53]

If, as I believe, the Natural Sciences throughout develope by Trinities, how silently, yet how strikingly, may we trace the wonders of Redeeming . " hath builded her house; she hath hewn out her seven pillars."— Prov. ix. I. We strikingly see in the development of the type of 2 Cor. iii. 18, as each key rises from to light, or, descending, falls from light to .
F. J. Hughes
BEDWYN LODGE,
SANDOWN, ISLE OF WIGHT,
February, 1885 [Harmonies of Tones and Colours, Supplementary Remarks, page 54]