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Scale 1191: "Pyrimic"

Scale 1191: Pyrimic, 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

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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

Zeitler
Pyrimic

Analysis

Cardinality6 (hexatonic)
Pitch Class Set{0,1,2,5,7,10}
Forte Number6-Z47
Rotational Symmetrynone
Reflection Axesnone
Palindromicno
Chiralityyes
enantiomorph: 3237
Hemitonia2 (dihemitonic)
Cohemitonia1 (uncohemitonic)
Imperfections2
Modes5
Prime?no
prime: 663
Deep Scaleno
Interval Vector233241
Interval Spectrump4m2n3s3d2t
Distribution Spectra<1> = {1,2,3}
<2> = {2,3,4,5}
<3> = {4,5,6,7,8}
<4> = {7,8,9,10}
<5> = {9,10,11}
Spectra Variation2.333
Maximally Evenno
Maximal Area Setno
Interior Area2.366
Myhill Propertyno
Balancedno
Ridge Tonesnone
ProprietyImproper
Heliotonicno

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 TriadsA♯{10,2,5}221
Minor Triadsgm{7,10,2}221
a♯m{10,1,5}221
Diminished Triads{7,10,1}221
Parsimonious Voice Leading Between Common Triads of Scale 1191. Created by Ian Ring ©2019 gm gm g°->gm a#m a#m g°->a#m A# A# gm->A# a#m->A#

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.

Diameter2
Radius2
Self-Centeredyes

Modes

Modes are the rotational transformation of this scale. Scale 1191 can be rotated to make 5 other scales. The 1st mode is itself.

2nd mode:
Scale 2643
Scale 2643: Raga Hamsanandi, Ian Ring Music TheoryRaga Hamsanandi
3rd mode:
Scale 3369
Scale 3369: Mixolimic, Ian Ring Music TheoryMixolimic
4th mode:
Scale 933
Scale 933: Dadimic, Ian Ring Music TheoryDadimic
5th mode:
Scale 1257
Scale 1257: Blues Scale, Ian Ring Music TheoryBlues Scale
6th mode:
Scale 669
Scale 669: Gycrimic, Ian Ring Music TheoryGycrimic

Prime

The prime form of this scale is Scale 663

Scale 663Scale 663: Phrynimic, Ian Ring Music TheoryPhrynimic

Complement

The hexatonic modal family [1191, 2643, 3369, 933, 1257, 669] (Forte: 6-Z47) is the complement of the hexatonic modal family [363, 1419, 1581, 1713, 2229, 2757] (Forte: 6-Z25)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 1191 is 3237

Scale 3237Scale 3237: Raga Brindabani Sarang, Ian Ring Music TheoryRaga Brindabani Sarang

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 1191 is chiral, and its enantiomorph is scale 3237

Scale 3237Scale 3237: Raga Brindabani Sarang, Ian Ring Music TheoryRaga Brindabani Sarang

Transformations:

T0 1191  T0I 3237
T1 2382  T1I 2379
T2 669  T2I 663
T3 1338  T3I 1326
T4 2676  T4I 2652
T5 1257  T5I 1209
T6 2514  T6I 2418
T7 933  T7I 741
T8 1866  T8I 1482
T9 3732  T9I 2964
T10 3369  T10I 1833
T11 2643  T11I 3666

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 1189Scale 1189: Suspended Pentatonic, Ian Ring Music TheorySuspended Pentatonic
Scale 1187Scale 1187: Kokin-joshi, Ian Ring Music TheoryKokin-joshi
Scale 1195Scale 1195: Raga Gandharavam, Ian Ring Music TheoryRaga Gandharavam
Scale 1199Scale 1199: Magian, Ian Ring Music TheoryMagian
Scale 1207Scale 1207: Aeoloptian, Ian Ring Music TheoryAeoloptian
Scale 1159Scale 1159, Ian Ring Music Theory
Scale 1175Scale 1175: Epycrimic, Ian Ring Music TheoryEpycrimic
Scale 1223Scale 1223: Phryptimic, Ian Ring Music TheoryPhryptimic
Scale 1255Scale 1255: Chromatic Mixolydian, Ian Ring Music TheoryChromatic Mixolydian
Scale 1063Scale 1063, Ian Ring Music Theory
Scale 1127Scale 1127: Eparimic, Ian Ring Music TheoryEparimic
Scale 1319Scale 1319: Phronimic, Ian Ring Music TheoryPhronimic
Scale 1447Scale 1447: Mela Ratnangi, Ian Ring Music TheoryMela Ratnangi
Scale 1703Scale 1703: Mela Vanaspati, Ian Ring Music TheoryMela Vanaspati
Scale 167Scale 167, Ian Ring Music Theory
Scale 679Scale 679: Lanimic, Ian Ring Music TheoryLanimic
Scale 2215Scale 2215: Ranimic, Ian Ring Music TheoryRanimic
Scale 3239Scale 3239: Mela Tanarupi, Ian Ring Music TheoryMela Tanarupi

This scale analysis was created by Ian Ring, Canadian Composer of works for Piano, and total music theory nerd. The software used to generate this analysis is an open source project at GitHub. Scale notation generated by VexFlow, graph visualization by Graphviz, and MIDI playback by MIDI.js. 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.