From the 16th to the 17th century, during the transitional period from Renaissance to Baroque music, composers who frequently employed chromaticism were later called "Chromatists." The madrigals written by these Chromatists are said to have expressed the poetic content with deep emotion through the chromatic movement of voices, harmonic styles, and the effective use of dissonance. This work is structured as a musical piece by solving a game based on chromaticism in real-time during a concert. To solve (perform) this game (work), one must directly connect the chromatic movement of sounds occurring on the keyboard of a piano (keyboard instrument) with their thoughts and body. Just as the 17th-century "Chromatists" freely manipulated chromaticism as their means of expression, this work (game) requires the manipulation of chromaticism through thought and body within its rules. These actions, like the improvisational space created when a performer's self-generated sounds resonate with the performer themselves, the space, and other people, leading to the spinning of the next sound, become events generated by the game's rules, thus forming the musical space within this work. If a person performing (solving) this work (game) can do so with complete freedom, I believe they would be worthy of being called a "Chromatist" of the modern era, just like their 17th-century counterparts, and thus I gave it this title.