The modulating gamut
—One series of the twelve keys meeting by fifths through seven octaves
—Keys not mingled
—A table of the key-notes and their trinities thus meeting
—The fourths not isolated
—The table of the twelve scales meeting by fifths
—The twelve keys, trinities, scales, and chords thus meeting are written in musical clef
—The twelve meeting through seven circles, each circle representing the eighteen tones
—The keys of C and G meeting, coloured
—Retrospection of the various major developments, . . . . 29
The minor harmonies
—The eighteen tones repeated veering round, and in musical clef below, showing the twelve that develope minor harmonies
—The twelve minor key-notes as gained from the twelve major, . . . . . . . . . . 32
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
Minor key-notes developing by sevens, veering round and in musical clef below
—The use of the two poles D#-E? is seen, . . . . . . . . . . 35
The same laws, developing the minor scales, show that the ascending and descending scales vary from the harmony of the key-note and its trinities
—Each key developing three harmonies
—The tenth note of a minor scale modulates into a higher key, . . . . 36
The roots of the minor chords
—The difference between a major and a minor chord
—The chords of the twelve keys in musical clef, those of A coloured, . . .37
The twelve keys, trinities, scales, and chords are written in musical clef,..38
The twelve keys meeting by fifths, one series modulating through seven octaves, keys not mingled
—The twelve veering round, the intermediate notes not coloured
—The keys of A and E meeting the intermediate notes coloured in musical clef, . . . . . 39
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