PentaProLa or PentaIon (pentatonic major)

PentaProLa / PentaIon (pentatonic major) — a Pro tonality and regular basic pentatonality

Harmonic visuals

Tonalibus 2f-8 penta – 2021-09 – 30

Tonalibus 2f-8 penta – 2021-09 – 31

Tonalibus 2f-8 penta – 2021-09 – 32

Tonalibus 2f-8 penta – 2021-09 – 33

Tonalibus 2f-8 penta – 2021-09 – 34

Scale and sound samples

You may enjoy a sound sample or tonality loop as sound mantra for contemplation or meditation, for upliftment and focusing, or simply as soothing background sound for relaxation and regeneration.

Characteristics

• Pentatonality matrix: The octave of a regular pentatonality includes two Reach steps, three whole steps, and no half step (or semitone). One or two consecutive whole steps frame and separate the two Reach steps. A clustered pentatonality has two consecutive Reach steps and three consecutive whole steps. Some further basic pentatonalities contain three Reach steps, at least two of them consecutive. And extended pentatonalities include a double whole step plus one or two Reach steps.
• PentaProLa / PentaIon: Both names indicate that this is a pentatonality. The first name indicates that this is a Pro(gressive) tonality (i.e. without quart) with the major sixth (La and Last harmonic in the series) but without seventh. It is the common root of Lydian, Ionian, and Mixolydian. The second name indicates that this pentatonality corresponds to Ionian, without the quart or major seventh. It also corresponds to Mixolydian without the quart or minor seventh, or to Lydian without the tritone or major seventh. Thus, as Pro tonality without its quart, it embraces the major tonalities. PentaProLa / PentaIon is also known as pentatonic major.
• Step pattern: Ascending from the fundamental (tonic or Do), two consecutive whole steps lead to a Reach step. Then comes a whole step. Finally a Reach step leads up to the octave.
• Scale intervals: Major second, major third, quint, and major sixth.
• Tetra- and trichords: The lower and upper tetra- or trichord are both PentaMaj.
• Harmonic axes: There is no axis.
• Primary harmonic anchors: The fundamental or North anchor is partially present, with its head and only its right leg. The West anchor is fully present. The East and the contrast or South anchor are completely absent.
• Secondary harmonic anchors: Two secondary anchors are present, EN and SW. Both emphasize the fundamental North anchor with the quint, and the West anchor, one more the North, the other more the West.
• Piano keyboard reference: PentaProLa / PentaIon corresponds to the black keys with F# as fundamental.