“In relation to the musical (seven-tone) scale it is generally considered (theoretically) that there are two SEMITONES between each two notes, with the exception of the intervals mi-fa and si-do, which have only one semitone and in which one semitone is regarded as being left out. Fragments: Seven

“In this manner twenty notes are obtained, eight of which are fundamental: do, re, mi, fa, sol, la, si, do; and twelve intermediate: two between each of the following two notes: do-re re-mi fa-sol sol-la la-si; and one between each of the following two notes: mi-fa si-do. “But in practice, that is, in music, instead of twelve intermediate SEMITONES only five are taken, that is one semitone between: do-re re-mi fa-sol sol-la la-si. “Between mi and fa and between si and do the semitone is not taken at all. Fragments: Seven

“In this way the structure of the musical seven-tone scale gives a scheme of the cosmic law of ‘intervals,’ or absent SEMITONES. In this respect when octaves are spoken of in a ‘cosmic’ or a ‘mechanical’ sense, only those intervals between mi-fa and si-do are called ‘intervals’ Fragments: Seven

“At the given place in the organism “where mi 192 ought, apparently, to come to a stop there enters the ‘second food’ — air, in the form of do 192, that is, mi, re, do of the second cosmic octave of radiations. The note do possesses all the necessary SEMITONES, that is, all the energy necessary for the transition to the next note, and it gives as it were a part of its energy to the note mi which has the same density as itself. The energy of do gives mi 192 force enough, while uniting with ‘carbon’ 48 already in the organism, to pass into ‘nitrogen’ 96. ‘Nitrogen’ 96 will be the note fa. Fragments: Nine