{"id":477,"date":"2020-06-17T11:53:51","date_gmt":"2020-06-17T09:53:51","guid":{"rendered":"https:\/\/tonalibus.org\/?page_id=477"},"modified":"2024-01-16T18:37:05","modified_gmt":"2024-01-16T17:37:05","slug":"hexatonalities","status":"publish","type":"page","link":"https:\/\/tonalibus.org\/en\/tonalities\/hexatonalities\/","title":{"rendered":"Hexatonalities"},"content":{"rendered":"\n

Hexatonalities<\/mark><\/h2>\n\n\n\n
\n
Fully anchored<\/a><\/div>\n\n\n\n
Fully anchored HexaBlu(e)<\/a><\/div>\n\n\n\n
Partially anchored<\/a><\/div>\n\n\n\n
Part anchored HexaBluNa \/ Hexa(Lo)Mid<\/a><\/div>\n\n\n\n
Part anchored HexaPro<\/a><\/div>\n\n\n\n
Part anchored Hexa(Lo)Cor <\/a><\/div>\n\n\n\n
Part anchored HexaNa <\/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 hexatonalities that qualified for inclusion in the catalogue of harmonically anchored tonalities. In the tables below you see an overview of them, those that were inculded, as well as some that were not. Some of their names, as chosen by Tonalibus, reflect correlations with diatonic heptatonalities. We can see hexatonalities as heptatonalities with a missing pitch. This introduces a Reach step or augmented second<\/mark><\/a> into their scale. Further, this makes hexatonalities more or less ambiguous and positions them in between two or more diatonic or other tonalities.<\/p>\n\n\n\n

Fully anchored <\/em>— (1-x-x-6-8-x-1)<\/mark><\/h2>\n\n\n\n
\n
HexaPhrygLa<\/a><\/div>\n\n\n\n
HexaPhryg<\/a><\/div>\n\n\n\n
HexaMinLa<\/a><\/div>\n\n\n\n
HexaMin<\/a><\/div>\n\n\n\n
HexaMixLa<\/a><\/div>\n\n\n\n
HexaMix<\/a><\/div>\n<\/div>\n\n\n\n

Fully anchored subgroup HexaBlu(e) <\/em>— (1-4-x<\/sub><\/sup>-6-x<\/sub><\/sup>-8-x<\/sub><\/sup>-x-1)<\/mark> <\/h3>\n\n\n\n
\n
HexaBluMin<\/a><\/div>\n\n\n\n
HexaBluReach<\/a><\/div>\n\n\n\n
HexaBluMix<\/a><\/div>\n\n\n\n
HexaBluMaj<\/a><\/div>\n\n\n\n
HexaBlue<\/a><\/div>\n\n\n\n
HexaBluNa \/ HexaLolo<\/a><\/div>\n<\/div>\n\n\n\n

Partially anchored<\/mark><\/h2>\n\n\n\n

Part anchored subgroup HexaBluNa \/ Hexa(Lo)Mid <\/em>— (1-x<\/sub><\/sup>-4-5-8-x<\/sub><\/sup>-x-1)<\/mark><\/h3>\n\n\n\n
\n
HexaBluNaMin<\/a><\/div>\n\n\n\n
HexaBluNaReach<\/a><\/div>\n\n\n\n
HexaBluNaMix<\/a><\/div>\n\n\n\n
HexaBluNaMaj<\/a><\/div>\n\n\n\n
HexaMidLa<\/a><\/div>\n\n\n\n
HexaMid<\/a><\/div>\n\n\n\n
HexaLoMid<\/a><\/div>\n<\/div>\n\n\n\n

Partially anchored subgroup HexaPro <\/em>— (1-3-5-8-x-x-1)<\/mark><\/h3>\n\n\n\n
\n
HexaProMin<\/a><\/div>\n\n\n\n
HexaProReach<\/a><\/div>\n\n\n\n
HexaProMix<\/a><\/div>\n\n\n\n
HexaProMaj<\/a><\/div>\n<\/div>\n\n\n\n

Partially anchored subgroup Hexa(Lo)Cor <\/em>— (1-4-7-8-x-x-1)<\/mark><\/h3>\n\n\n\n
\n
HexaLocorMin<\/a><\/div>\n\n\n\n
HexaLocorReach<\/a><\/div>\n\n\n\n
HexaCorMix<\/a><\/div>\n\n\n\n
HexaCorMaj<\/a><\/div>\n<\/div>\n\n\n\n

Partially anchored subgroup HexaNa <\/em>— (1-x<\/sub><\/sup>-5-7-8-x<\/sub><\/sup>-x-1)<\/mark><\/h3>\n\n\n\n
\n
HexaNa<\/a><\/div>\n\n\n\n
HexaNaTriMin<\/a><\/div>\n\n\n\n
HexaNaTriMix<\/a><\/div>\n<\/div>\n\n\n\n
<\/div>\n\n\n\n

Overview visuals<\/mark><\/h2>\n\n\n\n
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Tonalibus 1e-3 tonalities – 2025-09 – 66<\/div>
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Tonalibus 1e-3 tonalities – 2024-01 – 67<\/div>
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Tonalibus 1e-3 tonalities – 2024-01 – 68<\/div>
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Tonalibus 1e-3 tonalities – 2024-01 – 64<\/div>
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Tonalibus 1e-3 tonalities – 2024-01 – 65x<\/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 hexatonalities<\/mark><\/h2>\n\n\n\n

Hexatonality matrix: <\/em>There are two common and two exceptional interval distributions within the octave of hexatonalities in the catalogue. The two common distributions are: 1) one Reach step, four whole steps, and one single half step (or semitone); and 2) two Reach steps, two whole steps, and two half steps. The two exceptional interval distributions include: 1) three Reach steps, no whole step, and three half steps; and 2) one augmented Reach step (spanning four half steps), three whole steps, and two half steps. <\/p>\n","protected":false},"excerpt":{"rendered":"

Hexatonalities Here you find hexatonalities that qualified for inclusion in the catalogue of harmonically anchored tonalities. In the tables below you see an overview of them, those that were inculded, as well as some that were not. Some of their names, as chosen by Tonalibus, reflect correlations with diatonic heptatonalities. We can see hexatonalities as … <\/p>\n

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