Bb Minor - Research on Harmony - Variation 10

Near-monochrome. Bb2, F3, and Bb4 all share the same muted violet hue — three different chord tones wearing identical color in the chromesthetic mapping. The root and the fifth, at these registers, converge into a single dusty violet that dominates the canvas. Db5 flickers as blue-green beside E5, a tritone from the root — the most dissonant possible visitor — rendered in quiet yellow. Db7 dissolves as near-white at the top. Six notes, Animé, p, legato, inverted-bell contour, four beats.

The painting is almost monochrome violet, the three central notes merging into a single muted field. The blue-green of Db5 and the yellow of E5 appear as small disruptions — cool and warm side by side in the upper register — but they are outnumbered by the violet surround.

A study in convergence: three pitches, three different harmonic functions, one shared color. The chord painted in near-monochrome, as though Bb minor's violet were absorbing everything around it.