MajReach (harmonic major)

MajReach or harmonic major — a Reach heptatonality

Harmonic visuals

Tonalibus 2b-5 reach - 2021-04 - 30
Tonalibus 2b-5 reach - 2021-04 - 31
Tonalibus 2b-5 reach - 2021-04 - 32
Tonalibus 2b-5 reach - 2021-04 - 33
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Tonalibus 2b-5 reach - 2021-04 - 30
Tonalibus 2b-5 reach - 2021-04 - 31
Tonalibus 2b-5 reach - 2021-04 - 32
Tonalibus 2b-5 reach - 2021-04 - 33
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Scale and sound samples

1) MajReach — plain scale — 12 seconds
2) MajReach — embellished scale — 17 seconds
3) MajReach — short sound sample — 42 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.
  • MajReach: The name indicates that the lower tetrachord has a MixolydIonian tonal character and that the Reach step is in the upper tetrachord.
  • Step pattern: Ascending from the fundamental (tonic or Do), a pair of two consecutive whole steps leads to a half step followed by a whole step. Then comes a half step, a Reach step, and finally another half step leading up to the octave.
  • Scale intervals: Major second, major third, quart, quint, minor sixth, and major seventh.
  • Tetrachords: The lower tetrachord is MixolydIonian, the upper is harmonic or Reach.
  • Harmonic axes: There are two axes at a right angle of each other, EN-WS and NW-SE.
  • Primary harmonic anchors: The fundamental or North anchor is fully present. The West anchor is present with both legs but no head. The East and contrast or South anchors both contribute one of their legs, in both cases the left one.
  • Secondary harmonic anchors: One secondary anchor is present, SW. It strengthens the fundamental North anchor, with emphasis on the quint, and to a lesser degree the partial West anchor. It strengthens the progressive character in this tonality.
  • Minor sixth: Least anchored harmonically the minor sixth contributes much flavoring. It is essential in forming the Reach step and the first axis. But most of all, it adds a distinct minor flavored contrast to the underlying, otherwise pronounced Ionian or major structure.