LoReachUpMaj — a Core tonality and partially anchored Reach heptatonality
Tonalibus 2b-5 reach - 2021-11 - 65
Tonalibus 2b-5 reach - 2021-11 - 66
Tonalibus 2b-5 reach - 2021-11 - 67
Scale and sound samples
- 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.
- As Core tonality, LoReachUpMaj includes all four corners of the sound temple.
- LoReachUpMaj: The name indicates that the upper tetrachord is IonLydian and 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.
- Step pattern: Ascending from the fundamental (tonic or Do), a half step leads to a whole step followed by a Reach step. Then comes a half step and two consecutive whole steps. Finally, a half step leads up to the octave.
- Scale intervals: Minor second, minor third, tritone, quint, major sixth, and major seventh.
- Penta- and tetrachords: The lower pentachord is LoReachUp, the upper tetrachord is IonLydian.
- Harmonic axes: There are three axes, vertical, horizontal, and one tilted, S-N, NE-SW, and E-W.
- Primary harmonic anchors: The fundamental or North anchor is partially present with its head and right leg only. The contrast or South anchor is completely present. The East and the West anchors are partial with only their head each.
- Secondary harmonic anchors: There are no secondary anchors.
- The presence of all four corners of the sound temple or primary anchor heads, as well as the minor second and major seventh. In this very unique, multifaceted tonality, the proximity of the minor second and major seventh provides a most distinguishing contrast.