CHORD IN A FLAT MAJOR 7

THEME: LISTEN TO THE MUSIC, ENJOY ITS COLOURS (CHORDS).TITLE: CHORD IN A FLAT MAJOR 7 TECHNIQUE: Mixed technique on canvas.SIGNED: 2 / 4 / 2008DIMENSIONS: Canvas 81x60 cm.COMMENTARY: In my next work, I want to show you another pictoria THEME: LISTEN TO THE MUSIC, ENJOY ITS COLOURS (CHORDS).

TITLE: CHORD IN A FLAT MAJOR 7

TECHNIQUE: Mixed technique on canvas.

SIGNED: 2 / 4 / 2008

DIMENSIONS: Canvas 81x60 cm.

COMMENTARY: In my next work, I want to show you another pictorial version within this section of chords, it deals with the chord A b major 7th. It is a chord which contains four notes and the following colours: the note A b, fundamental note of the chord, of a clear blue cyan colour: the note C, third in the chord, with a clear fragmented greenish blue: the note E b, fifth of the chord, a bluish emerald green colour and the last note G, seventh in the chord, a fragmented greenish ochre colour. All these, colours of the notes (figures), this time, are placed leaving a transparency to a yellow background with an irregular texture, creating the transparent sensation of water and the fragility of crystal.

DESCRIPTION OF THE PAINTING: CHORD OF A b MAJOR 7


In the following work, as I have explained to you in the commentary, I have painted the four colours which form the chord of A b major 7th (quartered): the note of A b clear, cyan blue in colour, the C note clear, fragmented greenish blue in colour, the E b note a bluish emerald green colour and the G note, a fragmented greenish ochre colour. In other occasions I have said, that to each note that is within a musical tonality, you have to add the main colour of this tonality. The musical tonality of the A b major has been assigned the colour cyan blue and it is within a cold range of colours according to my theory, and so we will add the cyan blue to all the notes of this scale, and in the case of the notes C and G which have yellow and orange colours (warm colours) respectively these change into a clear fragmented greenish blue and a fragmented greenish ochre, harmonizing with all the notes of the tonality. This way we will obtain thus a family of blue colours, emerald greens and fragmented greenish ochres, to sum up, a range of cold colours in which I have catalogued this musical tonality.
I represent the notes in the painting in the form of geometric figures (quadrangular prisms). These figures are placed in order of height (relief) and importance (volume), like the notes in a musical chord: the fundamental note, is the figure with most volume (A b, clear cyan blue colour), and in parallel perspective; the third, smaller than the previous one and in relief (C, clear fragmented greenish blue colour), in perspective from the left side; the fifth note of the chord, even smaller than the previous and with major relief (E b, bluish emerald green colour), in perspective from the right side and the seventh note of the chord, of bigger size than the fifth having more importance within the chord, but a little narrower than the third and which has the most relief of them all (G, fragmented greenish ochre colour), in parallel perspective.
As you can see in the painting, the figures occupy some parts between them making a transparency and mixing colours. The figure C, on the left, is in front of the A b, it becomes transparent and mixes in its central part with the clear cyan blue, and in turn the G figure, in front of C and A b becomes transparent and mixes its colour with the aforementioned figures, obtaining a variety of clear bluish and greenish tones. On the other side, to the right, the same happens to the figure E b with the same figures, in this case we find a variety of bluish green (emerald green) tones which are darker than the colours on the left.
We could say that this is the musical tonality which represents the sky and the sea, because of its great variety of blues, emerald greens and some fragmented greenish ochres.
The background is painted with the colour of the note A b in different tones and shades which are darker and more intense, with a uniform texture of tiny squares, creating contrast with the irregular texture of the figures. The colours of the figures, in this version, are placed so as to leave a transparency onto a yellow background with an irregular texture as I have said above, creating the transparent sensation of water and the fragility of crystal.

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  • DISCORD 1
  • DISCORD 2
  • DISCORD 3
  • SCALE OF C MAJOR
  • CHORD IN A FLAT MAJOR 7
  • TRIAD CHORD IN D MAJOR IN GREY VERSION
  • TRIAD CHORD IN C MAJOR
  • TWO NOTE CHORD IN B MINOR
  • THE NOTE D

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