ReachUpMaj

ReachUpMaj — a Core tonality and Reach heptatonality

Harmonic visuals

Tonalibus 2b-5 reach – 2021-04 – 48

Tonalibus 2b-5 reach – 2021-04 – 49

Tonalibus 2b-5 reach – 2021-04 – 50

Tonalibus 2b-5 reach – 2021-04 – 51

Tonalibus 2b-5 reach – 2021-04 – 52

Scale and sound samples

You may use a looping sound sample or tonality loop as sound mantra for contemplation or meditation, for upliftment, focusing, or simply for relaxation and regeneration as soothing background sound as desired.

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, ReachUpMaj includes all four corners of the sound temple.
• ReachUpMaj: The name indicates that the Reach step in the lower tetrachord is shifted up and that the upper tetrachord has a IonLydian 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 pair of two consecutive whole steps. Finally another half step leads up to the octave.
• Scale intervals: Major second, minor third, tritone, quint, major sixth, and major seventh.
• Penta- and tetrachords: The lower pentachord is ReachUp, the upper tetrachord is IonLydian.
• 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 contrasting South and the West anchor have their heads and only one leg, North the right one, South and West the left one. The East 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 West anchor, one more the West, the other more the North — both with emphasis on the quint.
• Minor third and tritone: In this multi-flavored tonality, the minor third and tritone are essential in that they form the elevated Reach step and contrast the otherwise progressive, major flavor of this tonality.