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music note or sound colors

The colors in these graphics are of light hues (such as in a rainbow) and not of pigment (as in paint) which are held as opposite. These colors are the same as used by Harvey Spencer Lewis and Hughes, among others.

"... Mr. Keely is indebted to ..., and to Mrs. F. J. Hughes ..., for the suggestions in her work on Harmonies of Tones and Colours - Developed by Evolution, which led him into the line of experiment that will enable him to show on a disc the various colours of sound, each note having its colour, and to demonstrate in various ways Mrs. Hughes' own words "that the same laws which develop musical harmonies develop the universe," ... [Clara Bloomfield Moore, Keely and His Discoveries, 1893, p. 124]

The inaudible vibrations of matter and its higher states, affect the magnetic needle. In Keely's researching instruments, he caused these inaudible vibrations to alter the vibration of light in such a manner as to produce sound colors. [MASS VIBRATIONS]

Music Note Colors


This color chart was used as a sampling standard for coloring music notes throughout SVP. Actual shades may differ.


Music Note Colors



Music Note Colors


The first column above are the keynotes of musical scales or modes (last column).


Image

Figure 12.03 - Scale Showing Relations of Light, Color and Tones (color added)



Color of Sound
"Mr. Keely did experiments which enabled him to show on a disk the various colors of sound, each note having its color, and to demonstrate in various ways Mrs. Hughes' own words "that the same laws which develop musical harmonies develop the universe." Chapter 9 of Keely and His Discoveries

"The molecular state of animal, vegetable and mineral matter depends upon the aggregation of their respective chord centers. It is impossible to make two coins from the same die the same in their molecular aggregation. To produce vibratory devices will require instruments more perfect than any now in existence. One of my perfected instruments shows to the eye the 'molecular effects' produced by the chord of harmony between two neutral centers. (Lissajous' figures?) Another, connected with the 'sympathizer' denotes accurately by the color of the sound (or sound-combination) the number of vibrations necessary to induce 'certain mechanical combination effects'." [MASS CHORDS] see RESEARCHES IN SOUND BY MODIFYING LIGHT FREQUENCIES

Sound Color
"Sounds are "communicated" when they are merely conveyed from one sounding body to another, and this can take place in a noise as well as a musical sound. Sounds are "excited" under two circumstances: when a body which is sounding and that to be excited have the same note and the vibration of one produces sympathetic vibration of the other, the bodies are mutually called "reciprocating", while of the vibration of one produces its harmonics in the other, the latter is said, with regard to the exciting body, to be "resonant". According to Helmholtz, "timbre" or "quality" depends on definite combinations or certain secondary sounds or harmonics with a primary or fundamental sound, and such combinations he calls "sound colours". (A Dictionary of Musical Terms)

Sound from Light
"By interposing pure hydrogen between soap films as an accelerating medium a vibrational frequency is induced by the "enharmonic third" that can only be represented in sound colors and 'cannot be set down in figures.'" Keely invented instruments demonstrating in many variations the colors of sound, and registering the frequency of each variation.

"Keely mentions demonstrating by sound colors the following frequencies: The Harmonic thirds, producing molecular frequency of 100,000,000. The Enharmonic sixths, producing molecular frequency of 300,000,000. The diatonic ninths, producing a molecular frequency of 900,000,000. The dominant etheric sixths, producing a frequency of 8,100,000,000, and the interetheric ninths, producing a frequency of 24,300,000,000 per second.

"By interposing hydrogen gas between soap films of the differential diameters of thirds illuminated by a sunbeam after passing through a prism, and adjusting the spectrum to an 'arch' of three feet, makes a researching instrument for inaudible vibrations. The ideal conditions are: isolated location free from audible sounds, a pedestal nonconductor of sound, set deep in the earth as a base for the instruments, a highly resonating room, and devices for neutralizing all vibrations from the operator. Such an instrument reveals the hidden world of inaudible sounds as the microscope reveals the hidden visible world. The soap films register inaudible vibrations 'deep down' and indicate the frequency or frequencies of simple or compound vibrations by the dissolving and re-dissolving of certain of the colors of the arch. The setting up of the component parts of this researching combination is quite easy in comparison to the difficulty in holding the film. By this means all wave propagations, electro-magnetic or otherwise, can be refracted and their frequency measured, all of these vibrations being 'introductorily subservient' to the luminous ether."

"The transmissive sympathetic chord of "B flat third octave" when "passing into inaudibility" would induce "billions of billions" of vibrations, represented by sound colors on a screen illuminated by a solar ray. It is almost impossible to hold hydrogen between the two films long enough. Keely made over 1200 trials before he succeeded in inducing the "intense blue field" necessary. He worked on the experiments four hours daily for six weeks and believed that if he ever could get a film that will stand, he would be able to register the range of motion in all metallic mediums.

"The inaudible atomic, etheric and interetheric vibrations, which control and direct the movements of the Universe, must of necessity from the magnitude of their results, be the most powerful of all sounds. Gravity is simply transmittive interetheric force under immense vibration.

"As well as using the above method for investigating inaudible vibrations by means of sound colors, Keely also tested them by their effect on the magnetic needle.

"Concerning the Trexar (the sectional three metal transmitter) he says "It as unerringly indicates the sympathetic vibratory interchange between the earth's neutral center and its envelope, as the magnet indicates the dominant flow."

"After vain attempts to come more closely to what I term a radiophonic vibratory position with microphonic adjustments, I have only been able to reach a few true and standard positions which I can satisfactorily analyze. There is one principle underlying all and this principle is the key." See RESEARCHES IN SOUND BY MODIFYING LIGHT FREQUENCIES, The Snell Manuscript

Light from Sound
Colored Light from Sound
"Vibrations necessary to the production of colors are very high, reaching to millions of vibrations per second. The true relation between the vibration and the color can only be a harmonic one, as colors commence in the millions and end not lower than in trillions of vibrations per second. The conditions essential of this class of phenomena are, first, a condition relating to the structure in which they take place, free from all extraneous vibrations; the experimenter's presence even influences to a great extent the motions of the molecules used in the experiments. A bath is employed, arranged so that light rays can be projected upon it at certain angles, and from that upon a screen. The bath must have what are termed centers of association and concentration, and suspended across its surface in such a manner that the centers approach very near the surface of the liquid, which is preferably water, whose surface must be free from all films. Upon this is dropped a single drop of naptha dissolved in ether, which constantly spreads over the surface and gradually evolves most beautiful variations of color. The vibrations are transmitted from an instrument capable of producing vibrations of varying intensity and pitch, across the line of resonating centers, nine in number. The first center shows a light straw color, condensing about the center; the second shows a very dark straw color; the third exhibits an orange red; the fourth, a bluish red; the fifth is largely green. The entire gamut ranges from a very light yellow to a dark blue. The theory is that the vibrations produced gather certain numbers of the molecules together about the centers, which represent different ranges of motion, and which by the color evolved affords a demonstration of a certain connection between that vibration and the colors it educes. Under different conditions, using films suspended in the air, and light passing through these films under polarization, (polarized light) the vibrations influence the molecules in the film, producing again exhibitions of varying colors when projected upon a screen. Experiments of this kind are most difficult, on account of the unstable conditions found everywhere." [Keely from Pyramids Telescopes and Light; see Angle of Incidence, Differentiation, Quasicrystal, Refraction]

See Also

12.40 - Color
Figure 12.03 - Scale Showing Relations of Light Color and Tones
Figure 4.16 - Break-out of Colors Tones and Attributes
Figure 4.17 - Musical Relationships of Colors Tones and Attributes
Figure 7B.01 - Colors Represent Relative Frequencies
Figure 7B.02 - Colors and Tones
Harmonic Vibrations and Vibration Figures
Harmonies of Tones and Colours - Developed by Evolution
Light
music note or sound colors
RESEARCHES IN SOUND BY MODIFYING LIGHT FREQUENCIES
Table 12.02.01 - Wavelengths and Frequencies
Table of Correspondences
Table of Roots Powers of Two and Indig Numbers
Tables
The Physics of Love - The Ultimate Universal Laws
The Scientific Basis and Build of Music
The Secret of Light
The Universal One
Tone
Visible Sound
VIBRATIONAL FREQUENCIES
VIBRATORY MULTIPLICATION

Page last modified on Saturday 03 of December, 2016 04:44:00 MST

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