These past works used color to perform the harmonic structure of the music. In this work the actual sound becomes the structure, so this is the first time that I have used a system which translates actual sound into color equivalences. In the string section each instrument has its basic hue and then 7 more with additions of other colors expressing the changes in the color of sound which result from playing the instrument in different ways. For instance, the basic hue for violin is a a warm yellowish green. When it is played sul ponticello, or on the bridge, it has more yellow mixed in because the sound is warmer.
Brass instruments operate in the range of yellow orange for trumpet to a deep warm red for tuba.
Each of these colors are further modified by the addition of relational color mixtures which are visual equivalences for the use of mutes and other playing techniques such as half valve. Woodwinds range from yellows in piccolos and flutes to mixtures between complimentary hues being dominated by greens, violets, or purples for the groups of instruments in the clarinet and oboe families. Percussion instruments made of metal and sounding metal are also given a metal reflection in their timbre and glass instruments have a glass effect included in their colors. Vowel chart and vocal timbre Quanta and Hymn to Matte r has a full chorus, complete with eight multi-phonic soloists. I decided that differences between soprano, alto, tenor and bass are issues of pitch range.