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twelve major keys

Ramsay
In just such a manner, only by more obvious leaps, the middle of the dominant in the advancing major scales is raised a sharp - i.e., four commas. When D27, the dominant top of the key of C, is multiplied by 5, it generates F#135; so, taking it one octave lower, F64 in C major is F#67 1/2 in the key of G. C96 in the key of G is C#101 1/4 in the key of D; G72 in the key of D is G#151 7/8 in the key of A. And this raising of the middle of the dominant goes on through all the twelve major keys.[Scientific Basis and Build of Music, page 62]

Hughes
General remarks on the method of harmonies developing on all kinds of instruments, including the human voice
—Much paradox, but yet the scheme will admit of clear demonstration
—A musical note compared to a machine, the motive power not of our creation
—The imperfection of keyed instruments, from some notes acting two parts, attuned to the ideal of harmony within us
Macfarren quoted on the echoing power of a cathedral attuning the Amen
—Why music as an art precedes painting
—Philosophers and mathematicians have only studied music to a certain point
—Every key-note a nucleus, including the past, the present, and the future; no finality in any ultimate
—The late Sir John Herschel's views on the musical gamut alluded to
—The imperfection of keyed instruments adapts them to our present powers
—The laws will be seen to develope the twelve major and the twelve minor keys in unbroken sequence and in harmonious ratio; to gain them in geometric order [as] keyed instrument should be circular, the seven octaves interlacing in tones a lower and a higher series, . 15 [Harmonies of Tones and Colours, Table of Contents1 - Harmonies]

The chords
The fourteen roots of the chords of the twelve major keys
—A threefold major chord examined, fourfold with its octave
—The seven of each key seen to have two chords and its scale one chord, thirty-six in all, forty-eight with octaves
—The chords of the twelve keys as they follow in order are written in musical clef
Colours seen to agree, . . . 27 [Harmonies of Tones and Colours, Table of Contents2 - Harmonies]

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 [Harmonies of Tones and Colours, Table of Contents3 - Harmonies]

The roots of the chords are first written. The Key-note C and its trinities are shewn to have 2 chords. The chords of the 12 Major Keys, as they follow in order. [Harmonies of Tones and Colours, The Roots of the Chords, page 26c]

CHAPTER VIII.
DIAGRAM V.—THE CHORDS OF THE TWELVE MAJOR KEYS.

"A threefold cord is not quickly broken."—Eccles. iv. 12.
"What is beauty but the aptitude of parts harmonious?"—Southey.
[Harmonies of Tones and Colours, Diagram V - The Chords of the Twelve Major Keys, page 27a]


The 12 Major Keys meeting by fifths through 7 octaves; strike each Key-note, as having risen a fifth higher ascending, and fallen a fifth lower descending. [Harmonies of Tones and Colours, The 12 Major Keys Meeting by Fifths, page 31c]

CHAPTER XVIII.

DIAGRAM XV.—THE TWELVE MAJOR AND THE TWELVE MINOR KEYS ARE HERE RETRACED.

"Others shall right the wrong, Finish what I begin,
And all I fail of, win."—Whittier.
[Harmonies of Tones and Colours, Diagram XV - The Twelve Major and the Twelve Minor Keys, page 42a]


The 12 Major Keys as they rise mingled, with the 13th octave. [Harmonies of Tones and Colours, The 12 Major Keys as They Rise, page 42c]

See Also


twelve major scales
twelve minor keys
twelve minor scales

Created by Dale Pond. Last Modification: Sunday March 28, 2021 02:52:14 MDT by Dale Pond.