ReachUp (dbl-h/Gypsy min.)

ReachUp or double harmonic/Gypsy/Hungarian minor — a Reach heptatonality

Harmonic visuals

Tonalibus 2b-5 reach - 2021-04 - 35
Tonalibus 2b-5 reach - 2021-04 - 36
Tonalibus 2b-5 reach - 2021-04 - 37
Tonalibus 2b-5 reach - 2021-04 - 38
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Tonalibus 2b-5 reach - 2021-04 - 35
Tonalibus 2b-5 reach - 2021-04 - 36
Tonalibus 2b-5 reach - 2021-04 - 37
Tonalibus 2b-5 reach - 2021-04 - 38
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Scale and sound samples

1) ReachUp — plain scale — 12 seconds
2) ReachUp — embellished scale — 21 seconds
3) ReachUp — short sound sample, rhythmic — 40 seconds
4) ReachUp — sound sample, calm — 2:24

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.
  • ReachUp: The name indicates that the Reach step in the lower tetrachord is shifted up. And the absence of further specification indicates that also the upper tetrachord features a Reach step.
  • Step pattern: Ascending from the fundamental (tonic or Do), a whole step leads to a half step followed by a Reach step. Then come two consecutive half steps, another Reach step, and finally one more half step leading up to the octave.
  • Scale intervals: Major second, minor third, tritone, quint, minor sixth, and major seventh.
  • Penta- and tetrachords: The lower pentachord is ReachUp, the upper tetrachord is harmonic or Reach.
  • Harmonic axes: There are two axes, one vertical, the other tilted, S-N and EN-WS.
  • Primary harmonic anchors: No primary anchor is fully present. The fundamental or North anchor as well as the East and contrast or South anchors each have their heads and one leg, the right one of the North, the left one of the East and South. The West anchor is present with only its left leg.
  • 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 otherwise only minimally present, partial West anchor.
  • Tritone and major seventh: In the multifaceted flavoring of this tonality, the tritone is most essential in that it helps form the lower, elevated Reach step and the vertical axis. Further, it breaks up the otherwise minor flavored tendency of this tonality — together with the major seventh that helps form the upper Reach step.