LoReachUpMix — a Core tonality and partially anchored Reach heptatonality
Tonalibus 2b-5 reach - 2021-04 - 63
Tonalibus 2b-5 reach - 2021-04 - 64
Tonalibus 2b-5 reach - 2021-04 - 65
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, LoReachUpMix includes all four corners of the sound temple.
- LoReachUpMix: The name indicates that the upper tetrachord is DorMixolydian 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, a whole step, another half step, and finally a whole step leading up to the octave.
- Scale intervals: Minor second, minor third, tritone, quint, major sixth, and minor seventh.
- Penta- and tetrachords: The lower pentachord is LoReachUp, the upper tetrachord is DorMixolydian.
- Harmonic axes: There are three axes, vertical, horizontal, and one tilted, S-N, NE-SW, and E-W.
- Primary harmonic anchors: All four, the fundamental or North anchor, the East, the contrast or South, and the West anchor, they are all present, but none of them is complete. All have their heads, and all but the West have their right leg.
- 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. In this a rather unique, multifaceted tonality, the minor second is a very distinguishing element as it weighs in with its regressive, high contrast quality.