Tetratonalities, relations, and the miracle of nature
On tetratonalities, relations, and the miracle of nature
Tetratonalities are not necessarily standalone tonalities as such but underlying roots of tonality family trees and relations moderated by the miracle of nature. Tetratonalities facilitate harmonic progressions and modulations. They span only four pitches, the fundamental and three preferably early overtones of the harmonic series in either or both directions, progressive and/or regressive.
Progressions and derivatives round off the Tonalibus catalogue of tonalities, after it has grown to over ninety entries. They unify the overtone foundation with pattern progressions, full and partial, progressive and regressive, as well as anchored and to some extent also not anchored.
TetraNa, the one teratonality fully included and documented in the Tonalibus catalogue, consists of the first four overtones in the harmonic series. Further information on TetraNa or its corresponding progression and three inversions you find on the corresponding pages (links above).
A miracle of harmonic nature is the tendency of regressive tonalities to convert themselves to their progressive equivalent. As such, the quart takes on the function of the fundamental. And the original fundamental turns into its fifth, the first and main harmonic in the series that is not an octave.
Harmony is when opposites meet in unity and circles close — while always remaining open-ended. Tetratonality relations and progressions, including the miracle of nature, exemplify this quite visibly in their relative simplicity. Harmony in its widest sense includes and remains open to everything and all. Therefore, the Tonalibus catalogue is to remain open-ended though reaching for an elusive level of completeness of something that in its entirety will always escape complete human grasp, will always be greater and go further — harmony, here in its expression as myriad of anchored tonalities.