Nanopublication — Chromesthetic Translation of C Major — Étude with Harmonic Movement to G7sus

Context

The C Major triad maps to three positions on my circle of fifths color wheel: C at 12 o'clock (red), E at 4 o'clock (yellow), G at 1 o'clock (red-orange). These three pitches sit within a narrow arc of the warm half of the wheel — no cool tones appear in the triad itself. C Major is unusual in this system for its thermal homogeneity: all three chord tones are warm. Most keys cross into cool territory; C Major does not.

The spread voicing as compositional principle came directly from the étude practice at the piano. In close position, C-E-G sit within a single octave. In spread voicing, the tones open across registers — the bass note grounded low, the upper tones reaching higher, each with room to sound before blending. This spatial logic translates directly into canvas geometry: distinct zones for each chord tone, separated rather than stacked.

The G7sus inflection adds D (orange, at 2 o'clock) and reinforces G (red-orange). The dominant seventh suspended chord does not resolve in this painting — it sits within the warm field as a harmonic color, an opening rather than a cadence. The orange areas of the composition carry this secondary presence.

Computational color analysis confirms the chromesthetic mapping: orange family 60.9%, red-orange 24.1%, yellow-orange 14.4%, yellow 0.5%. Analogous dominance 1.0, temperature bias 0.999. The painting's distribution is a direct consequence of the harmonic material.