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]
"On the diatonic ninths, atomic vibration reaches 900,000,000; on the etheric sixths, 8,100,000,000 and on the interetheric ninths, 24,300,000,000 all of which can be demonstrated by sound colors. [Snell Manuscript - The Book, page 3]
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
"Nature has established her sympathetic concordants from the birth of the neutral centres of the planets. This is gravity; therefore gravity is fixed, inherent. There is no flight of gravity. The difference in the condition of the sympathetic nerve centres, and the variations in the chord aggregation of the masses, as established in the man or woman at birth, constitutes the molecular condition of the individual. The molecular state of animals, vegetables, and minerals, depends upon the aggregation of their chord centres. It is impossible to take two coins from one die the same in its molecular aggregation. The mere picking up of a coin and replacing it causes billions of molecules to be lost. This produces a change in the chord of mass of the coin. As this fact has only been developed by persistent progressive research, it is quite easy to comprehend the nature of the difficulties that lie in the way of perfecting devices for the guidance of artificers and mechanics, whereby they can bring a proper vibratory action into play to induce positive sympathetic transmission. In order to transmit my knowledge by demonstration it will be necessary to have much more perfect instruments than those crude devices which I first constructed for my researches. One of my perfected instruments shows to the eye, in the molecular effects produced by a certain order of vibration, when the chord of harmony is established between two neutral centres. Another, when connected with the sympathizer, denotes accurately, by the colour of a certain sound or combination of sounds the number of vibrations that are necessary to induce certain effects of mechanical combinations." [Vibratory Physics - The Connecting Link between Mind and Matter]
"Inaudible vibrations are tested by the magnetic needle and sound colours. Every gaseous molecule is a resonator of itself and is sensitive to any and all sounds induced, whether accordant or discordant. At the normal density of the atmosphere we hear a volume of sound, focalized by the combined association of every molecule brought under sound influence. When we reduce the atmospheric volume of a chamber to 50/100, then the ear is sensitive to the reduction of the acoustic force evolved on the same ratio, and so on, until sound becomes inaudible. This inaudibility to our organ of hearing is no proof whatever of any reduction of the acoustic force evolved on the introductory impulse given to the bell. If is only a proof that the number of the molecules left for the acoustic force to act upon has been so reduced by increasing the vacuum, that the concentration of sound from the diminished number cannot be heard. The ear is not susceptible to the acoustic force emanating from one molecule, nor even from the concentration of one hundred millions of billions molecules. The highest vacuum that can be induced, taking but a cubic inch in volume to act upon, will leave a residual number of molecules one hundred billion times as great as the above given number and yet be perfectly inaudible when all their acoustic force are focalized." [Vibratory Physics - The Connecting Link between Mind and Matter]
"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, 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]
The scheme endeavours to prove that the development of harmonies of sound and of colours is regulated by the law of Evolution as gained from the Scriptures
—Youthful impressions regarding my great-uncle Dr. Darwin's views
—My cousin Charles Darwin's views touched upon
—The scheme involves the belief that life developing from the Almighty is the general key to disentangle the intricacies of the Natural Sciences
—A remark of Sir John Lubbock's quoted
—The development of Numbers, the stream of Time, the Sevens of Creation, &c., may eventually be proved to proceed by the same laws, . . . . . . . 9 [Harmonies of Tones and Colours, Table of Contents1 - Harmonies]
General remarks on harmonies of tones and colours
—The scheme gained without technical knowledge
—Brief explanation of how the laws were gained
—The development of numbers showed the "to and fro" in the development of sounds
—Multequivalency of harmonies veering round, or advancing and retiring in musical clef
—Before judging, close examination requested, . 12 [Harmonies of Tones and Colours, Table of Contents1 - Harmonies]
On colours developing by the same laws as musical harmonies
—The physical properties of light and darkness briefly considered
—If the laws are correctly gained, harmonics of tones and of colours will agree
—Quotation from a lecture by Professor W. F. Barrett on the order of sonorous and luminous wave-lengths
—Fountain of musical harmonics, E root of B; in colours yellow and ultra-violet, being tints and shades of white and black
—All harmonics of sound and colour condense into a primo springing from the fountain
—Multequivalency of tones and colours
—Wünsch's views nearly one hundred years ago
—Clerk Maxwell's, Lord Rayleigh's, and [Harmonies of Tones and Colours, Table of Contents1 - Harmonies]
Helmholtz's experiments on developing colours shown to agree with the scheme
—The sounds of the Falls of Niagara are in triplets or trinities
—The Arabian system divides tones into thirds
—Two trinities springing from unity apparently the germ of never-ending developments in tones and colours
—Inequality of the equinoctial points; is the want of equilibrium the motive power of the entire universe?
—The double tones of keyed instruments, the meetings by fifths, the major and minor keys, so agree with the development of colours, that a correct eye would detect errors in a piece of coloured music
—Numbers not entered upon, but develope by the same laws
—Bass notes omitted in order to simplify the scheme, 18 [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]
the bass clef, carrying each key-note a fifth higher or descending a fifth lower. A constant difficulty arises in explaining the development of tones and colours, from the fact that the ascending notes on a keyed instrument are descending lines in musical clef, and the ascending lines in musical clef in the retrogression of fifths must be gained by beginning below and following them upwards. They are therefore not repeated, either in the table or in musical clef, as descending. [Harmonies of Tones and Colours, Diagram VII - The Modulating Gamut of the Twelve Keys2, page 30]
Ascending, begin with C in the innermost circle, F being its root. The Key-note C becomes the root of G, G becomes the root of D, and so on. In descending, begin with the octave Key-note C in the outermost circle. F, the root of C, becomes the fifth lower Key-note. F is the next Key-note, and becomes the root of B♭, &c. The 12 Keys in their order are written in musical clef below. Lastly, the Keys of C and G, ascending on a keyed instrument, are written in music as descending; therefore, to shew correctly notes and colours meeting, it is necessary to reverse them, and write C below G. All are seen to be complementary pairs in tones and colours. [Harmonies of Tones and Colours, Diagram VII Continued2, page 31e]
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
music note or sound colors
RESEARCHES IN SOUND BY MODIFYING LIGHT FREQUENCIES
Table 12.02.01 - Wavelengths and Frequencies
Table of Correspondences
Table 11.03 - Roots Powers of Two and Indig Numbers
The Physics of Love - The Ultimate Universal Laws
The Scientific Basis and Build of Music
The Secret of Light
The Universal One
12.40 - Color