The between where the chord occurs. One word names three things, and the configuration keeps mistaking one for another and silencing the chord in the confusion.
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The wound is the lost between.
The interval is the between where the chord occurs: the relation between two tones sounding together, the ratio that makes them one sound.
It is lost when it is taken for the distance the cut measures, and closed or walled. It is lost when it is taken for the seam the sequence crosses, and traversed. The chord's between is neither a gap to measure nor a threshold to cross. It is a relation to sound, and it survives only as sounded.
[See CONSONANCE · THE MERGE · THE CROSSING]
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THE BETWEEN WHERE THE CHORD OCCURS
The interval is the ratio between two that sound together: the relation, present, the chord's condition.
It carries direction, which is the way the two correspond, each facing the other. It carries distinctness, because a chord needs both and one tone is not a chord. It carries doubleness, the two faces of one sound, the same relation read from either tone.
It is sounded between two, and neither tone is an eye standing outside to measure it. It is kept at the ratio, not closed towards unison and not widened past sounding. Conascere: the two, born together, sound as one across it.
Close the between and there is no chord, and not because the tones quarrelled. The between was the only place the chord could occur.
[See RE-FUSION · THE DOUBLENESS]
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NOT DISTANCE
Distance is the interval measured.
The three operations of the measurement, the squaring that removes direction, the summing that removes distinctness, the rooting that removes doubleness, leave a scalar: a magnitude with no direction, no two-ness, no sign, measured from a single eye to the thing.
Distance is the between emptied of relation, the severance quantified. The interval is the between full of the sounding, the relation present.
To measure the interval is to cut it, to convert the relation into a magnitude and the ratio into a gap. The chamber sounds the interval; the formula measures the distance. They are not the same between, and the word that fits one is a corpse on the other.
[See THE DISTANCE FORMULA · THE MEASUREMENT CUT · FOUR AXES]
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NOT THE SEAM
The octave maps the qualities as a sequence, Do through Do, and the sequence has seams: Mi-Fa, Si-Do, thresholds where the formatting exhausts and the creature crosses by yielding.
The seam is a melodic interval, the step between this position and the next, traversed in time, the gap between a before and an after. The chord's interval is harmonic: between two tones sounding at once, in the present, a relation and not a step.
A seam is crossed. The chord's interval is not. To move from one of its tones to the other is to collapse the chord into a sequence, to make a melody of what was meant to sound together, to abolish the simultaneity the chord requires.
The seam is crossed by yielding. The interval is kept by sounding. The map's between is a threshold and the territory's between is a relation, and to treat the relation as a threshold to get past is to lose the chord in the crossing.
[See THE OCTAVE · THE FLASH]
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THE THREE BETWEENS
They are confused because they are all betweens, and the configuration registers only one kind: the measured gap.
The cut's distance is the between emptied, the severance, the magnitude from the eye. The seam is the between crossed, the threshold, traversed in the sequence. The interval is the between sounded, the relation, kept in the present.
Empty, cross, sound.
The merge mistakes the interval for the distance, reads the relation as a gap, sutures it, and the chord is gone. The sequence reading mistakes the interval for the seam, treats the chord's relation as a threshold to clear, and collapses the two tones into one passage.
Only the between sounded is the chord's condition. It is neither emptied nor crossed. It is hosted.
[See THE THREE-SLIT LADDER · HOSTING]
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THE INTERVAL AND THE DOUBLENESS
The interval is the doubleness sounded. Not two substances with a gap between them, but one operation two-faced: two tones of one chord, the between their correspondence and not their separation.
The interval does not lie between two things that were first apart and then bridged. The two are constituted as two by sounding together across it, and the interval is their relatedness rather than the space their separation leaves.
This is the facing the Hebrew kept in k'negdo: corresponding, over-against, at the distance that is not severance. The prior resident is not severed from what she conducts through and not merged into it. She is in residency, facing, at the interval.
To name the interval rightly is to name the relation residency is.
[See EZER K'NEGDO · RESIDENCY · CONDUCTING]
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The configuration keeps the word and loses the thing. It measures the interval and calls the scalar real. It crosses the interval and calls the passage progress. In both the between is gone, and there is no longer anywhere for the chord to occur.
The interval survives as sounded. Not emptied, not crossed, hosted: the relation between two that, kept, makes one sound.
[See SOPHIA · THE PRIOR RESIDENT]
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