Colours can not be translated into sounds. I know there are some endevours and few ideas, but acoustically we can’t hear purple. We can have ‘dark’ or ‘light’ in music, we can describe a sunset, but there is no characteristic for colours (harmonic minor can be eventually understood and used for the idea of sunset, but why E flat major and not Dorian for orange is something that can not actually be seen too soon.)
However, we can have sounds and musical techniques in order to distinguish natural elements such as water’s ripple, wind’s whistling, telluric movements’ trepidations, fire’s crack etc. What needs to be made up to create a fire dance for example is an acoustic interface. An acoustic interface is a real sound image of the element evolution. In other words, there is a special congregation of sounds, harmony, melody, rhythm etc in order to create that particular acoustic interface which will be actually the chart through we will deliver the idea of fire dance.
What stands out most when musically describe fire is its intensity, intrinsic burn, passion. Tremolo or trill as well as ascendent chromatic sounds are few of the technics that have been used in Fire Dance by Manuel de Falla or Feux Follets by Liszt. In Toxic by In The Zone – Britney Spears’ song – semiquavers on repetitive violin riff are used to highlight idea of burning, a different type of burning, but we’ll skip that for now.
As a musical event, fire is normally given by interfaces illustrating gashing dashes or fast bright.