Harmonies of Tones and Colours

Harmonies of Tones and Colours - Developed by Evolution

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Book on music theory by F. J. Hughes that influenced Keely so much.

Mrs. F. Hughes writing "Tones and Colors", advances theories of her own, which correspond with Keely's. "I firmly believe that exactly the same laws as those which develop sound keep the heavenly bodies in their order. You can even trace the poles in sound." [Snell Manuscript - The Book, page 2]

"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, etc., may eventually be proved by the same laws."

Mrs. F. Hughes, a grandniece of Charles Darwin, gained from her study of the Bible the material for her book on "The Evolution of Tones and Colours," which work, Keely says, saved him years of research in the realm of inaudible sounds possessed by man, without which his various organs would be utterly useless. Bloomfield-Moore sent copies of this book to every known university because of its value to scientific research as proven by Keely. Reprint of the original book. Perfect Binding, 105 pages, 8.5" X 11".

Purchase this item: Harmonies of Tones and Colours - Developed by Evolution

Table of Contents
3 - Title Page - Harmonies
4 - Dedication - Harmonies
5 - Table of Contents1 - Harmonies
6 - Table of Contents2 - Harmonies
7 - Table of Contents3 - Harmonies
8 - Table of Contents4 - Harmonies
9 - Introduction1 - Harmonies
10 - Introduction2 - Harmonies
11 - Introduction3 - Harmonies
12 - General Remarks on Harmonies of Tones and Colours
13 - Dr. Gauntlett's Remarks1
14 - Dr. Gauntlett's Remarks2
15 - The Method of Development or Creation of Harmonies1
16 - The Method of Development or Creation of Harmonies2
17 - The Method of Development or Creation of Harmonies3
18 - On Colours as Developed by the same Laws as Musical Harmonies1
19 - On Colours as Developed by the same Laws as Musical Harmonies2
20 - On Colours as Developed by the same Laws as Musical Harmonies3
21 - The Arabian System of Music
22a - Diagram I - The Eighteen Tones of Keyed Instruments
22b - Diagram I - Harmonies
22c - Diagram I - Eighteen Tones of Keyed Instruments
23 - Diagram II - The Twelve Keynotes1
24 - Combinations of dissonance, rests
24a - Diagram I - Eighteen Tones of Keyed Instruments
24b - Diagram II - Harmonies
24c - The Major Keynote of C
24d - Diagram II Continued
24e - The Two Last Major Primaries
25a - Diagram III - The Major Keynotes Developing by Sevens
25b - Diagram III - Harmonies
25c - The First Circle are 7 Keynotes
25d - Diagram III Continued
25e - The Sevens of the Keynotes
Chapter VII
26a - Diagram IV - The Development of the Twelve Major Scales
26b - Diagram IV - Harmonies
26c - The Roots of the Chords
27a - Diagram V - The Chords of the Twelve Major Keys
27b - Diagram V - Harmonies
28a - The Twelve Keys Rising Seven Times
28b - Diagram VI - Harmonies
28c - The 12 Keynotes and Their Trinities and Scales
29 - Diagram VII - The Modulating Gamut of the Twelve Keys1
30 - Diagram VII - The Modulating Gamut of the Twelve Keys2
31a - The Twelve Scales Meeting by Fifths
31b - Diagram VII - Harmonies
31c - The 12 Major Keys Meeting by Fifths
31d - Diagram VII Continued1
31e - Diagram VII Continued2
32 - Diagram VIII - On the Development of the Twelve Minor Harmonies
33a - The Minor Harmonies
33b - Diagram VIII - Harmonies
33c - Referring to Diagram I
34a - Diagram IX - The Minor Keynote A and Its Six Notes
34b - Diagram IX - Harmonies
34c - The Diagram Represents the Minor Keynote
34d - Diagram IX Continued
34e - Diagram Shews the Two Last Primaries
35a - Diagram X - Minor Keynotes Developing by Sevens
35b - Diagram X - Harmonies
35c - First Circle are 7 Minor Keynotes
35d - Diagram X Continued
35e - The Seven of Each Harmony
36a - Diagram XI - The Twelve Minor Keynotes with the Six Note of Each
36b - Diagram XI - Harmonies
36c - The Roots of the Minor Chord
37a - Diagram XII - The Chords of the Twelve Minor Keys
37b - Diagram XII - Harmonies
38a - Diagram XIII - The Twelve Keynotes with Their Trinities
38b - Diagram XIII - Harmonies
38c - The Twelve Keynotes with Their Trinities and Scales Repeated
39 - Diagram XIV - The Modulating Gamut of the Twelve Minor Keys by Fifths1
40 - Diagram XIV - The Modulating Gamut of the Twelve Minor Keys by Fifths2
41a - Diagram XIV - The Modulating Gamut of the Twelve Minor Keys by Fifths3
41b - Diagram XIV - Harmonies
41c - The Minor Gamut Modulating in the Meeting of Fifths61
41d - Diagram XIV Continued
41e - Diagram Shews the Modulating of the 12 Minor Keys
42a - Diagram XV - The Twelve Major and the Twelve Minor Keys
42b - Diagram XV - Harmonies
42c - The 12 Major Keys as They Rise
43 - Reflections on the Scheme1
44 - Reflections on the Scheme2
45 - Reflections on the Scheme3
46 - Reflections on the Scheme4
47 - Scripture Compared with Scripture
48 - Extracts from Dr. Gauntlett's Letters1
49 - Extracts from Dr. Gauntlett's Letters2
50 - Fragments from the Last Note-book
51 - Fragments from Dr. Gauntlett's Last Note-book
53 - Supplementary Remarks and Diagrams
54 - Supplementary Remarks
55 - Errata to the First Edition of Tones and Colours
56 - On Keyed Instruments as considered Circular
57 - Additional Diagrams
58 - Diagram XVI - Harmonies
59 - The Seven of each Harmony with its Scale
60 - Diagram XVII - Harmonies
61 - The Roots of the Minor Chords
62 - Diagram XVIII - Harmonies
63 - The Twelve Keynotes with Their Trinities and Scales repeated
64 - Diagram XIX - Harmonies
65 - The Minor Gamut Modulating in the Meeting of Fifths61

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]

The inequality of the equinoctial points is a well-known fact. It will be seen how apparent this is in the developments of harmonies. From the moment that trinities depart from unity, the balance is unequal, and the repeated endeavours after closer union cause a perpetual restlessness. May not this want of equilibrium be the life or motive power of the entire universe, with its continuous struggle after concord, even to oneness? "Closer and closer union is the soul of perfect harmony." In tracing harmonies of tones and colours, the double tones of keyed instruments will be seen to correspond with the intermediate tints and shades of colours. The twelve notes, scales, and chords in the major and minor series, the meetings by fifths, &c., all agree so exactly in their mode of development, that if a piece of music is written correctly in colours with the intermediate tints and shades, the experienced musician can, as a rule, detect errors more quickly and surely with the eye than the ear, and the correct eye, even of a non-musical person, may detect technical errors. Although the arithmetical relation has been most useful in gaining the laws, it is not here entered upon; but numbers equally meet all the intricacies both of tones and colours. The bass notes have been omitted, in order to simplify the scheme. [Harmonies of Tones and Colours, The Arabian System of Music, page 21]

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. [Harmonies of Tones and Colours, Diagram XV - The Twelve Major and the Twelve Minor Keys, page 42a]

If we examine the line last quoted by the laws of life which regulate the foregoing scheme, we may compare it with the fundamental threefold chord of the scale of C and its relative colours,

C red rises

from the fountain key-note which contains in itself all tones. "Him first," the Son of God proceeding from the Almighty, and yet in Himself the Trinity in Unity. E, yellow or light. E is the root of B, ultra indigo, or black. "Him midst," the Almighty Father, the Fountain of life, light gradually rising and dispelling darkness. G, blue, "Him last," the Holy Spirit, proceeding from the Father and the Son, Trinity in Unity. The Son of God and the Holy Spirit are the complemental working pair throughout the universe; each containing "the seven spirits of life." Red and blue contain all colours in each. C and G are a complemental pair, C rising from the fountain key-note which contains in itself all tones, and C and G combine all tones in each. In Chapter III. it is explained that all varieties of tones and colours may be condensed into this pair, rising from and falling again into the fountain. [Harmonies of Tones and Colours, Reflections on the Scheme2, page 44]

If the foregoing harmonies of sound and of colour have been rightly developed from the Scriptures, I trust they will be considered as steps gained towards the belief that Evolution is the law of the Almighty for the continuance of activity throughout the universe, and towards an increasing study of Creation and Revelation as mutually explaining each other. According to my belief, the Scriptures must be based on the principle which is explained of keyed instruments at the conclusion of Chapter II. In the development of musical harmonies the beginning and the ending are unfathomable. It is the same in the Scriptures. No musical note or colour can be separated from those below and above it. Neither can any portion of the Bible be separated: every part embraces the past, [Harmonies of Tones and Colours, Reflections on the Scheme4, page 46]

I have passed so many happy hours in comparing Scripture with Scripture, and drawing from its inexhaustible store the laws which develope the harmonies of sounds and colours, that I feel deep regret in drawing to a conclusion. Throughout the investigation the truth has ever been foremost in my mind— [Harmonies of Tones and Colours, Scripture Compared with Scripture, page 47]

Supplementary Remarks and Diagrams on the Errors in the Minor Scales as developed by Evolution in "Tones and Colours."
[Harmonies of Tones and Colours, Supplementary Remarks and Diagrams, page 53]

IN preparing for a Supplement to "Tones and Colours," several musicians have carefully investigated the work. I transcribe a copy of Dr. Chalmers Masters' opinion, as he had previously studied colours:— [Harmonies of Tones and Colours, Supplementary Remarks and Diagrams, page 53]

See Also

Colors of Motion
Figure 18.13 - Scalar or Undifferentiated Mind Force
Figure 4.15 - From One Comes all seeming things through Refraction or Differentiation
Harmonic Series
Laws of Music
Overtone series
science of music
Scientific Basis and Build of Music
tension of the spectrum division
White Light
07 - Resonance Co-vibration or Sympathy of Tones
10.05 - The Neutral Zone or Undifferentiated Mind

Created by Dale Pond. Last Modification: Friday April 9, 2021 04:42:17 MDT by Dale Pond.