MinReach or harmonic minor — a Reach heptatonality
Tonalibus 2b-5 reach – 2023-01 – 26x
Tonalibus 2b-5 reach – 2021-04 – 27
Tonalibus 2b-5 reach – 2021-04 – 28
Tonalibus 2b-5 reach – 2021-04 – 29
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.
- MinReach: The name indicates that the lower tetrachord has an AeolDorian tonal character and that the Reach step is in the upper tetrachord.
- Step pattern: Ascending from the fundamental (tonic or Do), a whole step leads to a half step followed by a pair of consecutive whole steps. Then comes a half step, a Reach step, and finally another half step leading up to the octave.
- Scale intervals: Major second, minor third, quart, quint, minor sixth, and major seventh.
- Tetrachords: The lower tetrachord is AeolDorian, 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 East anchor is present with its head and left leg. The contrast or South and West 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 promotes the otherwise not very pronounced progressive character in this tonality. This counters the slight regressive weight of the partial East anchor, contributing to the balance between progressive and regressive elements, which is also reflected in the pitch distribution of this tonality.
- Major seventh: Least anchored harmonically, the major seventh contributes much flavoring. It is essential in forming the Reach step and the second axis. But most of all, it adds a distinct major flavored contrast to the underlying, otherwise pronounced Aeolian or minor structure.