Scientific Features Expressive of Facts in the Plan of Redemption (Concluded)
By Elder E. W. Whitney
MUSIC. NO. 5.
Scientific Features Expressive of Facts in the Plan of Redemption (Concluded).
BY ELDER E. W. WHITNEY.
THE foregoing article suggests that the seven tones of the diatonic scale represent, as do the seven days of the week, the seven-thousand-year periods reaching from creation to the end of the thousand years (the seventh period) of Revelation 20, during which the earth lies desolate, keeping Sabbath, and at the close of which the wicked are utterly destroyed in the lake of fire; the New Jerusalem, which has descended from heaven, becomes the capital of the new earth; the saints of God dwell therein; time and death end, and the absolutely perfect eternal state for the entire universe begins.
With the suggestions before us, we notice a few interesting facts. Reference has been made to peculiarities in the scale, of which science gives no explanation. One of these is concerning perfect and imperfect intervals. In order to have a proper understanding of the point, a brief explanation is necessary. A string (a piano string, for example) so tensioned as to produce when vibrating any given note, if it be stopped in the middle so that each end shall vibrate independently of the other, the note produced by either end will be an exact octave above the note given by the whole string. The reason of this is that the vibrations of the half are precisely twice as rapid as those of the whole, and the perfect coincidence of the sound waves of two to one produce the perfect interval of the octave. Now if the string be stopped at two-thirds its length instead of one-half, the tone produced by that portion of the string will bear the relation to that given by the whole string of a perfect fifth, or—that this expression may be understood by all—it will be the fifth note in the diatonic scale above the one given by the whole string, considering that as number one, or do. In other words, two-thirds of the string will give the note sol if the whole string gives do. This would also, as the octave, be a mathematically perfect interval produced by three vibrations of two-thirds the string to two of the whole string. Again, three-fourths of the string will, in the same manner, give the fourth note in the scale, or fa, and this interval is also perfect, four vibrations of three-fourths the string corresponding to three of the whole. Upon this coincidence of sound waves, or vibrations, depends the production of what are termed perfect intervals, and the smaller the difference in the number of vibrations in a given time, the more perfect the concord.
Now, in a science which is the very expression of harmony, we would naturally expect that its theoretical perfection would appear in its practical application. This, however, is not the case. While the perfect intervals considered or used alone, as in melody, are more pleasing and concordant than those which are imperfect, yet it is nevertheless a fact that in the musical scale properly tuned (or tempered, as it is termed) for the production of harmony, there is not a single mathematically perfect interval except the octave, which, by the way, must, under all circumstances, be perfect to be tolerable. All other intervals must be made to deviate (though but in the slightest degree) from perfect. Strange, indeed, as this truth seems, it is stranger still that we look in vain to science for the least suggestion which will help to reconcile the discrepancy between theory and practice. Concerning this distinction between perfect and imperfect intervals the "Encyclopedia Britannica" says:—
The distinction, then, has been observed for many centuries, but neither ancients nor moderns have advanced any explanation of the phenomenon, and the wondrous fact [note the expression] that perfect intervals differ in constitution and treatment from other intervals, appears to defy reason and not even to incite speculation.
In tuning any instrument, then, like the piano or organ, perfectly, all intervals except the octaves, for reasons which can easily be demonstrated by actual figures, must be made to deviate slightly from perfection. This deviation, however, is not sufficient to seriously affect the harmony. But existing as it does throughout the scale, and disappearing again when the octave is reached, is a striking parallel to the existence of sin (expressive of discord) during the period of the seven thousand years, but entirely disappearing as the eternity of perfection beyond is entered. A practical application of this thought to Christian life and experience may be exceedingly helpful. First, every sin one commits introduces discord into God's plan and work. Secondly, wherein one fails to cheerfully and heartily coöperate with the principles of and agencies in the work of God, to just that degree he is adding to the elements of discord in the work, and in his own soul—6he is not making "melody [music] in his heart to the Lord."
Many interesting comparisons may be made of the tones composing various chords with some leading feature of the work of God during the period represented by the tones used. I take, for convenience of explanation, the most simple though by no means the most interesting illustration,—the common chord of the first, third, and fifth (do, mi, sol). The periods represented by these tones are, therefore, those of creation (the first thousand years), the giving of the law to Israel (the third thousand years), and the introduction of the gospel to the world (the fifth thousand years). These tones sounded together produce upon the ear and mind a most pleasing effect. The simple sweetness of the chord fittingly expresses the perfect harmony existing in God's purpose in creation, the giving of the law, and the work of the gospel.
As a contrast to this pleasing harmony, observe the harsh and exceedingly unpleasant effect of the use together of numbers one and two, representing the periods of creation and the flood, or of numbers one and seven, representing creation and the thousand years during which the earth lies desolate, with the beauties of creation seemingly despoiled.
Another simple though interesting coincidence is noticed in connection with the fifth tone of the scale, recognized as and named "the dominant." It is next in importance to the first, or tonic. Taken in connection with the tonic, the best and clearest impression of the scale is made possible with the use of but two tones. Here, again, we see a perfect parallel, for certainly the period marked by the introduction of the gospel to the world (the fifth thousand years) may, with the greatest propriety, be designated as the dominant period in the plan of salvation.
One more illustration must suffice. Minor music is remarkable. Its effects are peculiar. It is especially adapted to sad, doleful expressions or subjects, and yet when properly used is, perhaps, in its way the most expressive of any class of music. The minor has for its tonic, or fundamental note, the sixth, or la, of the major scale, representing, accordingly, the sixth period, beginning about the year 1000 A.D.
Now is there a significance in the character of minor music as expressive of striking features of the present thousand-year period? Commencing as it does in the midst of the Dark Ages, it embraces the darkest period of the history of the church; it witnesses the most relentless persecutions against the people of God, spoken of by Christ as a time of "tribulation [upon the church] such as was not since the beginning of the world," and closes with the corruptions of the last days, and "a time of trouble [upon the wicked] such as never was since there was a nation," when Christ shall come as "King of kings and Lord of lords," "in flaming fire taking vengeance on them that know not the gospel of our Lord Jesus Christ."
Such scenes and experiences are surely a sufficient basis for the dolorous character of minor music, while its peculiar sweetness is also a fitting expression of a period when it is said, "Blessed are the dead which die in the Lord from henceforth," and of the experience of those of whom (having passed through the "fiery trial," which develops the gold), it is also said, "Here is the patience of the saints; here are they that keep the commandments of God, and the faith of Jesus."
Thus we might multiply illustrations of the significance of the various relations existing between the tones of the musical scale. When studied in the light of revelation—the only safe way to study any science—it is seen to be a marvelous storehouse of comforting, inspiring, strengthening effects, and a most vivid expression in a sort of sound picture of the foreknowledge of God.
Deep in unfathomable mines
Of never-failing skill
He treasures up his wise designs,
And works his sovereign will.
Blind unbelief is sure to err,
And scan his work in vain;
God is his own interpreter,
And he will make it plain.
—William Cowper.