Sympathetic Vibratory Physics | difference (original) (raw)

Usually refers to difference tones

"The maximum test was made to placing an iron weight of 580 lbs. on the extreme end of the long arm of the lever. To lift this required a of 18,900 lbs. to the square inch counting the difference in the of the two arms and the of the . When turned the leading from the receiver to the flexible tube and through it into the steel beneath the , simultaneously with the of his hand the weighted lever shot up against its stop a distance of several inches, as if the were cork. [Snell Manuscript - The Book, page 3]

Molecular terrestrial masses, composed of the "ultimate ether" bound in substance, are sympathetically drawn to the 's neutral center according to the of their molecular aggregation, from which must be deducted their celestial sympathetic outreach. In other words, consists in the difference between these forces. Either one can be intensified by polar or vibrations, giving either one . If the celestial () predominates, the will , its to the concentration of the dominant or the "negative thirds of its mass chords" inducing high neutral radiation together with "celestial attraction." The "terrestrial propulsive" and "celestial attractive" cause ascension and the "celestial propulsive" and "terrestrial attractive" cause or increased . [GRAVITY - Snell]

WEIGHT DEFINED

The following definitions of are in keeping with Natural Law.
Weight is the sum of the differences between the two pressures which act upon every .?
Weight is the measure of the differences in electric potential between any and the it occupies.?
Weight is the measure of unbalance between any and its displaced environment.??
Weight is the measure of the force which a body exerts in seeking its true potential.?
Weight is the sum of the difference between the inward pull of and the outward thrust of radiation.?
Weight is the measure of of the desire within all matter to express or seek from .? [Walter Russell, The Secret of Light, pages 184-185]

Blood formation or - synthesising or analysing current - vitalisation or devitalisation - health in mind and or disease, death and economic disaster, all these are decreed by what in the opening paragraph calls molecular motion whilst having no knowledge of the differences in the forms of , which not only determine or , but also all economic progress or . [The Energy Evolution - Harnessing Free Energy from Nature, The Life-Current in Air and Water]

Eight hundred million , i.e. about one third of those alive today [1946], will be mercilessly condemned to starve, if at the final hour it is not possible to the practical examples necessary to open the eyes of those who do not perceive the differences between current-sources, from which, depending on the choice of trifling starting impulse - life or death originate. [The Energy Evolution - Harnessing Free Energy from Nature, The Life-Current in Air and Water]

[2] in order to act as levitational fuel for the others (. the branches swaying in the , whose source of - the - also arises through differences in ). The vertically disposed forces of cyclones, typhoons, hurricanes, etc. are also founded on this developmental process and owe their kinetic energy to cold processes of . [The Energy Evolution - Harnessing Free Energy from Nature, New Forms of Motion and Energy]

When the fruit juices that have flourished in the begin to , it is a sign that differences have triggered the fermenting , which in the initial stages has to the from the . The former will be separated and centrifugated out through . The latter interconnects with itself, as it were, and the of this remarkable marriage is that something, which also brings us out of the delicately balanced that the Earth ceaselessly enjoys. Not being in a of stable equilibrium, she has constantly to about her own in a form of that declinates and oscillates in two directions. This is how she generates the inversely symmetrically- and inversely proportionally-acting force, which enables everything that crawls and flies on this Earth to move 'originally' (autonomously) in order to seek out its , which also contains allotropic energy-producing substances. These are then broken down through the vibration of the organs, leading to the familiar of strength and vigour, whose ur-causes have not been perceived by scientists, who with common calories and measure them with scales and rulers. Moreover, they also believe they have captured everything with their tweezers that is proper to . Unfortunately, however, this cannot be accomplished with such an , because the of 'measure' and '' is an imperceptible extraordinary , which as the '' is the 'reactivated' itself, which actively moves the . [The Energy Evolution - Harnessing Free Energy from Nature, New Forms of Motion and Energy]

This of perpetual motion can be directly observed and studied in deep, cellars, for through differences in , what has grown large in the and then reduced in size by squashing, will be moved 'cycloidally' in the . First refined, then made '', it slowly becomes clear after of this period. This is how wise operates, who is known to have unlimited developmental periods at her disposition for all things. We, poor souls, to whom only a single, unique life is available in which we will also be forced to make use of in order to alleviate almost intolerable reactive energies through their , will have to behave more sensibly in order to become somewhat more blissful while still on this Earth than has been the case due to the efforts of '' technicians. In other words, we must the way things are done. Cycloid-space-curve-motion must therefore be given pride of place, which logically leads to the almost generation of reactive differences in potential, which in turn give rise to increased and active differences in . Harnessed once more, these further high-grade differences in potential of a nature, and so on and so forth until temperatures and reactive forces of such a kind are triggered that it is a veritable to devise an operating load heavy enough to and these suctional and pressural forces. At the right time, therefore, we must keep our eyes open for the specialists and experts, who as super-brakes on !! Most certainly, however, we must replace those, who today the normal course of with the reversed of forces, which they do in such a way as to increase and precisely those kinds of energy that promote and the of what is unsuitable for further . In so doing they a form of perpetual motion, because here too the self-intensifying decomposive and repulsive forces also increase by the square owing to the of the Earth. Sadly they do not see what they have themselves created, namely boundless and instead of an equally [The Energy Evolution - Harnessing Free Energy from Nature, New Forms of Motion and Energy]

In General
In the same way that it would be impossible, for example, for human beings and animals to and further ( and qualitatively improve), were not to enforce an between their primary sexual substances through intolerable differences in , which reactively, there would likewise be no possibility for the reproduction and further of plants, minerals and metals, and the () forms of heat and cold. Today's is not only founded on a false developmental basis, but also on too low a level of knowledge. It ignores the and using processes gives pride of [The Energy Evolution - Harnessing Free Energy from Nature, The Practical Application of Cycloid-Space-Curve-Motion arising from Processes of Cold Oxidation]

What triggers this is the well-known dynamics of the sexual urge, which re-establishes equilibrium between intolerable differences in and potential. Because these differences are always present, this original form of will constantly be provoked by a motivating force that never wanes. As a form of , we are here primarily concerned with the that the Earth has demonstrated to us since the beginning of time. Referred to as '', it is synonymous with what the naturalistic doctor calls the 'life-creating life-spiral', and the calls 'double screw-form wave motion'. [The Energy Evolution - Harnessing Free Energy from Nature, The Economy Founded on Reactively Produced Energy]

These concentrations of subtle matter are conformations (being neither , nor embryos) in which the opposing energy-forms mentioned at the beginning are suspended, which gently in or in a wavering state of equilibrium. That is to say, they possess too much levitational force to and too much to autonomously. Their inner processes of motion are sustained by the differences in . These, however, are insufficient to determine the fate of these threshold substances as they at this . [The Energy Evolution - Harnessing Free Energy from Nature, Magnetism - Electricism]

"In the of we have to between two different kinds. Namely as a that contains predominantly negative potentialities (substances attuned to frequencies) or predominantly positive potentialities (substances attuned to air frequencies). The former are to be viewed as geospheric instrumentalities and the latter as atmospheric instrumentalities. The former and the constituents, i.e. they serve the of levitative potencies. The latter serve to the of suspended matter, which as threshold substances still possess too little and too high a of levitative essences and can neither rise nor fall. It is these threshold substances that can be transformed and exalted through cycloid-space-curve motion. From a practical point of view, this is only possible through their with their respective carrier-substances, be it air or . This leads to a of those substances incapable of further , resulting in a renewed of the differences in potential through the spacial separation of the difference-substances. The end is an increased motive force. This explains the concept of perpetual motion in its most sense." [Viktor Schauberger, Implosion Magazine, No. 118, p. 8.] [The Energy Evolution - Harnessing Free Energy from Nature, THE NATURE OF WATER - ITS CONDUCTION AND USE FOR TRANSPORT]

The origins of all are differences in potential. If these differences cannot be maintained during flow, the 's kinetic energy wanes and the is deposited in the wrong place. New bends are formed in this way, which have a greater significance than has hitherto been assumed. [The Energy Evolution - Harnessing Free Energy from Nature, The Transport of Ore in Double-Spiral-Flow Pipes]

Apart from those who are happy to 's failed products such as , directly from the , there are others who make it their life's , so to speak, to their living by in wise 's affairs. These of human being are commonly called chemists, who are known to products of without taking 's processes into account. Without this there is no possibility for reproduction and further of any kind, because things possessing these properties have come into being through , during which differences in arise that intermediate metabolic processes. These then give to processes that products of organic synthesis, which is what concerns us here. [The Energy Evolution - Harnessing Free Energy from Nature, The Liquefaction of Coal by Means of Cold Flows]

The last paragraph is already rather difficult to understand, because today nobody knows the true meaning of the expression ' of organic synthesis'. Such a person is therefore unable to understand that here too, as elsewhere, differences also exist. [The Energy Evolution - Harnessing Free Energy from Nature, The Liquefaction of Coal by Means of Cold Flows]

Differences are very noteworthy things, and for this reason: Without differences in or potential, for example, there would be no of any kind, and therefore in terms of the above , there would be no reproduction or further ; in a word, there would be no . [The Energy Evolution - Harnessing Free Energy from Nature, The Liquefaction of Coal by Means of Cold Flows]

Conversely, this means that the generation or of differences forms of through which, for example, '' can be formed and fashioned in countless ways. [The Energy Evolution - Harnessing Free Energy from Nature, The Liquefaction of Coal by Means of Cold Flows]

After this introduction we shall now attempt to describe the enormous difference between differences in potential in the only way possible for an unscientific observer of . [The Energy Evolution - Harnessing Free Energy from Nature, The Liquefaction of Coal by Means of Cold Flows]

This of is characterised by the fact that the ratio between oxygen and its carbone is 4% : 96%, because all the remaining oxygen has been transformed into fertilising substances and then . Therefore the new of has the highest negative valency and is of . Certain factors relating to these processes should be noted: In the scientific synthesising process heat has a shrivelling effect on the decisive formative substance in its nascent state, while physical pressure ruptures its outer envelope. In the case of by means of cold flows the increasing on the developmental path acts to the potential. However, since the in the potential of the true formative substance is of a purely energetic nature, it would be unable to break through the outer envelope had this not been mechanically abraded through the and inner rotation (about itself and its own axis) caused by the increasing frictional pressure arising from the doubly increased of the whole . These differences demand the closest and . The of obtained by means of cold flows, binds itself into its own waste product (juvenile water). Therefore apart from a new, fresh and more highly cultured energy, an associated of the highest order is also created at the of the gradually transforming (internally reconstituted) stocks of old . This two-fold transformation represents the and the qualitative improvement of what has been quantitatively increased (the of ). The finished is a crystal-clear that has neither , nor , nor colour, because in this of all kinds of things are on the loose or have been loosed (emancipated), i.e. they have been raised to the [The Energy Evolution - Harnessing Free Energy from Nature, The Liquefaction of Coal by Means of Cold Flows]

Ramsay
A second cause of difference in of between two notes and other two notes in which the ratios are the same lies in this - whether the two notes belong to one chord or to different chords. Two notes in the subdominant chord have a different from two in the dominant chord which have the same ratio. [Scientific Basis and Build of Music, page 61]

A third cause of difference of in notes is the individual which belongs to them according to their place in the genetic scale - that is, their character - the amount, namely, of centrifugal force which they have inherited. [Scientific Basis and Build of Music, page 61]

The sympathy of one thing with another, and of one part of a thing with another part of it, arises from the of . For example, a requires to be uniform and to have producing a fine quality of tone by the sweet blendings of sympathy; if it be not so, the tone may be miserable ... You say you wish I were in touch with Mr. ; so do I myself ... I look upon numbers very much as being the language which tells out the doings of . Mr. begins with sounds, whose vibrations can be known and registered. I presume that the laws of ratio, position, duality, and continuity, all the laws which go to mould the plastic air by elastic bodies into the of music, as we find them operative in the low silence of oscillating pendulums, will also be found ruling and determining all in the high silence of interior vibrations which hold together or shake asunder the combinations which we call atoms and ultimate elements, but which may really be buildings of wondrous complexity occupying different ranges of place and purpose between the cosmos and Him who built and evermore buildeth all things. The same laws, though operating in different spheres, make the likenesses of things in greater than the differences. [Scientific Basis and Build of Music, page 87]

And it is another very interesting fact that those numbers multiplied into each other always make 720, the number in the minor genesis which corresponds to 1 in the ; F1 being the generative root of the major, and B720 the generative top of the minor; so adjusted they place the two D's beside each other - D26 2/3 and D27 - and we see the comma of difference between these two numbers which are distinctive of the and the ; 26 2/3 x 3 = 80, and 27 x 3 = 81, and 80:81 is the ratio of the comma. This is the Ray and the Rah in which there lurks one of music's mysteries. Let him that is wise unravel it. It is symbolic of something in the spiritual realm of things; its full is only found there. [Scientific Basis and Build of Music, page 88]

When 25 pendulums are arranged and oscillated to represent the different musical ratios in their natural marshalling, they will all at 1 when 64 of the highest is counted. This plate is intended to show that there are two kinds of meeting and passing of the pendulums in swinging out these various ratios. In the ratio of 8:9 the goes on increasing from the to the middle of the period, and then the is reversed, and the difference decreases until they to begin a new period. This may be called the differential way. In the ratio of 45:64 there is an example of what may be called the proximate way. In this kind of oscillations and very near to each other at certain points during the period. In 45:64 there are 18 proximate meetings; and then they exactly meet at one for the new start. This last of the ratios, the one which finished the system, is just as if we had gone back to the and taken two of the simplest ratios, [Scientific Basis and Build of Music, page 105]

save the octave, and made them into one, so that in its proximate meetings during its period it seems composed of the ratio 2:3 times, and 3:4 times; times 2 and times 3 are 45; times 3 and times 4 are 64. This long period of 45 to 64 by its proximate meetings divided itself into 19 short periods, and oscillates between the ratios of 2:3 and 3:4 without ever being exactly the one or the other; the difference being always a very small ratio, and the excess of the one being always the deficiency of the other. This , B to F, has been misnamed an "imperfect fifth." When these two notes in the ratio of 45:64 are heard together, the oscillating proximately within it of the two simple ratios gives this a trembling mysterious sound. [Scientific Basis and Build of Music,page 106]

This plate is a representation of the area of a scale; the major scale, when viewed with the large , lowest; the when viewed the reverse way. It is here pictorially shown that and does not mean larger and smaller, for both modes occupy the same , and have in their structure the same intervals, though standing in a different . It is this difference in structural arrangement of the intervals which characterizes the one as and the other as , which are much preferable to the and as distinctive names for the two modes. Each scale, in both its modes, has three Fifths - subdominant, , and dominant. The middle fifth is the , and its lowest note the key-note of the scale, or of any written in this scale. The 53 commas of the are variously allotted in its notes - 3 of them have 9 commas, 2 have 8, and 2 have 5. The area of the scale, however, has much more than the octave; it is two octaves, all save the minor third D-F, and has 93 commas. This is the alike of masculine and feminine modes. The two modes are here shown as directly related, as we might figuratively say, in their marriage relation. The law of Duality, which always emerges when the two modes are seen in their , is here illustrated, and the dual notes are indicated by oblique lines across the pairs. [Scientific Basis and Build of Music, page 106]

The Plate shows the Twelve Major and Minor Scales, with the three chords of their harmony - subdominant, , and dominant; the tonic chord being always the center one. The straight lines of the three squares inside the embrace the chords of the major scales, which are read toward the right; e.g., F, C, G - these are the roots of the three chords F A C, C E G, G B D. The tonic chord of the scale of C becomes the subdominant chord of the scale of G, etc., all round. The curved lines of the embrace the three chords of the successive scales; e.g., D, A, E - these are the roots of the three chords D F A, A C E, E G B. The tonic chord of the scale of A becomes the subdominant of the scale of E, etc., all round. The sixth scale of the Majors may be written B with 5 sharps, and then is followed by F with 6 sharps, and this by C with 7 sharps, and so on all in sharps; and in this case the twelfth key would be E with 11 sharps; but, to simplify the signature, at B we can change the writing into C, this would be followed by G with 6 flats, and then the signature dropping one at every new key becomes a simpler expression; and at the twelfth key, instead of E with 11 sharps we have F with only one . Similarly, the Minors make a change from sharps to flats; and at the twelfth key, instead of C with 11 sharps we have D with one . The young student, for whose help these pictorial illustrations are chiefly prepared, must observe, however, that this is only a matter of musical orthography, and does not practically affect the music itself. When he comes to the study of the mathematical scales, he will be brought in sight of the exact very small difference between this B and C?, or this F# and G?; but meanwhile there is no difference for him. [Scientific Basis and Build of Music, page 108]

In the center column are the notes, named; with the lesser and larger steps of their mathematical evolution marked with commas, sharps, and flats; the comma and of the descending placed to the left; the comma and of the ascending to the right; and in both cases as they arise. If a note is first altered by a comma, this mark is placed next to the letter; if first altered by a or , these marks are placed next the letter. It will be observed that the sharpened note is always higher a little than the note above it when flattened; A# is higher than ?B; and B is higher than ?C, etc.; thus it is all through the scales; and probably it is also so with a fine guided by a true ; for the natural of sharpened notes is upward, and that of flattened notes downward; the of such difference is so small, however, that there has been difference of opinion as to whether the sharp and ? have a space between them, or whether they overlap, as we have shown they do. In tempered instruments with fixed keys the small disparity is ignored, and one key serves for both. In the double columns right and left of the notes are their mathematical numbers as they arise in the Genesis of the scales. In the seven columns right of the one number-column, and in the six on the left of the other, are the 12 major and their 12 relative minor scales, so arranged that the mathematical number of their notes is always standing in file with their notes. D in A minor is seen as 53 1/3, while the D of C major is 54; this is the comma of difference in the primitive , and establishes the sexual distinction of and all through. The fourth of the is always a comma lower than the of the , though having the same name; this note in the development of the scales by flats drops in the a comma below the , and in the development of the scales by sharps ascends in the a comma above the . In the head of the plate the key-notes of the 12 majors, and under them those of their relative minors, are placed over the respective scales extended below. This plate will afford a good deal of teaching to a careful student; and none will readily fail to see beautiful indications of the deep-seated of Major and Minor. [Scientific Basis and Build of Music, page 109]

with her irrevocable proportions to measure his scales for him. The stars at the C of the first scale and at the B# of the last show the of 12 fifths and 7 octaves. The of B# is 3113 467/512; C24 multiplied 7 times by 2 brings us to the 3072; these two notes in the tempered system are made one, and the unbroken horizon of the musical world of twofold keys is created. The very small difference between these two pitches is so distributed in the 12 tempered scales that no single key of the 12 has much to bear in the loss of perfect intonation. [Scientific Basis and Build of Music, page 118]

Fig. 1. - This figure shows the and measured in commas and placed directly as they stand related, and relative minor, the being set a minor third lower than the . The interval between C and E in the is an 8-and-<9-comma> interval; between C and E in the it is a 9-and-<8-comma> one. This difference arises from the minor D being a comma lower than the major D. In all the other intervals and are the same. [Scientific Basis and Build of Music, page 120]

The difference in the development of a major and a minor harmony
—The twelve developing keys mingled
—D? shown to be an imperfect minor harmony
—E? taking B? as C? to be the same as D#
—The intermediate tones of the white notes are coloured, showing gradual modulation
—As in the diagram of the majors, the are written in musical below the , each minor primary sounding the of the third harmony below, but in a different , and one tone rising higher, . . . . . 34 [Harmonies of Tones and Colours, Table of Contents3 - Harmonies]

The roots of the minor chords
—The difference between a major and a minor chord
—The chords of the twelve keys in musical , those of A coloured, . . .37 [Harmonies of Tones and Colours, Table of Contents3 - Harmonies]

The diagram begins with C, the third space of the treble clef, as being more convenient to write than C, the lowest note in the bass clef. The life of musical sounds rising from a hidden of life is shown by the chasms of keyed instruments between B and C, and E and F; their great use will be strikingly manifest as the developments proceed. The fundamental key-note C and its F rise from the chasms. B, the key-note, and E, its , sound the octave higher of the B. The generation of is by one law a simple mode of difference. Each major key-note and its tones embrace the eighteen tones of keyed instruments which all lie in for use. The power and extent of each are complete in itself, rising and developing, not from any inherent property in matter, but from the life communicated to matter. In the whole process of harmony there are limits, and yet it is illimitable. Its laws compel each key-note to follow certain rules within certain bounds; each separate key-note, being the of its own system, has its own point of rest, and after rise and enlarge, or fall and diminish infinitely. [Harmonies of Tones and Colours, Diagram I - The Eighteen Tones of Keyed Instruments, page 22a]