C Major9 - Research on Harmony - Variation 6

This piece is part of the synesthetic collection where the artist associates colors with the circle of fifths, merging the sensory experiences of color and music. The geometric shapes and overlaid colors symbolize the structured yet expressive nature of musical harmony, offering a visual representation of auditory beauty. By exploring the harmony of the C major chord (Cmaj) through the interaction of colors, red was definitively identified for the note C. To some extent, G had to be a harmonic, and red-orange appeared in the study. However, the other two notes of the chord (the third: E, and the ninth: D) oscillated within the color spectrum. This uncertainty posed a challenge that Arnaud preferred to resolve by temporarily assigning white to the third and pink to the note D. The interest of this work lies in the affirmation of red as a solid starting point for C but also reveals how certain uncertainties about the other colors were addressed through an iterative method. Subsequent works will eventually reveal yellow as the appropriate color for E and orange for D instead of pink, whose strict application would have undoubtedly changed the final result.