IN KEY 1

THEME: LISTEN TO THE MUSIC. ENJOY ITS COLOURS (IN KEY).TITLE: IN KEY 1 (melody in C major going down and up in zig-zag).TECHNIQUE: Mixed technique on wood.SIGNED: 15 / 12 / 2007DIMENSIONS: Wood 123x48 cm. 1 cm. thick.COMMENTARY: When THEME: LISTEN TO THE MUSIC. ENJOY ITS COLOURS (IN KEY).

TITLE: IN KEY 1 (melody in C major going down and up in zig-zag).

TECHNIQUE: Mixed technique on wood.

SIGNED: 15 / 12 / 2007

DIMENSIONS: Wood 123x48 cm. 1 cm. thick.

COMMENTARY: When a musical melody is in key, be it interpreted by two or more voices in unison (as I want to represent in the painting) we hear a conjunction of clean, neat, agreeable sounds to our ears. The same happens in the painting, each note represented and interpreted by various voices, is clean and brilliant, achieving a harmonization in conjunction with the other notes in the melody.
The square waves produced by the notes of this in key melody in the key of C major (key which is within the range of warm colours, according to my theory of the music-colour relationship), create a warm, intense harmonization in the background of the painting (colours including siennas, reddish browns, brownish greys and blacks) and with the colours of these (yellows, carmines, oranges, siennas and ochres), which stand out clear and brilliant.
A melody where all the notes and the waves that they generate, are harmonized, creating an agreeable in key sound for the ear and the eye.

DESCRIPTION OF THE PAINTING: IN KEY 1


In this painting of the section “IN KEY”, within the theme “LISTEN TO THE MUSIC, ENJOY ITS COLOURS”, I have represented an in key melody in the key of C Major (major scale going down and up in zig-zag).
As I have explained to you in the commentary, when any musical melody is musically in key, be it interpreted by two or more voices in unison (as I want to represent in the painting), we hear a conjunction of clean, neat and agreeable sounds, pleasant to our ears. The same occurs in the painting, each note represented and interpreted by different voices is clean and brilliant, producing a harmonization in conjunction with the other notes of the melody.
As you can see in the painting, the notes are placed at their corresponding height and within a metre, according to my pictorial stave. The melody begins with the note C (yellow), it is followed by B (tanned sienna), and then the note A (carmine), and then comes G (orange), and finally the note F (ochre). These are the notes which make up the melody, with their corresponding colour according to theory of my music-colour relationship.
The tonality of C major is within a range of warm colours, to each note I add yellow, being the main colour of the tonality ( C ), and the colours with a cold tendency I convert into ochres and siennas so that they harmonize with the tonality. I have chosen a background with colours including siennas, reddish and greyish browns, which for me are the warmest colours, and with which I believe can best represent the main musical tonality.
I represent this in key with squared, narrow waves (produced by the notes) which surround each note, these begin whitish in colour going into ochre colours, until they become wider waves of sienna and reddish brown colours which turn to greyish brown colours and end up in the darkest colour (black). The waves progress with the colour of each note, creating a variety of white colours, ochres, siennas, browns and reddish browns, resulting in a warm, intense harmonization in the background of the painting and with the colour of the notes, where these stand out clean and brilliant.
A melody where all the notes and the waves that they generate, are harmonized creating the in key pleasant to the ear and the eye.

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  • The Father Of Music
  • To Pau Casals
  • STRENGTH, DRAMA AND INTENSITY
  • ROMANTIC
  • IN KEY 1
  • DISCORD 1
  • DISCORD 2
  • DISCORD 3
  • SCALE OF C MAJOR

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