| Four |  | Four |
number: the number 4
noun: a group of four people or things
noun: the cardinal number that is the sum of three and one
adjective: being one more than three
Russell
THE OCTAVE NUMBERS
Charging systems are positive systems. Positive systems are male systems. Male systems are 1+2+ & 3+. Discharging systems are negative systems. Negative systems are female systems. Female systems are 1-2- & 3-. Number four is equally a charging system and a discharging system. It is a bi-sexual system. It is male-female. As the magnetic orbit of 4 is divided into two separate and opposing orbits, this maximum potential shall be doubly numbered as 4‡.
Two opposed tones = one unit.
Four units = one octave
Ten octaves = one cycle
+ THIS SYMBOL MEANS POSITIVE OR MALE.
- THIS SYMBOL MEANS NEGATIVE OR FEMALE.
‡ THIS SYMBOL MEANS EQUALLY MALE-FEMALE.
= THIS SYMBOL MEANS NEGATION. [Octave Numbers]
Hughes
The twelve major scales
—The term key-note employed in the ordinary sense of the musician
—The twelve key-notes, with the six notes of each as they veer round in trinities, are written in musical clef, and the scales added
—The reversal of the four and three of the key-note and its trinities in the seven of its scale
—The twelve keys follow each other seven times through seven octaves linked into the lower and higher series
—Keys mingled
—The modulating of scales, the eleventh notes rising to higher keys, . . . . . . 26 [Harmonies of Tones and Colours, Table of Contents2 - Harmonies]
The twelve key-notes, with the six notes of each as they veer round in trinities, are again written in musical clef, and the scales added. The key-note leads the scale, and, after striking the two next highest notes of the seven of the harmony, goes forward, with its four lowest, an octave higher. The seven of each harmony have been traced as the three lowest, thus meeting the three highest in three pairs, the fourth note being isolated. Notwithstanding the curious reversal of the three and four of the scale, the three lowest pair with the three highest, and the fourth with its octave. The four pairs are written at the end of each line, and it will be seen how exactly they all agree in their mode of development. Keys with sharps and keys with flats are all mingled in twelve successive notes. If we strike the twelve scales ascending as they follow each other, each thirteenth note being octave of the first note of the twelve that have developed, and first of the rising series, the seventh time the scales gradually rise into the higher series of seven octaves beyond the power of the instrument. Descending is ascending reversed. After the seven and octave of a scale have been sounded ascending, the ear seems to lead to the descending; but ten notes of any scale may be struck without the necessity of modulation; at the seventh note we find that the eleventh note in the progression of harmonics rises to meet the seventh. For instance, B, the seventh note in the scale of C, must have F#. This point will be fully entered into when examining the meeting of fifths. To trace the scale of C veering round as an example for all, we may begin with C in Diagram II., and go forward with F, G, A, and B an octave higher. If the twelve scales were traced veering round, they would be found to correspond with the twelve as written in musical clef. [Harmonies of Tones and Colours, Diagram IV - The Development of the Twelve Major Scales, page 26a]
IF we strike the twelve keys of harmonies in trinities, scales, and chords, as written in musical clef, beginning with the lowest C in the bass clef, this first development is linked into the lower series of seven octaves by the four lower tones sounded by C. If we follow with the twelve keys six times, at the seventh time they will gradually rise into the higher series. We obtain a glimpse of the beauty arising from musical notes in the Pendulograph. How exquisite would they be if they could be represented in their natural coloured tones! — as, for instance, the chord of the scale of C in red, yellow, and blue, with the six coloured tones rising from each, and harmoniously blended into each other. [Harmonies of Tones and Colours, The Twelve Keys Rising Seven Times, page 28a]
The following table shows the regularity of each seven of the twelve key-notes ascending by fifths, and the use of the two poles is again seen. The key-notes and their trinities are closely linked into each other, the three highest notes of the lower fifth key becoming the three lowest of the higher fifth key, and the four lowest becoming the four highest in an octave higher. The twelve keys, rising in each note a tone higher and descending a tone lower, cause the meetings by fifths. Having examined the table, we may strike the keys by fifths as written in the musical clef, beginning with the lowest C in [Harmonies of Tones and Colours, Diagram VII - The Modulating Gamut of the Twelve Keys1, page 29]
In the development of the key-notes, the sharp or flat is written to each note, but not to the keys. The reversal of the three and four notes of each seven of the twelve key-notes and their trinities meeting by fifths having been traced, we will now examine the twelve scales meeting by fifths, and the results arising from the reversal of the three and four notes of each fifth lower scale in the fifth higher. Take as an example the scale of C: C D E F G A B, and that of G: G A B C D E F#. The four lowest notes of the seven of C are the four highest, an octave higher, in G; F, the central and isolated note of the seven of C, having risen a tone higher than the octave in the scale of G. The twelve scales thus modulate into each other by fifths, which sound the same harmonies as the key-notes and their trinities. Refer to the twelve scales written in musical clef ascending by fifths, and strike them, beginning at the lowest C in the bass clef; this scale sounds no intermediate tones, but these must be struck as required for all the scales to run on in fifths. After striking the seven notes of C, if we fall back three, and repeat them with the next four notes of the seven; or strike the seven and octave of C, and fall back four, repeating them and striking the next four, the four last notes of each scale will be found to be always in the harmony of the four first of the fifth higher scale. When the twelve scales ascending have been thus gained, as we trace them also on the table, they may be struck descending by following them as written in musical clef upwards, and [Harmonies of Tones and Colours, Diagram VII - The Modulating Gamut of the Twelve Keys2, page 30]
Let us first examine the meeting of the key-notes and their trinities in musical clef; the isolated fourths rising through the progression of the twelve now meet, seven and seven pairing. We must notice how closely they are linked into each other, the three highest notes of the lower seven being the three lowest of the higher seven an octave higher, and the four lowest becoming the four highest an octave higher; we descend by following the keys as written in musical clef upwards. [Harmonies of Tones and Colours, Diagram XIV - The Modulating Gamut of the Twelve Minor Keys by Fifths1, page 39]
Oswald Wirth
CARD IV — THE EMPEROR
"After I learned the first three numbers I was given to understand the Great Law of Four—the alpha and omega of all.
I saw the Emperor on a lofty stone throne, ornamented by four rams' heads. On his forehead shone a golden helmet. His white beard fell over a purple mantle. In one hand he held a sphere, the symbol of his possession, and in the other, a sceptre in the form of an Egyptian cross—the sign of his power over birth.
"I am The Great Law," the Emperor said. "I am the name of God. The four letters of his name are in me and I am in all.
"I am in the four principles. I am in the four elements. I am in the four seasons. I am in the four cardinal points. I am in the four signs of the Tarot.
"I am the beginning; I am action; I am completion; I am the result.
"For him who knows how to see me there are no mysteries on earth.
"I am the great Pentacle.
"As the earth encloses in itself fire, water and air; as the fourth letter of the Name encloses in itself the first three and becomes itself the first, so my sceptre encloses the complete triangle and bears in itself the seed of a new triangle.
"I am the Logos in the full aspect and the beginning of a new Logos."
And while the Emperor spoke, his helmet shone brighter and brighter, and his golden armour gleamed beneath his mantle. I could not bear his glory and I lowered my eyes.
When I tried to lift them again a vivid light of radiant fire was before me, and I prostrated myself and made obeisance to the Fiery Word." [The Symbolism of the Tarot, c. 1913, by P D. Ouspensky]
"It is the individual spirit, the objective manifestation of the Universal spirit, One in its creative essence, but shared out in the multiplicity of creatures.
The sovereignty of the Emperor is shared out among all living beings. It is given to them through Mercy (Ch’esed, the fourth Sephirah). His cube-shaped throne is the only one which cannot be overturned, its stability resulting from its geometric shape, attributed by the Alchemists to the Philosopher’s Stone. This mysterious stone which is the Wise Men’s object of pursuit, is related to the perfection of which individuals are capable."
"If the Emperor corresponds both in the Macrocosm and in the Microcosm to what is immutable, it is that he is seated on the perfect cube, the starting point which determines all constructive crystallization. In every person he represents the principle of fixity (Archeus Q ) which becomes active in the seed to construct the organism. This construction proceeds through the agglomerations of elements which were attracted by the first stone to be correctly cut in the living edifice. This stone is the throne of the sovereign of life shared out among all creatures.
The globe of the world which the Emperor holds in his left hand is a sign of universal domination. This globe, moreover, is the symbol, not of the physical universe, but of the Soul of the World, the entity thanks to which all the miracles of Nature and Art are performed. In his right hand the Emperor clasps a massive sceptre which is not without analogy to the club of Hercules. However, we must not see in this a brutal weapon, but the emblem of the highest initiating, or magical, power." [Tarot Of The Magicians By Oswald Wirth]
See Also
6.16 - Fourteen Vortices
7.13 - Fourth
7.23 - Fourteenth
Arithmetic
Figure 7B.10 - Russells Periodic Chart of the first four octaves of proto-matter
Figure 7B.18 - Four Poles of a Bar Magnet
Figure 8.11 - Four Fundamental Phases of a Wave
Figure 8.9 - Four Fundamental Motions of a Pendulum
four angels
FOUR BEASTS
Four Steps to Awakening
Fourth
Fourth Dimension
Number
Perfect Fourth
Sympsionics