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Errata to the First Edition of Tones and Colours

Page 13. Line 6. Refer to page 24. Diagram II., F# and G♭ are both key-notes, and equally important on keyed instruments.
Page 19. 5 lines from below, add "of" between the words "root" and "B." After the word "harmony" on the last line, add "one always retiring." At the 11th line from below, No. 6 requires explanation. Professor Harrett is not a musician. If F♮, E#, B♮, and C♭ are included, there are 7 double tones; without these, only 5, viz., the black notes.
Page 20. After the explanation of the colour blue, add "containing all colours."
Page 27. Line 1. After the words, "major key-notes," add "13 if F# and G♭ are both included.
Line 2. After the word "fourteen," add "to the different chords."
Page 31. After the note B, G#, not G♭.
Page 35. Line 3 from bottom, for C♭ read E♭.
Page 42. Line 11. "And " should be "As."
Diagram I. No. 1 is omitted to the lower C.
Diagram II. No. 7 is omitted to B, and the key-note is wanting to the harmony of G♭.
Diagram III. In the secondaries of D, A should not be sharp.
Continued. Nos. 1 and 2 are omitted to the lower C and D♭.
Diagram IV. The 3rd note of the trinities of F should be G.
 Line 1. The root F♮ is omitted. It should be coloured green, and F# ought not to be coloured.
Diagram VI. The 3rd note of the trinities of F# and F♮ should be G.
Diagram VII. Add to the 4th line of the explanation opposite: "The 8th circle is the octave of the 1st, and beyond our present powers;" and below the remarks that follow, add, "Notice that F# is not a root to any major key-note, and how in the growth of keys and the meetings by fifths the use of the double pole is seen, G♭ becoming D♭."
Diagram XIV. Add at the 3rd line, "the 8th circle is the octave of the first."
Continued. 
Diagram XIIFor B#, second line, read B.


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Created by Dale Pond. Last Modification: Sunday April 11, 2021 04:58:27 MDT by Dale Pond.