Russell
THE SEVEN TONES OF THE UNIVERSAL CONSTANT ARE EACH REMOVED, ONE FROM THE OTHER, THE SQUARE OF THE DISTANCE TO THE NEXT HIGHEST POTENTIAL. THE ENERGY OF EACH OF THE FOUR UNITS IS EXACTLY EQUAL. [Dimension Chart 5]

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Hughes
Throughout the scheme seven tones and seven colours develope in every harmony. In the relationship between tones and colours the seven may be con- [Harmonies of Tones and Colours, On Colours as Developed by the same Laws as Musical Harmonies2, page 19]

We here trace the twelve harmonies developing in succession. Notice how exactly they all agree in their mode of development; also the use of the chasms between E and F, B and C. Remark also the beautiful results from the working of the double tones, especially C#-D?, and E#-F?, causing the seven tones of each harmony, when ascending, to rise one tone, and, descending, to reverse this movement. F#-G? is the only double tone which acts as F# when a key-tone, and G? when the root of D?. The root of each harmony is the sixth and highest tone in each succeeding harmony, rising one octave; when it is a double tone, it sounds according to the necessity of the harmony. The intermediate tones are here coloured, showing gradual modulation. The isolated fourths (sounding sevenths) were the previously developed key-tones; these also alter when they are double tones, according to the necessity of the harmony. Beginning with B, the isolated fourth in the harmony of C, the tones sound the twelve notes of a keyed instrument, E# being F?, and the double tones, some flats, some sharps. [Harmonies of Tones and Colours, Combinations of dissonance, rests, page 24]