Aurbis 2: Colorful Boogaloo


In keeping with the spirit of writing esoteric extrapolations late at night, I present to you the sequel of Aurbis: The Musical concerning the Gods as Tones: the synæsthesia of Gods, Tones, and Colors. We know that the Magne-Ge are colors, and given that synæsthesia seems to be a profound mechanic of the universe (Tonal Architecture is the synæsthesia of Sound and Touch, for instance), I arrived at the conclusion that the Tones and Colors are merely two physical translations of the Gods.


If you haven’t, reread Aurbis: The Musical and familiarize yourself with the musical listing of the gods.

Now, some other resources:

  • Sonochromatism – the mapping of sound to color.

  • I made this wheel to serve as a visual representation of the list of God-Tones from Aurbis 1. The longest spokes represent the Aedra; the middle spokes are the Four Corners of the House of Troubles and the Three Good Daedra; the shortest spokes are the remaining Daedra.

    Wheel of Gods and Tones

  • This is that same wheel, with colors mapped over it. The primary colors, red, green, and blue, are mapped to C♯, F, and A respectively (details below). I also capped the Aedra with white, the seven more interesting Daedra with gray, and the ten remaining Daedra with black, for distinction.

    Wheel of Gods and Colors


Lorkhan, the Beat

Before I delve into the meat of this post, I want to quickly cover one thing. Look at the blank Wheel. See how the Aedric Tones are long, the 7 Prominent Daedra are middling, and the 10 Lesser Daedra are the shortest?

Circles are defined as a function of two variables: r (radius) and Θ (angle). The Gods are arrayed using Θ, but their status is determined by r. The Gods most associated with Lorkhan, the Aedra, have the highest r-values. The next level of Lorkhanic association (the Reclamations are strongly associated with him, and the House of Troubles are also tied into the kalpic nature of the world, but all are Daedra) are weaker, but still strong. Lastly, the ten remaining Daedra are associated with the tones with least commonality and power. As with my Music post yesterday, Lorkhan continues to be utterly different from, yet equally necessary, as the rest of the pantheon.

Color and Tone

This is the full list of the gods and their hues and tones. I don’t know how to embed sound samples in HTML, and I imagine that would be rather annoying anyway, but I’ve included the color spectrum appropriately aligned.

As for why I’m listing angles in fractions of τ, see here. Multiply the numerator by 2π / τ for radians; multiply by 360 / τ for degrees.

God Tone Hue Angle
Mara C 11τ/12
Namira C♯♭ 23τ/24
Malacath C♯ 0
Vaermina C♯♯ τ/24
Zenithar D τ/12
Clavicus Vile D♯♭ τ/8
Mehrunes Dagon D♯ τ/6
Peryite D♯♯ 5τ/24
Arkay E τ/4
Azura E♯ 7τ/24
Kyne F τ/3
Meridia F♯♭ 9τ/24
Molag Bal F♯ 5τ/12
Hircine F♯♯ 11τ/24
Stendarr G τ/2
Sanguine G♯♭ 13τ/24
Boethiah G♯ 7τ/12
Nocturnal G♯♯ 15τ/24
Akatosh A 2τ/3
Hermaeus Mora A♯♭ 17τ/24
Sheogorath A♯ 9τ/12
Jyggalag A♯♯ 19τ/24
Julianos B 5τ/6
Mephala B♯ 21τ/24
Dibella C 11τ/12

If you remember my definition of the color wheel, you’ll see that C♯, Red, happens to land on a Daedric Prince, whereas the other two are on Aedra (Kyne and Julianos). This may seem a little strange, considering that one of the tenets of my Musical Theory of Mundus is that the Aedra are the key Tones and the Daedra are less important. But look again at just who the pillar is: MALACATH. Malacath is formerly Trinimiac, an Aedra, who was changed (transposed, if you will) later on.

As an aside, the number 3 in TES is extremely significant in a few different overarching ways. One of these, the Triune House, is composed of two extremes and an intermediary. Trinimalacath is a primarily Elven deity, and Kyne is primarily human. Julianos, however, is revered by both Elves and Men and his sphere (magic and intellectualism) is relevant to both.

So. Let’s talk physics and theory (and also terror. blackens hands).

Human hearing ranges from ~20Hz to ~16kHz, and musical notes are spaced logarithmically (going up an octave doubles the frequency of each note). Human color perception ranges from 4×1014 to 8×1014, and unlike with music, which offers essentially limitless pure tones, there are only three pure colors we can see: red, green, and blue. (A small percentage of women have a genetic mutation granting them a fourth primary color, yellow). All other colors must exist as a harmonic chord of those three or four base colors.

As a result, while the repeating musical scale simply represents increases in frequency of single-tone notes, the rotating color wheel represents a field of three-color chords. The red-green (yellow family) and green-blue (cyan family) admixtures exist in nature as pure (single-frequency) waves, but the red-blue combinations (magenta family) do not.

Reality does not play nicely with mythology. The physics of the Aurbis need not map directly to our own in order for us to understand them; it is perfectly reasonable to posit that Aurbical mortals process light in the same way we process sounds, with a much greater spectrum of fundamental notes and greater possibilities of chords.

I want you to visualize a helix. It’s a screw: as a point rotates in a circle, the center moves along an orthogonal axis, creating a twist rather than a closed loop. If you look at it from the side, you see a sine wave, but if you look at it head-on, it makes a circle.

The Color and Tone wheels are, in fact, this helix. Each revolution is one octave. While we can perceive many turns of the Tone Helix, we only see one turn of the Color Helix. We can, however, assume that the Color Helix extends beyond our perception in the same manner as Tones do, and that the Gods are associated with their periodic Colors as they are with periodic Tones (the Octaves).


The mixture of “discrete” senses into single fields is one that features strongly in TES lore. Pure Song is perceived as all of the mortal senses, since this Song is what creates the world. Tonal Architecture reshapes the Song and sculpts matter. The Thu’um translates Voice into Color and Force. Color and Tone are intertwined in many regards and it is no stretch at all to unify them. Furthermore, the use of cross-sensory perception in the mythos of Mundus further illustrates the nature of the Dream state that Godhead, Anu, the Captive Sage, and perhaps more to come experience.


Not only can the world be described through Tone, but also Color. Furthermore, the two are intimately related and may be two aspects of the same fundamental concept.


Oct 18 00:26:34 <MK> Can you see the admixture of color and sound yet?

That line is pretty much why I wrote this.


2013-10-30T06:16:49 <MK> Dat thread about colors and sounds on reddit
2013-10-30T06:17:09 <!Dovahkiin> That was myrrlyn. Man
2013-10-30T06:18:07 <MK> mrlyyn did the lay up, that other dude slamdunked it doing airborned cartwheels
2013-10-30T06:18:19 <!Dovahkiin> this one? (link)
2013-10-30T06:18:25 <MK> y
2013-10-30T06:18:32 <!Dovahkiin> that was also myrrlyn
2013-10-30T06:18:47 <MK> I don’t even

Those lines are DEFINITELY why I wrote these.