cut in squares is of great value in explaining the classification of harmonies. Fig. 15 is a reduced copy of the chart of pure spectrum scales shown on page 41, and which is here placed horizontally for convenience.
The black zig-zag lines are designed as graphic illustrations of the various classes of harmonies.
Contrasted Harmonies as defined are limited to designs in one active color mounted on a background of one of the passive colors and thus need no further explanation, although experience will prove that some combinations are very much more pleasing than others.
The Dominant Harmonies which are defined as combinations of tones from one scale cannot be made more clear by a diagram, which would be simply a straight vertical line through any one of the eighteen scales, indicating that the five tones in that scale or any selection from them may be used in a Dominant Harmony.
The Analogous Harmony has given students the most trouble and the diagram is principally prepared to illustrate the great variety in harmonies of this class.
Commencing at the left, the first line indicates a harmony in three scales beginning with red-violet shade No. 2 and passing to shade No. 1, then to standard violet and thence to blueviolet tints No. 1 and No. 2.
The next is in two scales, beginning at violet-blue shade No. 2, thence to blue shade No. 1; back to normal violet-blue;
