LydDorian or ClusterPro (acoustic scale / Lydian dominant) — a Pro(gressive) tonality, clustered heptatonality, and prime Na tonality
Tonalibus 2cd-6 cluster+blue – 2021-05 – 12x
Tonalibus 2cd-6 cluster+blue – 2021-05 – 13x
Tonalibus 2cd-6 cluster+blue – 2021-05 – 14x
Tonalibus 2cd-6 cluster+blue – 2021-05 – 15x
Tonalibus 2cd-6 cluster+blue – 2021-05 – 16x
Scale and sound samples
- Clustered or melodic tonality matrix: The octave includes five whole steps and two half steps (or semitones). Either one single or a group of four consecutive whole steps, one and four alternating, separate the two half steps from each other.
- LydDorian / ClusterPro: The name indicates that the lower tetrachord is Lydian and the upper DorMixolydian. As Pro tonality, the lower tetrachord is without the regressive quart. Pro stands for progressive. A.k.a. Mixolydian over Lydian (Mix/Lyd).
- Step pattern: Ascending from the fundamental (tonic or Do), three consecutive whole steps lead to a half step. Then a single whole step leads to the second half step. Finally, another whole whole step leads up to the octave.
- Scale intervals: Major second, major third, tritone, quint, major sixth, and minor seventh.
- Penta- and tetrachords: The lower pentachord is Lydian and the upper tetrachord is DorMixolydian.
- Harmonic axes: There are two axes, one vertical and the other tilted, ES-WN and N-S.
- Primary harmonic anchors: The fundamental or North anchor is partially present with its head and right leg. The West anchor is fully present. The East anchor is incomplete with only its right leg. And the contrast or South anchor has only its head.
- Secondary harmonic anchors: Two secondary anchors are present, EN and SW. Both, strengthen the fundamental North and the West anchor, one more the North and the other more the West, both with emphasis on the quint.
- Tritone and minor seventh: These two mainly contribute to the distinctive character of this tonality. The tritone emphasizes the progressive, very light Lydian character of the lower tetrachord. The minor seventh in the upper tetrachord on the other hand contrasts that with the balance of Dorian, which contributes in this context a moderate minor tendency.