ReachMin or Phrygian dominant — a Reach heptatonality
Harmonic visuals
Scale and sound samples
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.
- ReachMin: The name indicates that the Reach step is in the lower tetrachord and that the upper has a PhrygAeolian tonal character. A.k.a. minor over Phrygian major.
- Step pattern: Ascending from the fundamental (tonic or Do), a half step leads to a Reach step, followed by another half step. Then there is a whole step, a half step, and finally two consecutive whole steps leading up to the octave.
- Scale intervals: Minor second, major third, quart, quint, minor sixth, and minor seventh.
- Tetrachords: The lower tetrachord is harmonic or Reach, the upper is PhrygAeolian.
- Harmonic axes: There are two axes at a right angle to each other, NE-SW and WN-ES.
- Primary harmonic anchors: The fundamental or North anchor is fully present. The East anchor is present with both legs but no head, and the contrast or South anchor as well as the West anchor with their right leg only.
- Secondary harmonic anchors: One secondary anchor is present, SE. It further emphasizes the two already most present primary anchors, the fundamental North anchor with the quart and the partial East anchor. This gives weight to the regressive and minor character of this tonality.
- Middle half step and major third: Least anchored harmonically, the major third forms the middle half step. Together with the initial half step or minor second, the two frame the Reach step. The middle half step completes the second axis and adds the major flavored contrast and distinction to the underlying, otherwise Phrygian or minor structure.
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