TO recapitulate from the beginning, observe, firstly, the twelve major key-notes as they have developed from within themselves in succession, six tones in trinities seven times through seven octaves, each thirteenth note being the octave of the first note of the twelve that have developed, and being also the first of the higher series. We may retrace all as still sounding their tones, the key-notes leading the ear to the six notes of each harmony, the keys with sharps and those with flats being mingled. The ascending and descending scales always agree in their harmonies with the key-notes and their trinities.

Secondly, we have the one series of the twelve keys as they meet by fifths through the seven octaves. The keys are no longer mingled; the scales meet by fifths in the same keys and their trinities.

Thirdly, the twelve minor keys as they develope in succession seven times through seven octaves, always sounding their major harmony in trinities, and, as with the majors, each thirteenth note being the octave of the first note of the twelve, and first of the following series, the keys all mingled.

Fourthly, we have one series of the seven of each of the twelve minor keys meeting by fifths through seven octaves. The keys of the twelve ascending scales are written in musical clef above the former, and the keys of the descending scales below. The ascending scales sound the fifth higher harmonies than the key-notes and their trinities, and the lower scales the fifth harmony lower than the key-notes and their trinities. The three series follow out their keys in three successive series, and all meet by fifths.

The chords always agree in their harmonies, and thus the close union of all is seen. The corresponding harmonies of tones and colours are also shown.

Hughes
The difference in the development of a major and a minor harmony
—The twelve developing keys mingled
—D? shown to be an imperfect minor harmony
—E? taking B? as C? to be the same as D#
—The intermediate tones of the seven white notes are coloured, showing gradual modulation
—As in the diagram of the majors, the secondaries are written in musical clef below the primaries, each minor primary sounding the secondaries of the third harmony below, but in a different order, and one tone rising higher, . . . . . 34 [Harmonies of Tones and Colours, Table of Contents3 - Harmonies]

The twelve major and the twelve minor keys written in musical clef
—First, the twelve major keys rising mingled as they develope seven times through seven octaves
—Second, one series of the twelve meeting by fifths, keys not mingled
—Third, the twelve minor keys mingled
—Fourth, the twelve minor key-notes and their trinities, the keys meeting by fifths in the line above the keys of the ascending scales, and in the line below the keys of the descending scales, 42 [Harmonies of Tones and Colours, Table of Contents3 - Harmonies]