##### RULES FOR LAMBDOMA DIAGRAMS (Continued).

1/6, 2/6, 4/6, 8/6, and 16/6 in the second vertical column: 1/12, 2/12, 4/12, 8/12, 16/12 in the 3rd vertical column as opposed to 5/1, 5/2, 5/4, 5/8 and 5/16 in one horizontal row. The other fractions of the 5th tone could be likened to accidentals in music.
In 3rds or the fifth place on the undertone axes in distinction from 5ths on the third place on the overtone axes there are only two vertical bands doubling fractions: 1/5, 2/5, 4/5, 8/5, 16/5 ... 1/10, 2/10, 4/10, 8/10 and 16/10.
The other 6 non-symmetrically arrayed fractions can again be compared to accidental tones in music...
We can conclude that an encounter between the energy of the vertical undertone and horizontal overtone produces in the first phase a perfect symmetry of waves and in the second phase a broken symmetry and in the third phase a still more fractionated symmetry. If we remember that the overtone is an infinitely diminishing sequence of progressions increasing in frequency, while the undertone is a continuing lengthening sequence based on doubling of whole numbers we have the infinitely small interacting with the infinitely large in either annihilation or creation depending on whether it is contracting to annihilation or expanding to creation.
The undertone in its downward series of fourths takes three horizontal bands doubling by threes, the inversion of fifths, with the important difference that there are no vertical bands to counter-balance the one horizontal band of the overtone. This might indicate that there is nothing to stop the horizontal progression of the vertically based undertone until we come to the next sequence where as we said there are two vertical undertone bands which we might assume impede the horizontal thrust...

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