Hughes
We may also examine the table of the twelve tones gained through seven octaves: the sharp or flat is written to each note, excepting in the keys as they unite in succession. Each key-note by fifths is seen to become a root of the fifth higher key-note: thus A becomes the root of E, and so on. In descending, each root of the fifth lower seven becomes the fifth higher key-note; the key-note D has G for its root, and so on. [Harmonies of Tones and Colours, Diagram XIV - The Modulating Gamut of the Twelve Minor Keys by Fifths1, page 39]
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]
Ascending, begin with A in the innermost circle, D being its root. The Key-note A becomes the root of E, E becomes the root of B, and so on. Descending, take the Key-note A in the outermost circle. D, the root of A, becomes the fifth lower Key-note, and G its root, and then G becomes the Key- note, and C its root. The same remarks concerning the writing of the meeting fifths, which are made below the corresponding diagram of the major gamut, apply to this one. [Harmonies of Tones and Colours, Diagram Shews the Modulating of the 12 Minor Keys, page 41e]
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