C Minor M7 - Research on Harmony

Nine tones trace a C minor-major seventh — the minor triad's darkness sharpened by a major seventh. C, E♭, B: three pitch classes that pull in different directions, spread from C1 to E♭7. Red dominates the low C tones, near-black in the sub-bass; blue-violet appears with the E♭ in the middle and upper registers; the B tones — the major seventh — bring red-orange, a warm dissonance cutting through the cooler minor harmony.
Played Animé, mf, legato — the loudest dynamic in this collection, and the ascending waltz drives from C1 to E♭7 with clear forward momentum. The minor-major seventh is one of harmony's more volatile chords: the minor third says dark, the major seventh says bright. That contradiction lives in the color palette — red and blue-violet in tension, red-orange mediating between them.
A standalone exploration from the Synesthetic Explorations. The minor-major seventh chord appears in jazz, in film music, in the uncanny spaces between major and minor. This study translates its particular ambivalence: warm and cool pressed together, neither winning.