The Law of Seven
The law of seven is said to be the basis for the seven-note musical octave. The idea is that in nature, and in the universe at large, nothing continues forever in a direct line. Everything must deviate at definite intervals. If you take the standard seven-note octave, plus the first note to a new octave, you get eight notes: do, re, mi, fa, sol, la, si, and do. What the law of seven says is that within these eight notes there are two definite intervals, one between mi and fa, and one between si and the new do. The intervals are called the mi/fa interval and the si/do interval. On an energetic level what this means is that the vibrations, which are increasing (or decreasing) at a consistent rate naturally slow down at these two intervals. Octaves can be ascending, where the vibrations increase or descending, where the vibrations decrease. In an ascending octave, the notes run forward, so that the first interval occurs in the middle at the mi/fa, and the second interval occurs at the end at the si/do. In a descending octave, the notes run backward: do, si, la, sol, fa, mi, re, and do, so that the first interval falls at the very beginning and the second interval happens toward the middle.
The law of seven is a little more difficult to observe than the law of three. The law of seven requires observation of a process that unfolds over a period of time. And it must also be noted that there are octaves within octaves. If we go back to our example of reading a book, we can say that reading a book in its entirety is a single octave, but we can also say that each chapter is an octave, or that each section is an octave. And all of these different octaves have intervals. But the shorter the octave is, the less severe the interval, which means that the interval will be easier to bridge.
It is possible to see that the law of octaves develops directly from the law of three. The three forces combine in triads, each one a threefold relationship possessing its own unique quality as outlined in the ‘six activities’. As Ouspensky points out, three forces can give rise to only six different combinations and one more, ‘incomprehensible to the human mind’. This seventh combination means that all three forces somehow occupy all three places in the triad simultaneously. Taking this seventh combination as the Do of an octave, the six other triads represent the remaining six notes of the octave, each one defining a unique relationship with the Do so that a whole octave manifests all the dynamic relationships inherent in the law of three.