Bb Minor - Research on Harmony - Variations 12

The closing study returns to four beats and the inverted-bell contour of the opening étude. Seven notes descend from Bb1 through the bass, then climb: Bb2 and Bb3 build the root in successive octaves of darkening violet, F4 and F5 carry the fifth's red-violet through the middle, and Db5 opens the minor third's blue-green — saturated, tilting toward green — as a substantial presence. Near-white Db7 seals the phrase at the ceiling. Animé, mp, legato.

The full triad accounted for, balanced across the registers. Violet frames the bass; red-violet holds the middle; blue-green toward green claims the upper-middle; near-white dissolves at the top. The palette is cool throughout — no non-chord accents, no warm intrusions, the chord declared in its native colors alone.

The series ends as it began: pure Bb minor, no outsiders. But where the opening étude withheld the fifth, this closing statement includes all three chord tones, the triad finally complete and resolved.