Sympathetic Vibratory Physics -It's a Musical Universe!
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Topic: Keely Information
Section: Harmonies of Tones part 5
Table of Contents to this Topic









"The lord is righteous in all His ways, and holy in all His works."-Psa.cxiv. 17. (Psa.xix.I-4)

In preparing for a Supplement to "Tones and Colours," several musicians, have carefully investigated the work. I transcribe a copy of Dr. Chalmers Masters' opinion, as he had previously studied colours:-

"I esteem myself fortunate in being introduced to you, and becoming acquainted with your beautiful work on ' Tones and Colours.' I have, to the best of my ability, worked out your idea, by writing down in music the various discords in use amoungst musicians, and resolving them according to the laws of Harmony, and I find in all cases the perfect triad agrees with what you term the trinities in colours. The way in which you find the whole circle of Major and Minor keys by pairs in colours is depply interesting, and must be true. The only point of divergence between your system and that recognised by all musicians is the ascending Minor Scale. No musically trained ear can tolerate the seventh note being a whole tone from the eighth. The Minor second in the lower octave descending is very beautiful, and it is strange how all composers feel a desire to use it. To mention one case out of hundreds, I may cite Rossini's well-known air, ' La Danza.'
"Yours faithfully,

I was aware that my explanation of the Minor Scales was erroneous. I now see the beautiful Scriptural type which shown how they develope, rising or falling in perfect harmony. I hope to explain this clearly, and I think that any who have doubted my having gained these laws from the Scriptures will then see their mistake.
I had also hoped to write a very brief outline of a few of the innumerable scriptural types which have guided me in the development of Tones and Colours; but my sight suddenly failed for reading and writing; and I only allude to the seven spirits of God (Rev. iii. I) as regards tones and colours, and to the twelve fruits of the Tree of LIfe (Rev. xxiii. 2) as regards the twelve notes of keyed instruments.
The Minor Scales are the type of Creation developing, when no Sabbath(or Rest) was required; and we now see this re-echoed throughout the world around us, nothing resting on the Sabbath. A MInor Scale, therefore, cannot sound the sixth note, which would be Creation perfected, without entering upon the fifth higher key; and it cannot sound the seventh falling into the octave without doscord. Therefore the eighth note is not the octave of the first, as it is the fourth note of the fifth higher key.
My first plan was to take away entirely the present development of the Minor Keys; but, on consideration, it seems best to leave them exactly as they are and to add fresh musical development of the Minors, explaining them, and leaving it needless, for those who do not wish to look deeper into the subject, to examine the former development. Should they do so, however, they will see that not a single note is altered, the only difference being the Scales developing by fifths instead of by sevenths.
The major Scales are the type of Creation perfected-man being created, and the Almighty resting-every Major Scale developing the sixth and seventh notes, and the eighth the octave of the first. Therefore, every Major Scale includes the Sabbath, or Rest.
I am quite aware that musicians will set aside the Minors as here written; but I trust some minds may be led to examine the beautiful Scriptural types, too deep for our minds ever to find a beginning (the Scriptures have no beginning), and too high for our minds ever to complete ascending.
If, as I believe, the Natural Sciences throughout Creation develope by Trinities, how silently, yet how strikingly, may we trace the wonders of Redeeming Love. "Wisdom hath building her house; she hath hewn out her seven pillars."- Prov. ix I. We strikingly see in the development of
harmonies the type of 2 Cor. iii. 18, as each key rises from darkness to light, or, descending, falls from light to darkness.


Betwyn Lodge
Sandown, Isle of Wight,
February, 1885

Errata to the First Edition of "Tones and Colors."

Page 13. Line 6. Refer to page 24. Diagram II., F# and G' are both key-notes, and equally important on keyed instruments.
Page 19. 5 limes from bellow, add "of" between the words "root" and "B." After the word "harmony" on the last line, add "one always retiring." At the 11th line from below, No. 6 requires explanation. Professor Barrett is not a musician. If F#, E# B#, and C' are included, there are 7 double tones; without these, only 5, viz., the black notes.
Page 20. After the explanation of the colours blue, add "containing all colours."
Page 27. Line I After the words, "major key-notes," add "13 if F# and G' are both included.
Line 2 After the word "fourteen," add "to the different chords."
Page 31. After the note B, G#, not G'.
Page 35. Line 3 from bottom, for C' read E'.
Page 42. Line 11. "And" should be "As."
Diagram I. No. I is omitted to the lower C.
Diagram II. No. 7 is omitted to B, and the key-note is wanting to the harmony of G'.
Diagram III. In the secondaries of D, A should not be sharp.
(Continued). Nos. 1 and 2 are omitted to the lower C and D'.
Diagram IV. The 3rd not of the trinities of F should be G.
Line I. The root F# is omitted. It should be coloured green, and F# ought not to be coloured.
Diagram VI. The 3rd note of the trinities of F# and F# should be G.
Diagram VII. Add to the 4th line of the explanation opposite: "The 8th circle is the octave of the 1st, and beyond our present powers;" and below the remarks that follow, add "Notice that F# is not a root to any major key-not, and how in the growth of keys and the meetings by fifths the use of the double pole is seen, G' becoming D'."
Diagram XIV. Add at the 3rd line "the 8th circle is the octave of the first."
Diagram XII. For B#, second line, read B.


(Page 17.)


EXAMINE the notes in the first circular ciagrams. Beginning with C, they rise revolving from the right hand to the left; the notes in the musical clef below rise from the first hand to the right, as in keyed instruments. However, the volume be turned upside down, the circle will correspond with the music below.
As regards the tones from each note, the primaries rise from the left to the right, the secondaries from the right to the left. This, I believe, as true knowledge is discovered, will be found to be the "to and fro" throughout Nature.
The agsence in may mind of scientific knowledge has, I believe, been a great help to me in studying the Scriptures; there is so much apparent contradiction in them. Take one example: "Lord, I believe; help Thou mine unbelief." Do we not feel the truth of this, the two natures thus acting within ourselves?
"Beho9ld! God exalteth by His power; who teacheth like Him"- Job xxxvi 22.


DIAGRAM XVI. - The seven of each harmony, with its scale-The pairs of the trinities and scales.

DIAGRAM XVII. - The roots of the minor chords-The difference between a major and a minor chord-The chords of the 12 minor keys follow.

DIAGRAM XVIII.-The 12 key-notes with their trinities and scales reparted, with the addition of the chords.

DIAGRAM XIX. - The minor gamut modulating in the meeting of fifths throughout 7 octaves.

The seven of each Harmony, with its Scale. The pairs of the Trinities and Scales.

In the Minor Scale, the Trinities and Scales develope five pairs; the last pair become the fifth higher key-note and its root, consequently the sixth pair would develope the higher key.

The same laws are followed here as in the development of the Major Scales, except that the Minor Scales only develope five notes.

The roots of the Minor Chords. The difference between a Major and a Minor Chord. The chords of the 12 Minor keys follow.

The student may refer to Diagram XII., where he will find the chords coloured.

Remark the three-fold chord of the Trinity, the highest note is the key-note; and in the three-fold chord of the Scale, the key-note is the lowest note. These are the only two chords in each Minor key.

The twelve key-notes with their Trinities and Scales repeated, with the addition of the chords.

The Minor Gamut modulating in the meeting of fifths through seven octaves. We may here trace the twelve, each fifth note becoming the higher key-note. But the sixth and seventh notes of the scale are discords. For example, in the key of A, the sixth note, F#, is a discord with the second note, B#; and the seventh note cannot be sounded as G# falling into the eighth, without being a discord with the third note, C#. No octave can be sounded in the Minor Scale, as it has risen into the fifth higher key of E.
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