Nocturne B-flat minor Op9 No1.mp4

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. A Berkeley Psychology Dept. study
found a correlation between faster music
in minor tone and the choice of colors
that were more saturated, yellower, and
lighter. Slower music had an opposite
pattern of de-saturated, darker and bluer
colors.
Folks who hear music, but see shapes
are called synesthetes. When they hear
a word or a name they see a color.
Synesthesia is the name for experiencing
one sense through another.
...I am not a synesthete, but when
enjoying my favorite music from Doors
to Dvořák, Mozart to Charlie Mingus,
Frédéric Chopin to Freddie Mercury,
specific images come to mind. It's fun
to then gather the images and put them
together in Vimeo videos.
Chopin's Nocturnes, Op. 9 are a set
of three nocturnes. The first, no. 1 in
B flat minor, is played here by Artur
Rubinstein. The link below has the
sheet music~
youtube.com/watch?v=ZtIW2r1EalM.
This nocturne has a rhythmic freedom
that came to characterize Chopin's later
work. As can be seen in the sheet music,
the left hand has sequences of simple
arpeggios while the right hand moves
with freedom in patterns of 11, 20, and
22 notes.
My color images in the opening
section move into a contrasting middle
black and white section, which flows
back to the opening material in a
transitional passage where the melody
floats above seventeen consecutive bars
of D-flat major chords.
The reprise of the first theme in
"Tempo I" is at the top of the second to
the last page of the sheet music. There
are four drawings that quickly switch
between color and black and white.
The nocturne concludes peacefully,
with black and white ink drawings,
with a major chord of the tonic. Cool!
The third of the expected minor triad
is raised by a semitone to create a major
triad. This form of resolution is called
a "Picardy third".

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