“In the guise of this formula ideas of the octave have been handed down from teacher to pupil, from one school to another. In very remote times one of these schools found that it was possible to apply this formula to music. In this way was obtained the SEVEN-TONE musical scale which was known in the most distant antiquity, then forgotten, and then discovered or ‘found’ again. Fragments: Seven

“The SEVEN-TONE scale is the formula of a cosmic law which was worked out by ancient schools and applied to music. At the same time, however, if we study the manifestations of the law of octaves in vibrations of other kinds we shall see that the laws are everywhere the same, and that light, heat, chemical, magnetic, and other vibrations are subject to the same laws as sound vibrations. For instance, the light scale is known to physics; in chemistry the periodic system of the elements is without doubt closely connected with the principle of octaves although this connection is still not fully clear to science. Fragments: Seven

“A study of the structure of the SEVEN-TONE musical scale gives a very good foundation for understanding the cosmic law<law of octaves. Fragments: Seven

“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 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

“We have spoken earlier of the law of octaves, of the fact that every process, no matter upon what scale it takes place, is completely determined in its gradual development by the law of the structure of the SEVEN-TONE scale. In connection with this it has been pointed out that every note, every tone, if taken on another scale is again a whole octave. The ‘intervals’ between mi and fa and between si and do which cannot be filled by the intensity of the energy of the process in operation, and which require an outside ‘shock,’ outside help so to speak, connect by this very fact one process with other processes. From this it follows that the law of octaves connects all processes of the universe and, to one who knows the scales of the passage and the laws of the structure of the octave, it presents the possibility of an exact cognition of everything and every phenomenon in its essential nature and of all its interrelations with phenomena and things connected with it. Fragments: Fourteen