Nanopublication — Chromesthetic Translation of the Tritone E–Bb

Context

The chromesthetic system I use maps the twelve pitch classes to the twelve hues of the color wheel following the circle of fifths, with C anchoring the system at Red. Under this mapping, E falls at Yellow (4 o'clock) and Bb at Blue-Violet (10 o'clock) — positions separated by exactly six steps in both directions, placing them at opposite poles of the wheel.

This geometric opposition is not incidental. The tritone — the interval of an augmented fourth or diminished fifth — is the only interval that divides the chromatic scale into two equal halves. It does the same to the circle of fifths, and consequently to the color wheel. The complementary color pair Yellow–Blue-Violet is the visual equivalent of this bisection: maximum chromatic distance, each color the other's complement.

The painting makes this structural identity visible. The large yellow field and the deep blue-violet ground are not compositional choices in a conventional sense — they are the direct chromesthetic translation of E and Bb, and their opposition on the canvas enacts the same symmetry the tritone enacts in harmonic space.