SCALE OF C MAJOR

THEME: LISTEN TO THE MUSIC, ENJOY ITS COLOURS (SCALES).TITLE: SCALE OF C MAJOR TECHNIQUE: Mixed technique on canvas.SIGNED: 18 / 3 / 2008DIMENSIONS: Canvas 81x60 cm.COMMENTARY: Now, I want to show you the colours of the notes which are THEME: LISTEN TO THE MUSIC, ENJOY ITS COLOURS (SCALES).

TITLE: SCALE OF C MAJOR

TECHNIQUE: Mixed technique on canvas.

SIGNED: 18 / 3 / 2008

DIMENSIONS: Canvas 81x60 cm.

COMMENTARY: Now, I want to show you the colours of the notes which are in the scale of C major, also I have connected with vertical and horizontal lines each note of the scale with the notes which form their chord in the ninth. Each colour of the note, has below its complementary colour, forming contrast by complementary colours. Complementary colours formed by some wide vertical bands and by some narrower horizontal bands placed at the sides and at the height of the notes, passing over the wides bands. Adding the colours of the notes and their connections, along with the colours of the bands, a great variety of contrasts is created, and a lively clean colouring.

DESCRIPTION OF THE PAINTING: SCALE OF C MAJOR


In my following painting, I have painted the colours of the notes of the scale of C major. As I explained to you in the commentary, I´ve also connected with vertical and horizontal lines each note of the scale with the notes which form its chords in the ninth.
I represent the notes in geometric forms (quadrangular prisms), these are the ones which have the greatest relief in the painting, seven figures which represent the seven notes of the scale, placed in the same order of a musical scale in a stave. From the notes there emerges upwards and/or downwards, the widest vertical line, also in relief, which serves to connect the horizontal sides to the right and/or to the left the notes which form the chord in ninth of each note, by means of narrower lines of less relief.
The colour of the notes in their natural state which form the scale are the following: the note C, yellow; note D, red; note E, purple; note F green-yellow; note G, orange; note A, carmine and finally the note B violet in colour. We will mix the notes with the colour of the main tonality (yellow) and also, we will add purple to the colours with a cold tendency (yellow, green and violet), in order to harmonize with the tonality, which, according to how my theory goes, is catalogued within the range of warm colours. On mixing the colours, as you can see in the painting, the red becomes a dark orange; the purple becomes carmine; the yellow green into an ochre colour; the orange into a cadmium yellow; the carmine into a red and the violet into a tanned sienna colour.
If you look at the painting, the C note (yellow), connects with the E note, third in the chord and carmine in colour; it connects with G, fifth in the chord and cadmium yellow in colour; it connects with B, seventh in the chord and tanned ochre in colour and lastly it connects with D, ninth in the chord, dark orange in colour, and thus with the other notes of the scale.
Each colour of the note, has below it its complementary colour, forming contrast through complementary colours. Complementary colours formed by some wide vertical bands and by other narrower horizontal bands placed at the sides and height of the notes, passing over the wide bands. Bringing together the colours of the notes and their connections, along with the colours of the bands, a great variety of contrasts of tones and ranges of colours is created, to sum up a clean lively colouring.

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  • IN KEY 1
  • 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

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