Db Major - Research on Harmony - Variations 13

A study in grays. A appears twice — at A3 and A4 — non-chord tones mirrored across adjacent octaves. Neither belongs to Db Major, and both carry a muted yellow-orange that reads as gray in these registers. Between them, Ab4 and Ab5 hold the fifth in blue toward blue-violet, and Db5 finally shows the root's blue-green at its most characteristic. Seven notes, Animé, mp, an inverted bell.

Blue-green toward gray opens the bass at Db2 — softer and more muted than the series' typical near-black foundation. The middle canvas is dominated by those twin A's: two bands of gray-yellow warmth flanking the blue fifth. At the top, F6 dissolves toward near-white, the third fading at its highest register.

Variation 11 is the most neutral painting in the series. The doubled non-chord tone mutes the triad's colors, replacing the cool blue-green identity with something quieter — gray upon gray, interrupted by one clear blue signal at the fifth.