In 1704, Isaac Newton mapped the seven musical notes to the seven colours of the visible spectrum — the same proportions, the same physics. UKIYO LIVE uses the modern circle of fifths as its colour wheel. C is warm red-amber. Move clockwise through the fifth intervals — G, D, A, E, B, F# — and the hue rotates through the full spectrum. Every root note has a home colour.

In 1910, composer Alexander Scriabin performed his symphony Prometheus with a keyboard instrument that projected coloured light in sync with the music — a clavier à lumières, a light keyboard. He was a synesthete who heard colour in sound. UKIYO LIVE extends his system: each chord quality carries an emotional temperature. Major chords are warm and saturated. Minor chords cool and shift blue. Dominant seventh burns orange with tension. Diminished goes near-black.

These two systems combine into a single formula. The root note sets the hue from Newton's wheel. The chord quality sets the emotional temperature from Scriabin's mapping. Extensions — 9th, 11th, 13th — add luminosity, like adding air to the colour. The ocean you see above is not a preset — every colour is computed live from whatever chord is being played. The waves, the sky, the foam, the particle bursts — all derived from the harmony in real time.

UKIYO LIVE is built as a set of visual worlds, each one a chapter. The wave engine above is the Sea — Hokusai's Great Wave, alive with woodblock colour bands and foam talons that grow with the bass. The mountain scene below is the Land — a teaser of the next chapter, where pulse rings breathe out from hollow rock faces in sync with the same chord colours. Each world is driven by the same engine, the same heartbeat, the same musical theory. Nature is the theme. The soul is the destination.