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Scale 1023: "Chromatic Decamode"

Scale 1023: Chromatic Decamode, Ian Ring Music Theory

Bracelet Diagram

The bracelet shows tones that are in this scale, starting from the top (12 o'clock), going clockwise in ascending semitones. The "i" icon marks imperfect tones that do not have a tone a fifth above. Dotted lines indicate axes of symmetry.

Tonnetz Diagram

Tonnetz diagrams are popular in Neo-Riemannian theory. Notes are arranged in a lattice where perfect 5th intervals are from left to right, major third are northeast, and major 6th intervals are northwest. Other directions are inverse of their opposite. This diagram helps to visualize common triads (they're triangles) and circle-of-fifth relationships (horizontal lines).

Common Names

Western Modern
Chromatic Decamode
Decatonic Chromatic
Zeitler
Dodyllian
Dozenal
Genian

Analysis

Cardinality

Cardinality is the count of how many pitches are in the scale.

10 (decatonic)

Pitch Class Set

The tones in this scale, expressed as numbers from 0 to 11

{0,1,2,3,4,5,6,7,8,9}

Forte Number

A code assigned by theorist Allen Forte, for this pitch class set and all of its transpositional (rotation) and inversional (reflection) transformations.

10-1

Rotational Symmetry

Some scales have rotational symmetry, sometimes known as "limited transposition". If there are any rotational symmetries, these are the intervals of periodicity.

none

Reflection Axes

If a scale has an axis of reflective symmetry, then it can transform into itself by inversion. It also implies that the scale has Ridge Tones. Notably an axis of reflection can occur directly on a tone or half way between two tones.

[4.5]

Palindromicity

A palindromic scale has the same pattern of intervals both ascending and descending.

no

Chirality

A chiral scale can not be transformed into its inverse by rotation. If a scale is chiral, then it has an enantiomorph.

no

Hemitonia

A hemitone is two tones separated by a semitone interval. Hemitonia describes how many such hemitones exist.

9 (multihemitonic)

Cohemitonia

A cohemitone is an instance of two adjacent hemitones. Cohemitonia describes how many such cohemitones exist.

8 (multicohemitonic)

Imperfections

An imperfection is a tone which does not have a perfect fifth above it in the scale. This value is the quantity of imperfections in this scale.

2

Modes

Modes are the rotational transformations of this scale. This number does not include the scale itself, so the number is usually one less than its cardinality; unless there are rotational symmetries then there are even fewer modes.

9

Prime Form

Describes if this scale is in prime form, using the Rahn/Ring formula.

yes

Generator

Indicates if the scale can be constructed using a generator, and an origin.

generator: 1
origin: 0

Deep Scale

A deep scale is one where the interval vector has 6 different digits.

no

Interval Structure

Defines the scale as the sequence of intervals between one tone and the next.

[1, 1, 1, 1, 1, 1, 1, 1, 1, 3]

Interval Vector

Describes the intervallic content of the scale, read from left to right as the number of occurences of each interval size from semitone, up to six semitones.

<9, 8, 8, 8, 8, 4>

Interval Spectrum

The same as the Interval Vector, but expressed in a syntax used by Howard Hanson.

p8m8n8s8d9t4

Distribution Spectra

Describes the specific interval sizes that exist for each generic interval size. Each generic <g> has a spectrum {n,...}. The Spectrum Width is the difference between the highest and lowest values in each spectrum.

<1> = {1,3}
<2> = {2,4}
<3> = {3,5}
<4> = {4,6}
<5> = {5,7}
<6> = {6,8}
<7> = {7,9}
<8> = {8,10}
<9> = {9,11}

Spectra Variation

Determined by the Distribution Spectra; this is the sum of all spectrum widths divided by the scale cardinality.

1.8

Maximally Even

A scale is maximally even if the tones are optimally spaced apart from each other.

no

Maximal Area Set

A scale is a maximal area set if a polygon described by vertices dodecimetrically placed around a circle produces the maximal interior area for scales of the same cardinality. All maximally even sets have maximal area, but not all maximal area sets are maximally even.

no

Interior Area

Area of the polygon described by vertices placed for each tone of the scale dodecimetrically around a unit circle, ie a circle with radius of 1.

2.75

Polygon Perimeter

Perimeter of the polygon described by vertices placed for each tone of the scale dodecimetrically around a unit circle.

6.073

Myhill Property

A scale has Myhill Property if the Interval Spectra has exactly two specific intervals for every generic interval.

yes

Balanced

A scale is balanced if the distribution of its tones would satisfy the "centrifuge problem", ie are placed such that it would balance on its centre point.

no

Ridge Tones

Ridge Tones are those that appear in all transpositions of a scale upon the members of that scale. Ridge Tones correspond directly with axes of reflective symmetry.

[9]

Propriety

Also known as Rothenberg Propriety, named after its inventor. Propriety describes whether every specific interval is uniquely mapped to a generic interval. A scale is either "Proper", "Strictly Proper", or "Improper".

Improper

Heteromorphic Profile

Defined by Norman Carey (2002), the heteromorphic profile is an ordered triple of (c, a, d) where c is the number of contradictions, a is the number of ambiguities, and d is the number of differences. When c is zero, the scale is Proper. When a is also zero, the scale is Strictly Proper.

(120, 84, 165)

Generator

This scale has a generator of 1, originating on 0.

Common Triads

These are the common triads (major, minor, augmented and diminished) that you can create from members of this scale.

* Pitches are shown with C as the root

Triad TypeTriad*Pitch ClassesDegreeEccentricityCloseness Centrality
Major TriadsC{0,4,7}352.7
C♯{1,5,8}452.4
D{2,6,9}352.9
F{5,9,0}452.4
G♯{8,0,3}352.7
A{9,1,4}352.4
Minor Triadscm{0,3,7}352.9
c♯m{1,4,8}452.4
dm{2,5,9}352.7
fm{5,8,0}352.4
f♯m{6,9,1}352.7
am{9,0,4}452.4
Augmented TriadsC+{0,4,8}552.3
C♯+{1,5,9}552.3
Diminished Triads{0,3,6}253.1
c♯°{1,4,7}252.9
{2,5,8}252.9
d♯°{3,6,9}253.1
f♯°{6,9,0}252.9
{9,0,3}252.9
Parsimonious Voice Leading Between Common Triads of Scale 1023. Created by Ian Ring ©2019 cm cm c°->cm d#° d#° c°->d#° C C cm->C G# G# cm->G# C+ C+ C->C+ c#° c#° C->c#° c#m c#m C+->c#m fm fm C+->fm C+->G# am am C+->am c#°->c#m C# C# c#m->C# A A c#m->A C#+ C#+ C#->C#+ C#->d° C#->fm dm dm C#+->dm F F C#+->F f#m f#m C#+->f#m C#+->A d°->dm D D dm->D D->d#° D->f#m fm->F f#° f#° F->f#° F->am f#°->f#m G#->a° a°->am am->A

view full size

Above is a graph showing opportunities for parsimonious voice leading between triads*. Each line connects two triads that have two common tones, while the third tone changes by one generic scale step.

Diameter5
Radius5
Self-Centeredyes

Modes

Modes are the rotational transformation of this scale. Scale 1023 can be rotated to make 9 other scales. The 1st mode is itself.

2nd mode:
Scale 2559
Scale 2559: Decatonic Chromatic 2, Ian Ring Music TheoryDecatonic Chromatic 2
3rd mode:
Scale 3327
Scale 3327: Decatonic Chromatic 3, Ian Ring Music TheoryDecatonic Chromatic 3
4th mode:
Scale 3711
Scale 3711: Decatonic Chromatic 4, Ian Ring Music TheoryDecatonic Chromatic 4
5th mode:
Scale 3903
Scale 3903: Decatonic Chromatic 5, Ian Ring Music TheoryDecatonic Chromatic 5
6th mode:
Scale 3999
Scale 3999: Decatonic Chromatic 6, Ian Ring Music TheoryDecatonic Chromatic 6
7th mode:
Scale 4047
Scale 4047: Decatonic Chromatic 7, Ian Ring Music TheoryDecatonic Chromatic 7
8th mode:
Scale 4071
Scale 4071: Decatonic Chromatic 8, Ian Ring Music TheoryDecatonic Chromatic 8
9th mode:
Scale 4083
Scale 4083: Decatonic Chromatic 9, Ian Ring Music TheoryDecatonic Chromatic 9
10th mode:
Scale 4089
Scale 4089: Decatonic Chromatic Descending, Ian Ring Music TheoryDecatonic Chromatic Descending

Prime

This is the prime form of this scale.

Complement

The decatonic modal family [1023, 2559, 3327, 3711, 3903, 3999, 4047, 4071, 4083, 4089] (Forte: 10-1) is the complement of the ditonic modal family [3, 2049] (Forte: 2-1)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 1023 is 4089

Scale 4089Scale 4089: Decatonic Chromatic Descending, Ian Ring Music TheoryDecatonic Chromatic Descending

Transformations:

In the abbreviation, the subscript number after "T" is the number of semitones of tranposition, "M" means the pitch class is multiplied by 5, and "I" means the result is inverted. Operation is an identical way to express the same thing; the syntax is <a,b> where each tone of the set x is transformed by the equation y = ax + b

Abbrev Operation Result Abbrev Operation Result
T0 <1,0> 1023       T0I <11,0> 4089
T1 <1,1> 2046      T1I <11,1> 4083
T2 <1,2> 4092      T2I <11,2> 4071
T3 <1,3> 4089      T3I <11,3> 4047
T4 <1,4> 4083      T4I <11,4> 3999
T5 <1,5> 4071      T5I <11,5> 3903
T6 <1,6> 4047      T6I <11,6> 3711
T7 <1,7> 3999      T7I <11,7> 3327
T8 <1,8> 3903      T8I <11,8> 2559
T9 <1,9> 3711      T9I <11,9> 1023
T10 <1,10> 3327      T10I <11,10> 2046
T11 <1,11> 2559      T11I <11,11> 4092
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 3963      T0MI <7,0> 3039
T1M <5,1> 3831      T1MI <7,1> 1983
T2M <5,2> 3567      T2MI <7,2> 3966
T3M <5,3> 3039      T3MI <7,3> 3837
T4M <5,4> 1983      T4MI <7,4> 3579
T5M <5,5> 3966      T5MI <7,5> 3063
T6M <5,6> 3837      T6MI <7,6> 2031
T7M <5,7> 3579      T7MI <7,7> 4062
T8M <5,8> 3063      T8MI <7,8> 4029
T9M <5,9> 2031      T9MI <7,9> 3963
T10M <5,10> 4062      T10MI <7,10> 3831
T11M <5,11> 4029      T11MI <7,11> 3567

The transformations that map this set to itself are: T0, T9I

Nearby Scales:

These are other scales that are similar to this one, created by adding a tone, removing a tone, or moving one note up or down a semitone.

Scale 1021Scale 1021: Ladygic, Ian Ring Music TheoryLadygic
Scale 1019Scale 1019: Aeranygic, Ian Ring Music TheoryAeranygic
Scale 1015Scale 1015: Ionodygic, Ian Ring Music TheoryIonodygic
Scale 1007Scale 1007: Epitygic, Ian Ring Music TheoryEpitygic
Scale 991Scale 991: Aeolygic, Ian Ring Music TheoryAeolygic
Scale 959Scale 959: Katylygic, Ian Ring Music TheoryKatylygic
Scale 895Scale 895: Aeolathygic, Ian Ring Music TheoryAeolathygic
Scale 767Scale 767: Raptygic, Ian Ring Music TheoryRaptygic
Scale 511Scale 511: Chromatic Nonamode, Ian Ring Music TheoryChromatic Nonamode
Scale 1535Scale 1535: Mixodyllian, Ian Ring Music TheoryMixodyllian
Scale 2047Scale 2047: Chromatic Undecamode, Ian Ring Music TheoryChromatic Undecamode
Scale 3071Scale 3071: Chromatic Undecamode 2, Ian Ring Music TheoryChromatic Undecamode 2

This scale analysis was created by Ian Ring, Canadian Composer of works for Piano, and total music theory nerd. Scale notation generated by VexFlow, graph visualization by Graphviz, and MIDI playback by MIDI.js. All other diagrams and visualizations are © Ian Ring. Some scale names used on this and other pages are ©2005 William Zeitler (http://allthescales.org) used with permission.

Pitch spelling algorithm employed here is adapted from a method by Uzay Bora, Baris Tekin Tezel, and Alper Vahaplar. (An algorithm for spelling the pitches of any musical scale) Contact authors Patent owner: Dokuz Eylül University, Used with Permission. Contact TTO

Tons of background resources contributed to the production of this summary; for a list of these peruse this Bibliography. Special thanks to Richard Repp for helping with technical accuracy, and George Howlett for assistance with the Carnatic ragas.