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consecutive fifths

Hughes
The key-note C sounding from within itself its six tones to and fro in trinities, the tones written as notes in musical clef
—The trinities hereafter termed primaries and secondaries
—The seven of each of the twelve key notes developing their tones
—The order in which the tones meet, avoiding consecutive fifths
Dissonance is not opposition or separation
—The use of the chasms and double tones is seen
—The isolated fourths sound the twelve notes
—Each double tone developes only one perfect major harmony, with the exception of F#-G♭; F# as the key-tone sounds F♮ as E#, and G♭ as the key-tone sounds B♮ as C♭
—The primaries of the twelve key-notes are shown to sound the same tones as the secondaries of each third harmony below, but in a different order
—All harmonies are linked into each other, . 23 [Harmonies of Tones and Colours, Table of Contents2 - Harmonies]

The three lowest of the six tones are complementary pairs with the key-note and its two highest tones. Observe the curious order in which the tones sound, avoiding consecutive fifths. First, we have the key-note and its root, or fellow; next A; then D and its root; and then E, whose root, A, has already sounded between the first and the second pair. B, the fourth and central tone in depth, sounds seventh, and, finding no fellow within the compass of the harmony developing it, is isolated. Observe also how closely a key-note and its kindred tones are linked into each other. The Primaries spring from the key-notes, the Secondaries from the Primaries; the first pair comprises a key-note and a tone of the Primaries, the other two pairs have each a tone of the Primaries and a tone of the Secondaries. The key-note, after giving out its tones in trinities, or [Harmonies of Tones and Colours, Diagram II - The Twelve Keynotes1, page 23]

The Major Key-note of C is here shewn developing its trinities from within itself, veering round; C and the other 11 developing their trinities in musical clef. Below each is the order in which the pairs meet, avoiding consecutive fifths. Lastly, C# is seen to be an imperfect major harmony; and G♭, with B as C♭, make the same harmony as F#. The intermediate tones of sharps and flats of the 7 white notes are here coloured in order to shew each harmony, but it must be remembered that they should, strictly, have intermediate tints. [Harmonies of Tones and Colours, The Major Keynote of C, page 24c]

The diagram represents the Minor Key-note A and its 6 notes veering round in trinities; A and the other 11 developing their trinities in musical clef. Below each is the order in which the pairs unite, avoiding consecutive fifths, Lastly, D♭ is shewn to be an imperfect minor harmony, and by employing B as C♭, E♭ is seen to be the same harmony as D#. As before, it should be remembered that the sharp and flat notes should, strictly, have intermediate tints. [Harmonies of Tones and Colours, The Diagram Represents the Minor Keynote, page 34c]

See Also


fifths

Created by Dale Pond. Last Modification: Wednesday March 17, 2021 03:26:49 MDT by Dale Pond.