ReachMaj

ReachMaj — a Reach heptatonality

Harmonic visuals

Tonalibus 2b-5 reach - 2021-04 - 15
Tonalibus 2b-5 reach - 2021-04 - 16
Tonalibus 2b-5 reach - 2021-04 - 17
Tonalibus 2b-5 reach - 2021-04 - 18
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Tonalibus 2b-5 reach - 2021-04 - 15
Tonalibus 2b-5 reach - 2021-04 - 16
Tonalibus 2b-5 reach - 2021-04 - 17
Tonalibus 2b-5 reach - 2021-04 - 18
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Scale and sound samples

1) ReachMaj — plain scale — 12 seconds
2) ReachMaj — embellished scale — 17 seconds
3) ReachMaj — short sound sample — 78 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.
  • ReachMaj: The name indicates that the Reach step is in the lower tetrachord and that the upper has a IonLydian tonal character.
  • Step pattern: Half steps frame the fundamental (tonic or Do). Ascending after the initial half step follows a Reach step, then another half step. From there, three consecutive whole steps lead to the half step on the downside of the octave. The octave is in the midst of two successive half steps.
  • Scale intervals: Minor second, major third, quart, quint, major sixth, and major seventh.
  • Tetrachords: The lower tetrachord is harmonic or Reach, the upper is IonLydian.
  • Harmonic axes: There are two symmetrically aligned axes, NE-SW and NW-SE.
  • Primary harmonic anchors: The fundamental or North anchor is fully present. The contrast or South anchor is present with both legs but no head, and the West anchor with its head and right leg. The East anchor is completely absent.
  • Secondary harmonic anchors: One secondary anchor is present, ES. It emphasizes the partial primary West anchor and gives weight to the left leg of the primary contrast or South anchor.
  • Initial half step or minor second: Though delicate and least anchored harmonically, it introduces the Reach step, a second axes, and the Phrygian flavored distinction to the equivalent Ionian or major.