A Minor M7 - Research on Harmony

Eight tones spell out an A minor-major seventh — A, C, E, G♯ — spread from A1 to C6. The low A tones sit in gray-touched yellow-orange, the deepest reaching toward black. E and G♯ bring red and blue in the middle registers — the fifth warm, the major seventh cool. A5 returns to yellow-orange in the upper range, and C6 closes the phrase in blue-violet, the minor third's color catching the light.
Played Animé, mp, in four — the contour dips to A1 before returning, an inverted bell that explores the bass before climbing back. The articulation is normal, not legato: each note speaks with a little more separation, a little more clarity. The minor-major seventh's inherent tension benefits from this — the dissonance between G♯ and A needs air around it.
A one-off study from the Synesthetic Explorations. Like its C minor-major seventh neighbor, this chord lives in the ambiguous territory between modes. But where C minor M7 runs red-hot and blue-cool, A minor M7 sits warmer — yellow-orange as its anchor, the minor third arriving only at the very top.