Nanopublication — Systematic Spread Voicing Study — G Minor Triad

Context

This painting is one iteration in a disciplined, ongoing exploration of the G minor triad at the piano. I work through spread voicings systematically — redistributing the same three pitches across registers, finding different spacings, different balances between root, minor third, and fifth. Each voicing I play produces a different sense of weight and openness, and each becomes a separate visual study.

In this thirteenth variation, the orange of D dominates the composition. The warm orange ground fills the majority of the surface, and a large orange circle sits prominently in the upper portion — together accounting for nearly two-thirds of the visible color. This is not decorative emphasis but a direct reflection of the voicing: D carries the most presence in this particular spread, occupying the register where my ear places the most weight.

Purple — Bb, the minor third — appears as a vertical rectangle descending from behind the orange circle, partially obscured, with a lighter lavender curve expanding below and to the right. The purple presence is restrained relative to the orange, reflecting how the minor third sits in the voicing: present, defining the quality of the chord, but not leading. A dark near-black vertical element bridges the two color zones, structuring the composition the way a bass register anchors a spread voicing.

The geometry is simple and deliberate. These are not complex compositions but visual exercises — the equivalent of a pianist working through voicings at the keyboard, each variation a slight redistribution of the same harmonic material. Variation 13 is not a culmination or a refinement of what came before. It is simply the next study in the series, the next voicing explored, the next balance found between G, Bb, and D on paper.

The computational color analysis confirms the visual emphasis: orange family accounts for 66.8% of the measured surface, with violet at 12.8% and yellow-orange (transitional tones between the G and D associations) at 17%. This quantified distribution serves as an independent record of the voicing's visual translation — the compositional weight I gave to each pitch, measured after the fact.