Diagram III - The Major Keynotes Developing by Sevens

DIAGRAM III.—MAJOR KEY-NOTES DEVELOPING BY SEVENS. "Creation is the realization of Divine Thought."

"The divine and spiritual are not unnatural, but the very soul of nature." F. W. Reynolds, M.A.

THE first circle on this diagram represents seven major key-notes, beginning with C on the third space in the treble clef, and sounding as their roots the seven last key-notes which have developed. The second is a continuation of the first circle. The seven previously developed key-notes are now the roots of seven higher key-notes. The intermediate notes are not coloured, but may be seen to be complementary pairs.

In the musical clef, the sixth and seventh notes from the fundamental key-note C (F and #F) are repeated, so that the use of the two poles (#F and ♭G) may be clearly seen, and that the notes and colours precisely agree.

In the progression of harmonies these are always closely linked into each other. If any key-note is taken as central, its root will be the fifth note of its harmony below, and it becomes in its turn the root of the fifth note above. If we add the silent notes, the root of the central note is the eighth below, and becomes the root of the eighth above. To explain the lower series of the notes sounding the six tones from within themselves, the only plan appeared to be to write the tones as notes in musical clef. By reference to Chapter V., we see that the lowest series still sound their tones, and lead the ear to the higher series of a key-note, and the six notes of its harmony, as they follow each other in trinities.

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The eighteen tones of keyed instruments veering round and in musical clef below, the twelve seen that develope major keys
—The seven colours answer to the seven white notes
—The use of the two chasms, the key-note C and its root F rising from them
—A major key-note complete in itself, embracing the eighteen tones
—In the whole process of harmony there is limit, every key-note having its point of rest, and yet it is illimitable, . . . . . . . 22 [Harmonies of Tones and Colours, Table of Contents2 - Harmonies]

Major key-notes developing by sevens veering round and advancing and retiring in musical clef
—The use of the two poles F#-G♭ in tones and colours
—Retrace from Chapter V. the tones in musical clef as notes, each note still sounding its tones, leading the ear to its harmony, . . 25 [Harmonies of Tones and Colours, Table of Contents2 - Harmonies]

Created by Dale Pond. Last Modification: Saturday February 27, 2021 03:51:29 MST by Dale Pond.