Text: Dominant Electro- Diatonic Harmonic Negative 3rd Magnetic 6ths Enharmonic 7ths I II III IIII IIIII IIIII IIIIIII III IIII etc. probably pertain to octaves as well as intervals. He [Keely] systematized the proper vibratory chords progressively from the introductory molecular to the interetheric, in seven distinct orders of triple subdivision. He writes "The introductory chord vitalizes the whole machine. The chords will all be set in progressive sympathy from the first octave to the fortieth." And on 12/17/85 writes "Am setting up the circles for computing the different lines of etheric chords, used in setting up the vibratory conditions to obtain continuity. My chief difficulty is in chording up the masses of the different parts composing the negative centers, in the inner one-third volume of the sphere. This neutral center is only established when the rotation exceeds one hundred revolutions per minute, which is sufficient to neutralize gravity on the neutral third with the vibratory circuit running at 100,000 per second." The sympathetic acoustic impulses are: the DOMINANT - adiatonic third - the HARMONIC - the connective "sixth" - and the ENHARMONIC - or diminished seventh - which Keely calls a ninth -inducing "infinite trajective velocity" or "neutral radiation" from neutral centers. The relations of the components of the electric streams are: Dominant E flat, harmonic A flat, enharmonic C double flat. The keynote of electro-magnetic sympathy in "transmissive combinations" is: THIRDS ON FIRST OCTAVE SUBDIVISION B FLAT DIATONIC SIXTHS ON SAME SUBDIVISION OF THIRDS OCTAVE HARMONIC NINTHS ON SAME SUBDIVISION OF SIXTHS OCTAVE ENHARMONIC

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