The concept was to, through improvisation, move around each prime colour’s tonal centre – a centre freely chosen by each performer – and then, to gradually approach each other’s centre and meet pitch-wise in a unified secondary colour’s centre. Each colour is made clear for the listener through its verbal name in English or Norwegian (or at times French, German and/or Spanish). Thus, when red is performed, the vocal sound produced; the consonants, vowels, timbre and texture, has its sonic source from the colour’s name in the language chosen by the performer.

The sound clip put up here is from when we are at red (Nygaard) and yellow (Jardardottir), and how we subsequently meet at orange. When going from two pure prime colours, as in this sound clip, red and yellow, towards meeting somewhere in between, the density and character of the shades created in the blending will naturally vary and become each their individual colour tone (literally speaking).

My interest in these types of imagery ideas for music making is very strong, and I see it in relation to how my perception of music (and sound), and then particularly improvised music, has a distinct relation to a visual sensory, and a three dimensional as such. It is all about time and space, the elements of the dynamic art forms. Something happening and being in motion – as opposed to the more static art forms such as for instance paint work, architecture etc.

The outline of colours as performed in this recording:

- Red (Nygaard, then joined by Jardardottir).
- Red (N.) stays. Blue (J.) is introduced.
- Red (N.) and Blue (J.) becomes Lilac (N. and J.).
- Back to Red (N.) while Lilac (J.) is sustained.
- Red (N.) stays. Yellow (J.) is introduced.
- Red (N.) and Yellow (J.) becomes Orange (N. and J.).
- Back to Yellow (J.) while orange (N.) is sustained.
- Yellow (J.) stays. Blue (N.) is introduced.
- Yellow (J.) and Blue (N.) becomes Green (N. and J.).

- Maria Jardardottir