LoReachUp

LoReachUp — a partially anchored Reach heptatonality

Harmonic visuals

Tonalibus 2b-5 reach - 2021-04 - 53
Tonalibus 2b-5 reach - 2021-04 - 54
Tonalibus 2b-5 reach - 2021-04 - 55
Tonalibus 2b-5 reach - 2021-04 - 56
Tonalibus 2b-5 reach - 2021-04 - 57
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Tonalibus 2b-5 reach - 2021-04 - 53
Tonalibus 2b-5 reach - 2021-04 - 54
Tonalibus 2b-5 reach - 2021-04 - 55
Tonalibus 2b-5 reach - 2021-04 - 56
Tonalibus 2b-5 reach - 2021-04 - 57
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next arrow

Scale and sound samples

1) LoReachUp — plain scale — 17 seconds
2) LoReachUp — embellished scale — 29 seconds
3) LoReachUp — short sound sample, rhythmic — 89 seconds
4) LoReachUp — short sound sample, calm — 88 seconds

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

  • Reach or harmonic tonality matrix: The octave includes one or exceptionally two (double harmonic) Reach steps (augmented seconds) framed by half steps (or semitones) or exceptionally by a whole and a half step. There are either three whole steps or exceptionally just one. If three of them, they are in most cases either a pair and a single one separated by the third half step, or a trio framed by half steps. Exceptionally though all three whole steps are singles. When a trio of consecutive whole steps, they are preceded or followed by two consecutive half steps. The total number of half steps is three, or exceptionally four with two (double harmonic) Reach steps.
  • LoReachUp: The name indicates that the Reach step in the lower tetrachord is shifted up and that the initial step below it is low, a half step. This is exceptional in that thus a whole step borders that Reach step on its underside. And the absence of further specification indicates that also the upper tetrachord features a Reach step.
  • Step pattern: Ascending from the fundamental (tonic or Do), a half step leads to a whole step followed by a Reach step. Then come two consecutive half steps, another Reach step, and finally one more half step leading up to the octave.
  • Scale intervals: Minor second, minor third, tritone, quint, minor sixth, and major seventh.
  • Penta- and tetrachords: The lower pentachord is LoReachUp, the upper tetrachord is harmonic or Reach.
  • Harmonic axes: There are two axes, one vertical, the other tlited, S-N and NE-SW.
  • Primary harmonic anchors: The fundamental or North anchor as well as the East anchor are partially present. Both have their head and one leg, the right one of the North, the left one of the East. The contrast or South anchor if full present, the West anchor completely absent.
  • Secondary harmonic anchors: Two secondary anchors are present, NE and WS. Both strengthen the contrast or South as well as the East anchor, one more the South the other more the East. Both emphasize the minor second and minor sixth.
  • Minor second and two Reach steps, the lower shifted up and following a whole step: In this a rather challenging, multifaceted tonality, the minor second is a most distinguishing contrast element as it weighs in with its regressive, high contrast quality.