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minor keynote

Hughes
The 18 tones of keyed instruments are represented round this circle, and again below in musical clef. As all, with the exception of G? and A#, become in turn either Major or Minor Key-notes, or both, no distinction is made between tones and semitones throughout the scheme. In this diagram the 12 Major Key-notes are written thus

Half Note
[Harmonies of Tones and Colours, Diagram I - Eighteen Tones of Keyed Instruments, page 22c]


THE term "key" in the minor developments must be taken in the sense in which it is understood by musicians, although it will be seen that it is only the seven of the harmony that are the relative minor keys of the majors, the scales with their chords sounding other keys. The grandeur, combined with simplicity, of the laws which develope musical harmonies are strikingly exhibited in the minor keys. Although at first they appear most paradoxical, and, comparing them with the majors, we may almost say contradictory in their laws of development, when they are in some degree understood, the intricacies disappear, and the twelve keys follow each other (with the thirteenth octave), all exactly agreeing in their mode of development. I shall endeavour to trace them as much as possible in the same manner as the majors, the lowest developments of the minor keys being notes with scales and chords, the notes always sounding their major harmonies in tones. Here an apparently paradoxical question arises. If the major keys are gained by the notes sounding the major tones, how are the minor keys obtained? Strictly speaking, there are no minor key-notes: the development of a minor harmony is but a mode of succession within the octave, caused by each minor key-note employing the sharps or flats of the fourth major key-note higher; and with this essential difference, it will be seen in how many points the developments of major and minor harmonics agree. I have carefully followed the same laws, and if any capable mind examines the results, I am prepared for severe criticism. I can only express that it was impossible to gain any other results than the seven of the harmony, the ascending and the descending scale and the chords combining three different keys. [Harmonies of Tones and Colours, Diagram VIII - On the Development of the Twelve Minor Harmonies, page 32]

DIAGRAM IX.—THE MINOR KEY-NOTE "A" AND ITS SIX NOTES VEERING ROUND IN TRINITIES—THE TWELVE KEY-NOTES THUS DEVELOPING WRITTEN IN MUSICAL CLEF BELOW.

"Lord, on Thee Eternity had its foundations—all
Spring forth from Thee; of light, joy, harmony
Sole origin:—all life, all beauty Thine!"—Sir J. Bowring.
[Harmonies of Tones and Colours, Diagram IX - The Minor Keynote A and Its Six Notes, page 34a]


The Diagram Represents the Minor Keynote

CHAPTER XIII.
DIAGRAM X.—MINOR KEY-NOTES DEVELOPING BY SEVENS, VEERING ROUND AND IN MUSICAL CLEF.

"Life implies this interdependence and harmonious interaction of parts, and the subordination of all to some universal plan." "Life and intelligence are powers, and rule; but Nature cannot create power, therefore life and intelligence are from a higher source."—J. W. Reynolds, M.A.
[Harmonies of Tones and Colours, Diagram X - Minor Keynotes Developing by Sevens, page 35a]
Created by Dale Pond. Last Modification: Friday March 19, 2021 02:12:27 MDT by Dale Pond.