{"id":379,"date":"2020-06-15T16:32:36","date_gmt":"2020-06-15T14:32:36","guid":{"rendered":"https:\/\/tonalibus.org\/?page_id=379"},"modified":"2025-04-24T10:38:32","modified_gmt":"2025-04-24T08:38:32","slug":"pentatonalities","status":"publish","type":"page","link":"https:\/\/tonalibus.org\/en\/tonalities\/pentatonalities\/","title":{"rendered":"Pentatonalities and Tetratonality"},"content":{"rendered":"\n

Pentatonalities and tetratonality<\/mark> <\/h2>\n\n\n\n
\n
Fully anchored basic<\/a><\/div>\n\n\n\n
Partially anchored basic<\/a><\/div>\n\n\n\n
Extended PentaBlu<\/a><\/div>\n\n\n\n
Extended PentaNa<\/a><\/div>\n\n\n\n
Extended derivatives<\/a><\/div>\n\n\n\n
Tetratonality<\/a><\/div>\n\n\n\n
Visuals<\/a><\/div>\n\n\n\n
Characteristics<\/a><\/div>\n<\/div>\n\n\n\n
<\/div>\n\n\n\n

Here you find the Tonalibus view of the five regular, of two clustered, and further pentatonalities<\/mark><\/a>, plus one single tetratonality. Harmonically, they are either fully or at least partially anchored. Basic pentatonalities includes two or three Reach steps or augmented seconds<\/mark><\/a>, extended pentatonalities a double whole step plus one or two Reach steps. Further, there is one tetratonality with progression inversions and derivatives with the miracle of nature.<\/p>\n\n\n\n

Fully anchored basic pentatonalities <\/em>— (1-x-6-8-x-1)<\/h3>\n\n\n\n
\n
PentaMixLa or PentaMixolyd
(blues major) — regular<\/a><\/div>\n\n\n\n
PentaMix or PentaDor
(Egyptian scale) — regular<\/a><\/div>\n\n\n\n
PentaMin or PentaEol
(pentatonic minor) — regular<\/a><\/div>\n\n\n\n
PentaMinLa or PentaBal
— clustered<\/a><\/div>\n<\/div>\n\n\n\n

Partially anchored basic pentatonalities <\/em>— (1-x-x-8-x-1 \/ 1-x-6-x-x-1)<\/h3>\n\n\n\n
\n
PentaProLa or PentaIon
(pentatonic major) — regular<\/a><\/div>\n\n\n\n
PentaPro or PentaNa
— clustered (basic Na)<\/a><\/div>\n\n\n\n
PentaBluNaLa
(basic Blu and Na)<\/a><\/div>\n<\/div>\n\n\n\n
\n
PentaBluNa (basic Blu and Na)<\/a><\/div>\n\n\n\n
PentaCor (basic Blu)<\/a><\/div>\n\n\n\n
PentaBlue (basic Blu)<\/a><\/div>\n<\/div>\n\n\n\n
\n
PentaReg or PentaPhryg
(blues minor) — regular<\/a><\/div>\n<\/div>\n\n\n\n

Extended pentatonality subgroup PentaBlu <\/em>— (1-4-8-x-x-1)<\/h3>\n\n\n\n
\n
PentaBluMin<\/a><\/div>\n\n\n\n
PentaBluReach<\/a><\/div>\n\n\n\n
PentaBluMix<\/a><\/div>\n\n\n\n
PentaBluMaj<\/a><\/div>\n<\/div>\n\n\n\n

Extended pentatonality subgroup PentaNa <\/em>— (1-5-x<\/sup>-8-x<\/sup>-x-1)<\/h3>\n\n\n\n
\n
PentaNaTri<\/a><\/div>\n\n\n\n
PentaNaMin<\/a><\/div>\n\n\n\n
PentaNaReach<\/a><\/div>\n\n\n\n
PentaNaMix<\/a><\/div>\n\n\n\n
PentaNaMaj<\/a><\/div>\n<\/div>\n\n\n\n

Extended pentatonality derivatives (not detailed — 1-x-x-8-x-1)<\/h3>\n\n\n\n
\n
PentaLoPhryg \/ Bairagi<\/a><\/div>\n\n\n\n
PentaMinMix \/ PentaEolDor<\/a><\/div>\n\n\n\n
PentaVibhas<\/a><\/div>\n<\/div>\n\n\n\n

Tetratonality<\/h2>\n\n\n\n
\n
TetraNa
(in catalogue)<\/a><\/div>\n\n\n\n
TetraNa progression
(inversions)<\/a><\/div>\n\n\n\n
Tetratonalities, relations,
and the miracle of nature<\/a><\/div>\n<\/div>\n\n\n\n
<\/div>\n\n\n\n

Overview visuals<\/mark><\/h2>\n\n\n\n

Below are several graphs juxtaposing the pitch patterns of the pentatonalities in the Tonalibus catalogue. Two graphs show the five regular pentatonalities, one in the order of minimal or single pitch modulation changes from one to the next, the other by stepping up or down in half tone steps. These two views, as well as the secondary names given to the regular pentatonalities by Tonalibus, are analogous to the diatonic tonalities.<\/mark><\/p>\n\n\n\n

Further, there is a graph showing the pattern of clustered pentatonalities. They consist of two consecutive Reach steps or augmented seconds, separated by three consecutive whole steps. Only two of those qualified for the catalogue. Beyond that, there are several more basic pentatonalities, including basic versions of PentaNa and PentaBlu tonalities beyond their respective subgroups of extended pentatonalities.<\/p>\n\n\n\n

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Tonalibus 1e-3 tonalities – 2023-11 – 70<\/div>
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Tonalibus 1e-3 tonalities – 2025-04 – 74<\/div>
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Tonalibus 1e-3 tonalities – 2021-08 – 66y<\/div>
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Tonalibus 1e-3 tonalities – 2021-08 – 67y<\/div>
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Tonalibus 1e-3 tonalities – 2021-08 – 68y<\/div>
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Tonalibus 1e-3 tonalities – 2023-02 – 74<\/div>
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Tonalibus 1e-3 tonalities – 2023-01 – 71y<\/div>
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Tonalibus 1e-3 tonalities – 2025-04 – 69x<\/div>
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On the page Tonalities<\/mark><\/a>, you find a list of all anchored tonalities included in the catalogue, along with a side-by-side juxtaposition of their scale patterns, as well as a general overview of fundamental pitch distribution patterns.<\/p>\n\n\n\n

Common characteristics of pentatonalities<\/mark><\/h2>\n\n\n\n

Pentatonality matrix: The octave of a regular pentatonality includes two Reach steps, three whole steps, and no half step (or semitone). One or two consecutive whole steps frame and separate the two Reach steps. A clustered pentatonality has two consecutive Reach steps and three consecutive whole steps. Some further basic pentatonalities contain three Reach steps, at least two of them consecutive. And extended pentatonalities include a double whole step plus one or two Reach steps.<\/mark><\/p>\n","protected":false},"excerpt":{"rendered":"

Pentatonalities and tetratonality Here you find the Tonalibus view of the five regular, of two clustered, and further pentatonalities, plus one single tetratonality. Harmonically, they are either fully or at least partially anchored. Basic pentatonalities includes two or three Reach steps or augmented seconds, extended pentatonalities a double whole step plus one or two Reach … <\/p>\n

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