Anchored Pro(gressive) and Reg(ressive) tonalities
On the page Tonalities, you find a list of all anchored tonalities included in the catalogue, along with a side-by-side juxtaposition of their scale patterns, as well as a general overview of fundamental pitch distribution patterns.
Characteristics of Pro and Reg tonalities
Pro tonalities omit the regressive quart and are consequently only progressively anchored. On the other hand, Reg tonalities omit the progressive quint and are thus only regressively anchored. Therefore, tonalities of both these kinds are partially, not fully anchored.
The pitches in the lower tetrachord of a Pro tonality anchor in primarily discernible overtones (that are not octaves). These are the quint, major third, and major second. The upper tetrachord remains flexible and provides fascinating, more or less subtly distinct tonalities.
In a Reg tonality this construct manifests inverse. The lower tertrachord is flexible, while the overtone foundation of the upper tetrachord pitches may stem from the last past or previous generation in sound progression. Reg tonalities are less of a focus for Tonalibus, because their overtone anchoring is less evident or present.