Sympathetic Vibratory Physics

Hughes
The keys of C and G meeting are coloured, and show the beautiful results of colours arising from gradual progression when meeting by fifths. Each key-note and its trinities have been traced as complete in itself, and all knit into each other, the seven of each rising a tone and developing seven times through seven octaves, the keys mingled. The twelve scales have been traced, developing seven times through seven octaves, all knit into each other and into the key-notes and their trinities. The chords have also been traced, each complete in itself, and all knit into each other and into the key-notes, trinities, and scales. And lastly, one series of the twelve keys, no longer mingled, but modulating into each other, have been traced, closely linked into each other by fifths through seven octaves, three keys always meeting. Mark the number of notes thus linked together, and endeavour to imagine this number of tones meeting from the various notes. [Harmonies of Tones and Colours, The Twelve Scales Meeting by Fifths, page 31a]

The 12 Major Keys meeting by fifths through 7 octaves; strike each Key-note, as having risen a fifth higher ascending, and fallen a fifth lower descending. [Harmonies of Tones and Colours, The 12 Major Keys Meeting by Fifths, page 31c]

THE same laws are followed here as in the development of the major scales. In that of A, F, the sixth note, has risen to F#, in order to meet B, which has previously sounded. In descending, the seventh note, B, falls to B?, in order to meet F, which has also previously sounded. The notes, ascending or descending, always follow the harmony of their key-note, except when rising higher or falling lower to meet in fifths. We may here trace the twelve, the ascending scale sounding the fifth harmony higher than its key-note, and, in descending, sounding the fifth lower harmony. The four pairs of each scale are written at the end of the lines. If we strike the twelve scales as they follow in succession, the thirteenth note being the octave of the first, and leader of a higher twelve; having gained them six times, at the seventh they gradually rise (though beyond the power of a keyed instrument) into the higher series of seven octaves, and again, in descending, they fall lower, and are linked into the lower series of seven octaves. Nine notes of any ascending minor scale may be struck without the necessity of modulating beyond the fifth harmony. For example, in the scale of A, its tenth note, C#, rises to meet the sixth note, which has previously sounded. In descending, E?, the eleventh note, meets B?, the seventh note, which has previously sounded. The scale of A may be traced veering round by reference to Diagram IX., beginning with A, and carrying the four lowest notes an octave higher, F rising to F# in ascending, B falling to B? in descending. [Harmonies of Tones and Colours, Diagram XI - The Twelve Minor Keynotes with the Six Note of Each, page 36a]

Lastly, we trace the twelve ascending by fifths as they veer round through the seven circles, each circle representing the eighteen tones, beginning with A in the innermost circle. A becomes the root of E, E of B, and so on. In descending, we begin with A in the outermost circle, though it is in fact the commencement of a higher series which we cannot strike. D, its root, becomes the fifth key-note lower, and so on. The keys of A and E are coloured, to show the result of the minor harmonies meeting by fifths. [Harmonies of Tones and Colours, Diagram XIV - The Modulating Gamut of the Twelve Minor Keys by Fifths3, page 41a]

Secondly, we have the one series of the twelve keys as they meet by fifths through the seven octaves. The keys are no longer mingled; the scales meet by fifths in the same keys and their trinities. [Harmonies of Tones and Colours, Diagram XV - The Twelve Major and the Twelve Minor Keys, page 42a]

Fourthly, we have one series of the seven of each of the twelve minor keys meeting by fifths through seven octaves. The keys of the twelve ascending scales are written in musical clef above the former, and the keys of the descending scales below. The ascending scales sound the fifth higher harmonies than the key-notes and their trinities, and the lower scales the fifth harmony lower than the key-notes and their trinities. The three series follow out their keys in three successive series, and all meet by fifths. [Harmonies of Tones and Colours, Diagram XV - The Twelve Major and the Twelve Minor Keys, page 42a]

The same no longer mingled, meeting by fifths through 7 octaves. [Harmonies of Tones and Colours, The 12 Major Keys as They Rise, page 42c]

The Key of each 7 meeting by fifths, unmingled. [Harmonies of Tones and Colours, The 12 Major Keys as They Rise, page 42c]

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meeting by fifths