Chromesthetic Translation of Bill Evans's "So What" Introduction in D Minor — D minor - Research on Harmony - Variation 1 (AQC0700)

I translate the harmonic content of Bill Evans's piano introduction to "So What" (Miles Davis, 1959) into the chromesthetic palette of D minor. The D minor triad — D (orange), F (red-violet), A (yellow-orange) — governs the painting's dominant warmth, with orange and yellow-orange families accounting for over 92% of the measured surface. Evans's introduction moves through a sequence of modal voicings — G#, C#/G#, G/A, F/A, Dm/G, G — shifting through pitch centers that carry cool chromesthetic associations (G# = blue, C# = blue-green) before resolving into the warm D minor territory. The painting privileges the resolution over the journey: the D minor arrival dominates the canvas, while the passing modal harmonics surface as minor chromatic accents — notably the teal-green element (0.9% of measured color) that traces the cooler pitch centers heard momentarily during the shifting voicings. "So What" opens not with the famous bass figure but with Bill Evans's exploratory piano introduction — marked "Explorative" at tempo 60 in the score. The passage moves through a sequence of shifting modal voicings (G#² → C#/G# → G/A → F/A → Dm/G → G) that circle around and eventually arrive at D minor. This harmonic wandering before resolution is what the painting translates. The chromesthetic mapping follows the circle of fifths to color wheel correspondence established across the Synesthetic Explorations collection. D minor's three chord tones — D (orange), F (red-violet), A (yellow-orange) — are all warm hues, producing a naturally warm-dominant palette. Computational color analysis confirms this: the orange family constitutes 66.7% of the measured surface, yellow-orange 26.1%, and red-orange 6.3%. The warm spectrum accounts for nearly the entire painting. The small teal-green accent visible in the composition — measured at 0.9% — is not incidental. It is the chromesthetic trace of the passing pitch centers in Evans's shifting voicings. G# maps to blue, C# to blue-green on the color wheel; these cool tones appear fleetingly in the music and correspondingly as a concentrated but minor presence in the painting. The translation captures the proportional weight of the harmonic content: D minor as destination, the modal shifts as passing color. This is the first variation in the D minor series within the Research on Harmony cycle. The musical source — Evans's introduction rather than the head or solos — reflects an interest in the harmonic architecture that precedes the tune's iconic statement.