Using the color coding key previously determined, based on complementary colors being related as opposites to fifths in music, a color spectrum appears based on a diaspason ( or octave) of red, orange, yellow, green, blue, lavender and purple-black. This sequence would appear on the half of the square known as the overtone series. The tones we have used up to this point are depicted as spheres.
The second drawing from the left also depicts how one can chose complementary colors to depict tones, such as red (C) to blue (G) to orange (D) to lavender (A) to yellow (E) to black-purple (B) thus completing both a color cycle of complementaries plus a tone cycle of fifths. In this case the undertones instead of the overtone is depicted. The undertone being a lengthening instead of a shortening, and a downwards, or motion at right angles to the overtone becomes a reverse color cycle from red (C) to black-purple (B) to blue (G) to green (F) to yellow (E) to orange (D) and back to red (C).
Every forth, eight, sixteenth, etc., step of the overtone series the color and tonal sequence of the overtone series appears. The shift of color is horizontal in one case and vertical in the other.
The third square over depicts the octave relationships of both the overtone and the undertone, showing how the upper octaves fan out in ever increasing steps comparable to the lower octave.
The darker colors depict the deeper octaves.
The lighter colors indicate the upper octave..





Web Pages Updated by: Kristi Borst. Ad·Mark·Com