Tritone (Eb, A) - Research on Harmony

Five notes and the widest gap in the series — Eb2, Eb3, Eb4, then nothing until A6 and A7. Four octaves of silence between the tritone's two poles. Played Animé, mf, in four — the loudest dynamic in the collection, the pulse walking with a steady tread. The valley dips to Eb2 before returning, the phrase reaching into the dark gray of the low register.

Blue-violet fills the lower half — three Eb notes stacking from dark gray at Eb2 through muted violet at Eb3 to steel blue at Eb4. Then the canvas leaps to yellow-orange at A6 and dissolves to near-white at A7, the tritone partner arriving as pale metal at the keyboard's edge. Between Eb4 and A6: nothing — a visual void that mirrors the tritone's unresolved pull.

The starkest painting in the series. Cool blue-violet below, warm yellow-orange above, and a vast empty space between them — the tritone as two hemispheres that refuse to meet, the interval held open across the widest possible distance.