| LD-V |
| HLt-Y Lt-YG LLt-G M-GB HD-B D-BV |
In this case we have two rhythms, one of values and one of colors, in a Harmony of Direction. The direction of movement will be from right to left.
| HLt-Y⅛ |
| HLt-Y HLt-Y⅞ HLt-Y⁶/₈ HLt-Y⅝ HLt-Y⁴/⁸ HLt-Y⅜ |
In this case we have no change of color and no change of value, but a rhythm of the intensities of one color, in one value. The movement will be from right to left. The ground-tone might be Neutral High Light, the zero-intensity of Yellow. That would not change the direction of the movement.
| LD-Y⅛ |
| HLt-Y Lt-Y⅞ LLt-Y⁶/₈ M-Y⅝ HD-Y⁴/⁸ D-Y⅜ |
In this case I have indicated a combined movement of values and color-intensities. The direction of the movement will be from right to left.
The tone-rhythms which I have described are based upon the repetition at regular intervals of a certain change of value, of color or of color-intensity. We have Harmony, of course, in the repetition of equal changes, though the changes are not the same changes. The change of value from Middle to Low Light is equal to the change from Low Light to Light, though these changes are not the same changes. The Harmony is, therefore, the Harmony of equivalent contrasts which are not the same contrasts.
183. We have more or less movement in every composition of tones which is unbalanced, in which the eye is not held between equivalent attractions, either upon a vertical axis or upon a center. In all such cases, of tones unbalanced, the movement is in the direction of the greatest contrast. Unless the movement is regular and marked in its measures, as I think it is in all regular and perfect gradations, the movement is not rhythmical. We get Rhythm, however, in the repetition of the movement, whatever it is, in equal or lawfully varying measures, provided the direction of the movement remains the same or changes regularly or gradually. If the line of the movement is up-to-the-right forty-five degrees we have rhythm in the repetition of the movement at equal or lawfully varying intervals, without changes of direction; but we should have Rhythm, also, if the direction of the movement, in its repetitions, were changed, regularly or gradually; if, for example, the direction were changed first from up-right forty-five degrees to up-right forty degrees, then to up-right thirty-five degrees, then to up-right thirty degrees, this at equal or at lawfully varying intervals. In this way the movement of the composition repeated may be carried on and gradually developed in the movement of the series. A reference to [Fig. 161, p. 94], and to [Fig. 119, p. 68], will help the reader to understand these statements.
184. When any unbalanced composition of tones is singly inverted upon a vertical axis and the movement of the composition follows the axis, either up or down, and this movement, up or down, is repeated, up or down, we get forms of Tone-Rhythm which are also forms of Symmetrical Balance. In the inversions and repetitions of the tone-composition we have Tone-Harmony. As the tones in the repeated composition have certain positions, measures, and shapes, the Harmony, the Balance, and the Rhythm are of Positions, Measures, and Shapes as well as of Tones; so we get the combination of all the terms of Design in all the three modes of Design.