ReachUpMix

ReachUpMix — a Core tonality and Reach heptatonality

Harmonic visuals

Tonalibus 2b-5 reach - 2021-04 - 43
Tonalibus 2b-5 reach - 2021-04 - 44
Tonalibus 2b-5 reach - 2021-04 - 45
Tonalibus 2b-5 reach - 2021-04 - 46
Tonalibus 2b-5 reach - 2021-04 - 47
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Tonalibus 2b-5 reach - 2021-04 - 43
Tonalibus 2b-5 reach - 2021-04 - 44
Tonalibus 2b-5 reach - 2021-04 - 45
Tonalibus 2b-5 reach - 2021-04 - 46
Tonalibus 2b-5 reach - 2021-04 - 47
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next arrow

Scale and sound samples

1) ReachUpMix — plain scale — 12 seconds
2) ReachUpMix — embellished scale — 17 seconds
3) ReachUpMix — short sound sample — 52 seconds
4) RechUpMix — expanded sound sample — 8-string guitar and four gongs — 4:11

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.
  • As Core tonality, ReachUpMix includes all four corners of the sound temple.
  • ReachUpMix: The name indicates that the Reach step in the lower tetrachord is shifted up and that the upper tetrachord has a DorMixolydian tonal character.
  • Step pattern: Ascending from the fundamental (tonic or Do), a whole step leads to a half step followed by a Reach step. Then comes a half step followed by a whole step and one more half step. Finally another whole step leads up to the octave.
  • Scale intervals: Major second, minor third, tritone, quint, major sixth, and minor seventh.
  • Penta- and tetrachords: The lower pentachord is ReachUp, the upper tetrachord is DorMixolydian.
  • Harmonic axes: There are two axes, one vertical, the other horizontal, S-N and E-W.
  • Primary harmonic anchors: No primary anchor is fully present. The fundamental or North anchor, as well as the East and West anchors have their heads and only one leg, North and East the right one, West the left one. The contrast or South anchor is present with its head but no legs.
  • Secondary harmonic anchors: Two secondary anchors are present, EN and SW. They strengthen the fundamental North and the East anchor, one more the East, the other more the North — both with emphasis on the quint.
  • Tritone: In this multi-flavored tonality, the tritone is most essential in that it helps form the elevated Reach step and the vertical axis. Most of all though, it contrasts the otherwise balanced Dorian structure of this tonality.