BlueUp — a Reg(ressive) tonality and tritone or blues tonality
Tonalibus 2cd-6 cluster+blue – 2021-04 – 39
Tonalibus 2cd-6 cluster+blue – 2021-04 – 40
Tonalibus 2cd-6 cluster+blue – 2021-04 – 41
Tonalibus 2cd-6 cluster+blue – 2021-04 – 42
Tonalibus 2cd-6 cluster+blue – 2021-04 – 43
Scale and sound samples
- Tritone or blues tonality matrix: The octave includes the tritone plus for a heptatonality one, for a hexatonality two, and for a pentatonality three Reach steps (augmented seconds). These take off from the fundamental or from the quint. They are not framed by half steps (or semitones), of which there are three for hepta-, two for hexa-, and one for pentatonalities. When more than one of them, then some are consecutive.
- BlueUp: The name indicates that the Reach step is in the lower tetrachord and that the upper tetrachord is BlueUp.
- Step pattern: Ascending from the fundamental (tonic or Do), a Reach step leads to a whole step. A half step follows. Then comes a pair of consecutive whole steps. Finally a pair of consecutive half steps leads up to the octave.
- Scale intervals: Minor third, quart, tritone, minor sixth, minor seventh, and major seventh.
- Penta- and tetrachords: The lower pentachord and upper tetrachord are both BlueUp.
- Harmonic axes: There are two axes, one vertical and the other tilted, N-S and NW-SE.
- Primary harmonic anchors: The East anchor is fully present. The fundamental or North and the contrasting or South anchor are partial, each with their head and right leg only. The West anchor is completely absent.
- Secondary harmonic anchors: Two secondary anchors are present, SE and WN. Both emphasize the fundamental North anchor, the quart, and the East anchor.
- Initial Reach step and major seventh: The initial Reach step softens the heavy regressive and minor flavor of the underlying Locrian pitch distribution; and the inclusion of the major seventh supporting that Reach step provides a very pronounced progressive contrasting element.