TONE-HARMONY

162. By Tone-Harmony I mean a relation of likeness in tones. Tones are in Harmony when they resemble one another in all or in certain respects. To be in Harmony two or more tones must have at least something in common, either value or color. If they have the same color they may be in the same degree of intensity, giving a Harmony of Intensities. Tone-Harmony resolves itself into Value-Harmony, Color-Harmony, and the Harmony of Intensities. The Harmony of Intensities lies between tones of the same color, when they are equally neutralized or neutralized in approximately the same degree. When different colors are neutralized we have the Harmony of a common neutrality or grayness of color.

163. Tones may be harmonized on the palette before they are used, that is to say, before any positions, measures, and shapes are given to them on paper or canvas, or they may be harmonized after positions, measures, and shapes have been given to them. To harmonize tones on the palette, as to value, we must bring them approximately to the same value, with as little change of color as possible. To harmonize tones on the palette as to color we must bring them approximately to the same color, with as little change of value as possible. If two or more tones have the same color they may be intensified or neutralized until they are brought approximately to the same degree of intensity. The tones of Red showing a Harmony of Intensities would lie on a vertical line drawn through the triangle of Red in theDiagram of the Triangles.

As the tone-effect which we produce depends very largely upon the positions, measures, and shapes which we give to our tones, we may not be satisfied with an effect which has been produced with previouslyprepared and harmonized tones. We may wish to change the effect, to achieve a still greater Harmony. Given a certain arrangement or composition of tones, certain tones in certain positions, measures, and shapes, and given the problem to harmonize those tones, what do we do?

164. Suppose it is Value-Harmony which we want; what is our procedure?

Here, let us say, are the tones of a design, certain colors in certain values. What shall we do with these tones to bring them into Value-Harmony?

Diagram 6

For Value-Harmony we must diminish the range of values toward one value. In the above diagram I have shown a diminution of the range of values toward High Light: this in several degrees.

Diagram 7

Following the indications of this diagram, we pull the colors together toward Light in one case (B), toward Middle in another (A), toward Dark in a third (C). As we do this we increase the Value-Harmony. In reproducing the tones in a diminished range of values, raising the colors in value or lowering them, we are not obliged to change the colors except in cases where they become, possibly, confounded with Black or with White. It will often happen, however, that the intensity of a color has to be diminished when the value is changed. For example, if Red Orange, in the illustration given, is in its greatest intensity, the color may remain unchanged in System “A,” but its intensity will be, necessarily, diminished in System “B,” or System “C.”See Diagram of the Triangles.

For the sake of Value-Harmony we diminish the range of values, making as little changes of color as possible, and only those changes of color-intensity which are inevitable. A complete and perfect Value-Harmony is, as a rule, undesirable because it means that all the colors are reduced to one value which gives a monotony of value. Approximate Harmony of Values is generally sufficient. The range of values is narrowed, the contrasts are diminished, and an even tonality is secured. That is all we require, in most cases, an approximation to one value.

165. Suppose it is Color-Harmony which we want to achieve: what procedure shall we follow?

Here are certain tones, certain colors in certain values. What shall we do with these tones to get Color-Harmony? We must diminish the range of color-contrasts by giving predominance to one color, either to one of the colors to be harmonized or to some other. That may be done by mixing one color into all our tones.

The range of color-contrast is in this way diminished to the intervals between Violet, Orange, and Neutral. The process, so far as color is concerned, disregarding value-relations, is fully explained in the following diagram:—

Diagram 9

Suppose, instead of giving predominance to Red, as in the example above, we give predominance to Blue, taking the same range of colors.

The range of color-contrast is in this way diminished to the intervals between Green, Violet, and Neutral. The process, so far as color is concerned, is fully explained in the following diagram:—

Diagram 11

In the diagrams which I have given the predominance is in the measure of one half. That is to say, the mixtures are half and half, theoretically speaking. The theoretical result is a range of intermediate colors. The predominance is not necessarily in the measure of one half. It may be in any measure. The presence of Red or Blue in all the tones may be hardly noticeable or it may amount to a general redness or blueness in which other colors are distinguished with more or less difficulty.

166. Suppose it is the harmony of grayness, a Harmony of Neutralization, which we want. What is the procedure to follow?

Diagram 12

The procedure is shown in this diagram. We see here what is meant by a Harmony of Neutralization, without changes of value. The neutralization is in the measure of one half in each case. Red Orange and Green are the only colors which exist in their maximum intensities. Their intensities are diminished to the half-point, without change of value,—from RO to RO½ in one case, and from G to G½ in the other. The other colors are reduced in their intensities proportionally. The value in each case remains unchanged.

167. Having considered the methods of getting Value-Harmony and Color-Harmony separately, I must now describe the method of getting the combination of Value-Harmony with the Harmony of Neutralization. To do this we must set the colors in positions regarding the Scale of Neutral Values, which will indicate their several values, and in each case thedegree of intensity. We must then decide whether to neutralize the several tones toward Black or White, or toward some neutral value between these extremes.

Diagram 13

This illustrates the method of a neutralization toward Black in the measures of one quarter, one half, and three quarters.

Diagram 14

This illustrates the method of a neutralization toward White in the measures of one third and two thirds.

Diagram 15

This illustrates the method of a neutralization toward the Middle Neutral, between Black and White, a neutralization in the measures of one quarter, one half, and three quarters.

In bringing tones into harmony, by one or another or all of these various methods, we must remember that when we have diminished the contrast of value and of color beyond a certain point the result is monotony, a monotony which may be undesirable. It is easy to get into a state of mind in which we dislike all contrasts. In this state of mind we find no æsthetic satisfaction except in monotony. Such a state of mind should be avoided. Monotony is the Nirvana of æstheticism.

168. We may have a Harmony in the repetition and recurrence of two or more contrasting, even strongly contrasting, tones. We may have Harmony in the repetition and recurrence of a contrast in which there is perhaps no Harmony.

For example: I may repeat the contrast Orange-Blue any number of times in a certain composition. There is no Harmony of Value or of Color in the contrast, but in repeating the contrast I have the Harmony of a Repetition, just as I have a Harmony in the repetition of a certain line or outline in which there is no order of any kind. The Harmony lies solely in the repetition or recurrence. In this way I may repeat, at equal intervals all over a certain space, the various contrasts indicated by the following diagram:—

Diagram 16

There is no Harmony in the relation of tones here indicated, but we shall get Harmony in the repetition of this relation.

Diagram 17

The Harmony here indicated will lie in the repetition of certain contrasts in which there is no Harmony.

The Harmony of a repeated contrast, or contrasts, is a very important form of Tone-Harmony. It means that a certain effect of light due to the juxtaposition or association of certain tones recurs repeatedly, let us say at equal or approximately equal intervals, all over a certain space. The result is sure to be harmonious, no matter how strong the tone-contrasts are in the group or series, provided that the repetitions are well within the range of vision so that they may be compared, and the recurrence of the same effect of light appreciated. We must not be too near to the arrangement, for in that case the contrasts of the repeated group will be more noticeable than the even tonality of the all-over repetition. Every even, all-over effect oflight, no matter what the contrasts are which produce it, gives us the feeling of Harmony.

169. In such compositions as the one indicated inDiagram 17predominance may be given to one tone by having it recur in larger spots in each group or in a greater number of spots, two or more in each group. In this way, in a composition of many colors in different values, predominance may be given to Middle Blue or Light Orange or Dark Blue-Violet, or any other particular tone. Predominance may be given to neutral gray of a certain value, by having it recur in larger spots or in numerous small spots.

170. Neutral gray may be made to predominate in another way; by so composing the tones, in the group to be repeated, that they neutralize one another at a certain distance,—the point of view of the observer.

Diagram 18

In this case Yellow and Violet will neutralize one another and Red will neutralize Green. The effect of the repetition of these complementary oppositions ought to be, at a certain distance, a very lively neutral.

It has been the idea of certain painters of our time to subject every tone-impression to analysis, and to produce the effect of the tone by an arrangement or composition of its elements. Many interesting and some beautiful results have been produced in this way.

Diagram 19

In this case we have a repetition of the triad Red-Yellow-Blue, which, at a certain distance, ought to produce the effect of a middle neutral. The principle of these arrangements is one of the most important in tone-composition.

171. There is another consideration which ought to keep us from any morbid interest in harmonious monotonies, which ought to reconcile us to contrasts, even strong contrasts, and to a great variety in tones. Harmony is only one principle of composition in Design; we have two others which are equally important,—the principle of Balance and the principle of Rhythm. The principles of Balance and Rhythm are consistent with the greatest possible contrasts of tone. The tone-contrasts in forms of Balance and Rhythm may be strong, even harsh, and the appreciation and enjoyment of the Balance or of the Rhythm in no degree diminished.

We will now proceed to the consideration of Tone-Balance and Tone-Rhythm.

Back to Index Next