PhrygReach or Neapolitan minor — a Reach heptatonality and prime Na tonality
Tonalibus 2b-5 reach – 2023-01 – 07
Tonalibus 2b-5 reach – 2021-04 – 23
Tonalibus 2b-5 reach – 2021-04 – 24
Tonalibus 2b-5 reach – 2021-04 – 25
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.
- PhrygReach: The name indicates that the lower tetrachord has a Phrygian tonal character and that the Reach step is in the upper tetrachord.
- Step pattern: Ascending from the fundamental (tonic or Do), a half step leads to a trio of consecutive whole steps, followed by another half step. Then comes a Reach step and finally another half step leading up to the octave. Thus the octave is in the midst of two half steps.
- Scale intervals: Minor second, minor third, quart, quint, minor sixth, and major seventh.
- Tetrachords: The lower tetrachord is Phrygian, the upper is harmonic or Reach.
- Harmonic axes: There are two axes at symmetrical angles, NE-SW 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, and the contrast or South anchor with both legs but no head. The West anchor is entirely absent.
- Secondary harmonic anchors: One secondary anchor is present, WS. It emphasizes the East and to a lesser degree the contrast or South anchor. It underlines the Phrygian, regressive, and minor character of this tonality.
- Major seventh: Least anchored harmonically, the major seventh contributes most flavoring. It is essential in framing the octave between two successive half steps, in forming the Reach step and the second axis. But most of all, it adds a distinct major flavored contrast to the underlying, otherwise very pronounced Phrygian or minor structure.