Hughes
The following table shows the regularity of each seven of the twelve key-notes ascending by fifths, and the use of the two poles is again seen. The key-notes and their trinities are closely linked into each other, the three highest notes of the lower fifth key becoming the three lowest of the higher fifth key, and the four lowest becoming the four highest in an octave higher. The twelve keys, rising in each note a tone higher and descending a tone lower, cause the meetings by fifths. Having examined the table, we may strike the keys by fifths as written in the musical clef, beginning with the lowest C in [Harmonies of Tones and Colours, Diagram VII - The Modulating Gamut of the Twelve Keys1, page 29]
In the development of the key-notes, the sharp or flat is written to each note, but not to the keys. The reversal of the three and four notes of each seven of the twelve key-notes and their trinities meeting by fifths having been traced, we will now examine the twelve scales meeting by fifths, and the results arising from the reversal of the three and four notes of each fifth lower scale in the fifth higher. Take as an example the scale of C: C D E F G A B, and that of G: G A B C D E F#. The four lowest notes of the seven of C are the four highest, an octave higher, in G; F, the central and isolated note of the seven of C, having risen a tone higher than the octave in the scale of G. The twelve scales thus modulate into each other by fifths, which sound the same harmonies as the key-notes and their trinities. Refer to the twelve scales written in musical clef ascending by fifths, and strike them, beginning at the lowest C in the bass clef; this scale sounds no intermediate tones, but these must be struck as required for all the scales to run on in fifths. After striking the seven notes of C, if we fall back three, and repeat them with the next four notes of the seven; or strike the seven and octave of C, and fall back four, repeating them and striking the next four, the four last notes of each scale will be found to be always in the harmony of the four first of the fifth higher scale. When the twelve scales ascending have been thus gained, as we trace them also on the table, they may be struck descending by following them as written in musical clef upwards, and [Harmonies of Tones and Colours, Diagram VII - The Modulating Gamut of the Twelve Keys2, page 30]
See Also
eighth meeting
fifth
fifths
meeting of fifths
meeting by fifths
meetings by fifths
proximate meetings
table of the twelve scales meeting by fifths
The 12 Major Keys Meeting by Fifths
The Minor Gamut Modulating in the Meeting of Fifths61
The twelve keys meeting by fifths
The Twelve Scales Meeting by Fifths