On harmonical parallel between tone and colour
—On the term of "rest," fifths, and the sympathy of music with life
Relativities of sounds and vibrations of strings
—The doctrines of three pairs, six tones, and the law of "two and fro"
—The germ of the system probably to be found in the adaptability of numbers
—Sudden death of Dr. Gauntlett, . . . . . 48 [Harmonies of Tones and Colours, Table of Contents4 - Harmonies]


Harmony expressed by pulsations, ebb and flow, stress and accent
—Necessity of combining religious feeling with natural science in true music
—Remarks on the new College of Music, . . 50 [Harmonies of Tones and Colours, Table of Contents4 - Harmonies]

In a few remarks on "Tones and Colours," inserted in the Athenæum of February 24, 1877, I alluded to the great loss I had sustained by the sudden death of Dr. Gauntlett. I often retrace with grateful remembrance the kind manner in which he examined this scheme when it was but crude and imperfect; with a very capacious intellect, he had a warm and generous heart, causing him to think over with candour any new ideas placed before him. He was of the greatest use to me, by corroborating the points which I had gained. I remarked to him one day, "I find that, of the double tones, F# is a key-note and G♭ a root." He replied, "You must have a right foundation to work upon, or you would never have ascertained the necessity of the two poles; you have gained the double tones correctly, and the development of harmonies without limit. On this point I have always felt the failure of the laws followed by the musician." [Harmonies of Tones and Colours, Dr. Gauntletts Remarks1, page 13]

I also wish to explain that I have, in several instances, interwoven sentences from different authors, and other remarks of the late Dr. Gauntlett; but as they are not verbatim, they are not always noticed as quotations.
I am aware that I have entered upon many points well known to musicians; as I have had to learn, so I wished to explain to those who have not studied the science. There are many interesting points on which I have not entered. I ask any who look into the subject to suspend their judgment until they have closely examined it from beginning to end. [Harmonies of Tones and Colours, Dr. Gauntletts Remarks2, page 14]


AFTER I had sent this work to the publisher, I looked over letters addressed to me by the late Dr. Gauntlett. They show so much interest in the scheme, that I publish extracts from them. [Harmonies of Tones and Colours, Extracts from Dr. Gauntlett's Letters1, page 48]

1875.—"It has often struck me that I have never been with you long enough at one time to grasp all your facts, so as to arrange them as a sequence, or set them as a chain. I should very much like to visit you, and hold a parlance upon all knotty points. Just at this moment I am at work on three hymn-books."

The proposed visit was overruled by the sudden death of Dr. Gauntlett in the following February. To show his generous and candid disposition, I may add that, after I had been for some weeks in London, and we had had much conversation, on my writing to him after my return home, asking, "Will you kindly tell me what I owe you for your time?" he replied, "I cannot charge anything, for I often felt, as I walked home, that I had learned more from you than you had from me." [Harmonies of Tones and Colours, Extracts from Dr. Gauntlett's Letters2, page 49]


Dr. Gauntlett's widow has lately lent me for perusal his last note-book, and I feel sure that the extracts from it, which I give verbatim, with her permission, will create interest. [Harmonies of Tones and Colours, Fragments from the Last Note-book, page 50]

"Harmony must be looked at in two ways at least: first, up the score from bottom to top—the perpendicular view; second, along the score from side to side—the horizontal view. Then as to its periods or pulsations—its to and fro, its flow and ebb. This brings us to rhythm and measure. At the bottom of these lie what is called stress or accentemission and remission—strong and weak: of these the bar in modern music is an outward and visible sign of certain facts which ought to be in the music, but which, if not in the music, the presence of the bar is of no avail. The bar cannot give stress or accent. 'Wherever there is time, there must be accent;'* but the tick of a clock has no accent. Hullah (or Chorley) should have said life." "The semitone makes music. What operation has it upon the accent or to and fro? It creates the call, it supplies the answer." [This point, I believe, Dr. Gauntlett never alluded to with me, and I have feared that making no difference between tones and semitones might be considered a difficulty with regard to the scheme. In the working of the natural laws of harmony, they must all equally be employed.—F. J. H.] "Art (grand and true) does not depend upon the teaching of facts. The head is of less importance than the heart. Unless the tone of feeling, the habit and disposition, be well fixed, nothing enduring can come out of the misdirected artist." [Harmonies of Tones and Colours, Fragments from the Last Note-book, page 50]

Dr. Gauntlett was looking forward to the honour of meeting His Royal Highness the Duke of Edinburgh at the Mansion House, on February 22nd, 1876, regarding the formation of a new English College of Music, and the following notes were evidently the germ of what was passing in his mind on the views which he hoped to express. The reform and elevation of sacred music had been his life-long aim, and he was hoping, under royal sanction, to attain a wider hearing for his opinions. Providence interrupted this plan by his sudden removal from the world the day before the meeting. [Harmonies of Tones and Colours, Fragments from the Last Note-book, page 50]

I will close this Appendix with a remark once made to me by Dr. Gauntlett. I am sorry I forget where he said it occurred. "After I had been for some time organist, one of the congregation said to me, 'When you first came, the tunes on the organ were loud and clear; now, the voices of the congregation almost drown them.' I replied, 'That has been my aim —it should be so. When I began, the organ was needed to lead the voices: I have been gradually subduing it, that the voices of praise should be uppermost.'"
F. J. H. [Harmonies of Tones and Colours, Fragments from Dr. Gauntlett's Last Note-book, page 51]

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