The various tonalities selection steps sequentially build on each other. Based on your chosen personal fundamental pitch, you can verify the resulting harmonic base and then form individual tonalities, targeting pentatonalities and heptatonalities, harmonically anchored tonalities present in the Tonalibus catalogue — free in an open-ended manner.
Harmonic base verification (before tonalities selection)
Click on your fundamental pitch to access the corresponding harmonic base verification screen.
The harmonic base of a tonality is its fundamental together with its quint (fifth), the first overtone or harmonic that is not an octave of the fundamental. Your chosen fundamental pitch may well be the fundamental of your individual tonalities. However, if, while verifying your harmonic base, you chose the quart (fourth) over the quint, through the miracle of nature, the quart becomes the fundamental of your individual tonalities, and your chosen personal fundamental pitch becomes their quint.
Individual pentatonality selection
Click on your harmonic base to access the corresponding individual pentatonality selection screen.
Pentatonalities have five pitches per octave. The harmonic base consists of two pitches. Thus, to select an individual pentatonality, you need three further pitches. For basic pentatonalities that is one in the upper and two in the lower part of the octave. And for extended pentatonalities it is one in the lower and two in the upper part of the octave, with one exception. Overall, if two for one part, then only one for the other.
Individual heptatonality selection
First selecting an individual pentatonality, and then expanding on that one to form an individual heptatonality, can considerably simplify the selection of heptatonality pitches.
Click on your harmonic base to access the corresponding individual heptatonality selection screen.
Heptatonalities have seven pitches per octave. The harmonic base consists of two pitches. Thus, to form an individual heptatonality, you need five further pitches. That is two in the upper and three in the lower part of the octave. Diatonic and clustered or melodic heptatonalities are composed of half and whole steps, while Reach or harmonic and tritone or blues heptatonalities further also include one or two Reach steps or augmented seconds.
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