Nanopublication — Spread Voicing as Compositional Structure

Context

This is a small piano étude — part of my ongoing daily practice of translating harmonic material into visual form. The spread voicing is the anchor of this piece, as it is across the Research on Harmony series. Each chord tone maintains its chromesthetic identity as a distinct color area rather than mixing into intermediate hues. The compositional decisions — where each color sits, how much surface it occupies, what shape it takes — follow from how the voicing feels and sounds at the keyboard.

At 21×21 cm on paper, this is a study, not a statement. The geometric forms are simple and direct: a dominant ground, a few shapes placed within it. The dark charcoal-black mass at center and the muted rosy-brown passage at left function as structural elements — framing and separating the chord tones the way silence and register separate notes in an open voicing. This is one iteration among many, part of the systematic search through how C Major [1] can exist as color and composition.