If we take the wavelength of color spectum that we can see and transpose it forty octaves lower, we obtain the same bands of colour but with same wavelength as audible pitches. Casually these bands occupy the space of an octave. That means that we see colours in an octave margin.
This piece works around the idea of colour transposed to hearing. All the piece is written using this restricted octave and divided in different bands of colour: red, orange, yellow, green, blue and violet. In this case the synesthesia between sound and colour is not thought in a traditional way (associating colors and pitches) but rather each color has a determined cluster stratified ones above others.
This world of chromatic restriction coexists with the possibility of the holofonic spatialisation ad libitum, a kind of sound spatialisation that considers the human psychoacoustic capacities of to imitate the real feeling that we have when we are listening a moving sound. The work can be played with or without holophonic spatialisation.
Holophonic spatialisation consists on a prerecorded trajectory for one or more instruments. The trajectory icons indicates which instruments are afected, the start point (1) and end point (2) if it is different to the first point. The horitzontal black bar indicates the fragment that are affected by the spatialisation. In the spat options square are indicated the parametres for the hall diffussion.