Sympathetic Vibratory Physics | six tones (original) (raw)

The key-note C sounding from within itself its six tones to and fro in trinities, the tones written as notes in musical
—The trinities hereafter termed and
—The of each of the twelve key notes developing their tones
—The in which the tones meet, avoiding consecutive fifths
—Dissonance is not or
—The use of the chasms and double tones is seen
—The isolated sound the twelve notes
—Each double tone developes only one perfect major harmony, with the exception of F#-G?; F# as the sounds F? as E#, and G? as the sounds B? as C?
—The of the twelve key-notes are shown to sound the same tones as the of each third harmony below, but in a different
—All harmonies are linked into each other, . 23 [Harmonies of Tones and Colours, Table of Contents2 - Harmonies]

I add quotations from the first letter I received from him. "I have read the MS., and there are some very curious coincidences—exceedingly so—here and there. Whether it will clear out into a demonstrable system, I cannot say at present. If we can get our harmonical start, I think all will come out plainly, for there is so much that is consistent in sequence. There has been nothing at all like it at present, and some of it squares singularly with the old Greek notions." "I am more than half a disciple of your theory of the six tones, and am inclined to imagine that it would do away with much complication, and keep the mind bent on a smaller circle. We can only see things in patches, and hear in trinities, and every single sound is a ." [Harmonies of Tones and Colours, Dr. Gauntletts Remarks1, page 13]

I think it will be seen that most of the difficulties in the rules of harmony arise from not taking the key-note, with the six tones which it developes from itself, as guiding the , first to the six notes of its harmony, and then to the key-note which becomes the leader of the scale. In the study of the natural gamut, [Harmonies of Tones and Colours, The Method of Development or Creation of Harmonies2, page 16]

If the laws which I shall endeavour to explain develope the twelve major harmonies, with each note in expanding its six tones from within itself; and if each of these is found to be a lower development, which leads the to a corresponding higher of the twelve major key-notes, and the six tones of each and descending in an unbroken sequence from any consecutively, the being the octave of the first, which commences a higher or a lower ; and if the twelve minor harmonies are also gained by the same laws from their twelve relative key-notes (the again being octave): if, again, all other notes are shown to be but higher or lower repetitions of these twenty-four harmonies—may we not consider the problem as in some measure solved? especially as the proceed in geometric as well as harmonical ratio, and an accurate parallel can be traced between the development of notes and colours, which latter correspond with all the intricacies of harmonic sounds. [Harmonies of Tones and Colours, The Method of Development or Creation of Harmonies3, page 17]

CHAPTER V.

[Harmonies of Tones and Colours, Diagram II - The Twelve Keynotes1, page 23]

A key-note developing its harmony may be compared to a striking its downwards, and rising upwards. On striking a note, it sounds from within itself, in a rapid and subdued manner, the six kindred tones necessary to its harmony, and all which do not belong to that individual harmony are kept under; thus all are in sevens. Each forms an and descending ; the is aware of the tones, but not of the in which they rise. [Harmonies of Tones and Colours, Diagram II - The Twelve Keynotes1, page 23]

The arrangement of a key-note and the six tones which it sounds may be simply explained by writing tones in a musical as notes. In this diagram we have the harmony of C and its F. Both of these rise from the chasms, and hence this harmony is not so closely linked to that of B, and its E, as to the other . [Harmonies of Tones and Colours, Diagram II - The Twelve Keynotes1, page 23]

The three lowest of the six tones are complementary pairs with the key-note and its two highest tones. Observe the curious in which the tones sound, avoiding consecutive fifths. First, we have the key-note and its , or fellow; next A; then D and its ; and then E, whose , A, has already sounded between the first and the second . B, the fourth and central tone in depth, sounds seventh, and, finding no fellow within the of the harmony developing it, is isolated. Observe also how closely a key-note and its kindred tones are linked into each other. The Primaries spring from the key-notes, the Secondaries from the Primaries; the first comprises a key-note and a tone of the Primaries, the other two pairs have each a tone of the Primaries and a tone of the Secondaries. The key-note, after giving out its tones in trinities, or [Harmonies of Tones and Colours, Diagram II - The Twelve Keynotes1, page 23]

In the of these are always closely linked into each other. If any key-note is taken as central, its will be the note of its harmony below, and it becomes in its turn the of the note above. If we add the silent notes, the of the central note is the eighth below, and becomes the of the eighth above. To explain the lower of the notes sounding the six tones from within themselves, the only plan appeared to be to write the tones as notes in musical . By reference to Chapter V., we see that the lowest still sound their tones, and lead the to the higher of a key-note, and the six notes of its harmony, as they follow each other in trinities. [Harmonies of Tones and Colours, Diagram III - The Major Keynotes Developing by Sevens, page 25a]

IF we strike the twelve keys of in trinities, scales, and chords, as written in musical , beginning with the lowest C in the bass clef, this first development is linked into the lower 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 . We obtain a glimpse of the 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]

Probably the lowest harmony which we have the power of partially is A minor, rising in the lower of seven octaves; C, its highest note, sounding the six tones of C, its major harmony, on our horizon of sound. The diagram begins with A, the second space of the treble clef, as most convenient for writing. [Harmonies of Tones and Colours, The Minor Harmonies, page 33a]

TO recapitulate from the beginning, observe, firstly, the twelve major key-notes as they have developed from within themselves in , six tones in trinities seven times through seven octaves, each thirteenth note being the octave of the first note of the that have developed, and being also the first of the higher . We may retrace all as still sounding their tones, the key-notes leading the to the six notes of each harmony, the keys with sharps and those with flats being mingled. The ascending and descending scales always agree in their with the key-notes and their trinities. [Harmonies of Tones and Colours, Diagram XV - The Twelve Major and the Twelve Minor Keys, page 42a]