Hughes
THE same laws are followed here as in the development of the major scales. In that of A, F, the sixth note, has risen to F#, in order to meet B, which has previously sounded. In descending, the seventh note, B, falls to B?, in order to meet F, which has also previously sounded. The notes, ascending or descending, always follow the harmony of their key-note, except when rising higher or falling lower to meet in fifths. We may here trace the twelve, the ascending scale sounding the fifth harmony higher than its key-note, and, in descending, sounding the fifth lower harmony. The four pairs of each scale are written at the end of the lines. If we strike the twelve scales as they follow in succession, the thirteenth note being the octave of the first, and leader of a higher twelve; having gained them six times, at the seventh they gradually rise (though beyond the power of a keyed instrument) into the higher series of seven octaves, and again, in descending, they fall lower, and are linked into the lower series of seven octaves. Nine notes of any ascending minor scale may be struck without the necessity of modulating beyond the fifth harmony. For example, in the scale of A, its tenth note, C#, rises to meet the sixth note, which has previously sounded. In descending, E?, the eleventh note, meets B?, the seventh note, which has previously sounded. The scale of A may be traced veering round by reference to Diagram IX., beginning with A, and carrying the four lowest notes an octave higher, F rising to F# in ascending, B falling to B? in descending. [Harmonies of Tones and Colours, Diagram XI - The Twelve Minor Keynotes with the Six Note of Each, page 36a]