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Scale 1197: "Minor Hexatonic"

Scale 1197: Minor Hexatonic, 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
Minor Hexatonic
Dozenal
Stuian
Carnatic
Raga Manirangu
Nayaki
Pushpalithika
Puspalatika
Suha Sughrai
Hindustani
Palasi
Unknown / Unsorted
Yo
Exoticisms
Eskimo Hexatonic 1
Zeitler
Rocrimic

Analysis

Cardinality

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

6 (hexatonic)

Pitch Class Set

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

{0,2,3,5,7,10}

Forte Number

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

6-32

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.

[2.5]

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.

1 (unhemitonic)

Cohemitonia

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

0 (ancohemitonic)

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.

1

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.

5

Prime Form

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

no
prime: 693

Generator

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

generator: 5
origin: 2

Deep Scale

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

yes

Interval Structure

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

[2, 1, 2, 2, 3, 2]

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.

<1, 4, 3, 2, 5, 0>

Interval Spectrum

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

p5m2n3s4d

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

Spectra Variation

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

1.667

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.

2.482

Polygon Perimeter

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

5.932

Myhill Property

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

no

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.

[5]

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".

Proper

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.

(0, 16, 51)

Generator

This scale has a generator of 5, originating on 2.

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 TriadsD♯{3,7,10}221
A♯{10,2,5}131.5
Minor Triadscm{0,3,7}131.5
gm{7,10,2}221
Parsimonious Voice Leading Between Common Triads of Scale 1197. Created by Ian Ring ©2019 cm cm D# D# cm->D# gm gm D#->gm A# A# gm->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.

Diameter3
Radius2
Self-Centeredno
Central VerticesD♯, gm
Peripheral Verticescm, A♯

Triad Polychords

Also known as Bi-Triadic Hexatonics (a term coined by mDecks), and related to Generic Modality Compression (a method for guitar by Mick Goodrick and Tim Miller), these are two common triads that when combined use all the tones in this scale.

There is 1 way that this hexatonic scale can be split into two common triads.


Minor: {0, 3, 7}
Major: {10, 2, 5}

Modes

Modes are the rotational transformation of this scale. Scale 1197 can be rotated to make 5 other scales. The 1st mode is itself.

2nd mode:
Scale 1323
Scale 1323: Ritsu, Ian Ring Music TheoryRitsu
3rd mode:
Scale 2709
Scale 2709: Raga Kumud, Ian Ring Music TheoryRaga Kumud
4th mode:
Scale 1701
Scale 1701: Dominant Seventh, Ian Ring Music TheoryDominant Seventh
5th mode:
Scale 1449
Scale 1449: Raga Gopikavasantam, Ian Ring Music TheoryRaga Gopikavasantam
6th mode:
Scale 693
Scale 693: Arezzo Major Diatonic Hexachord, Ian Ring Music TheoryArezzo Major Diatonic HexachordThis is the prime mode

Prime

The prime form of this scale is Scale 693

Scale 693Scale 693: Arezzo Major Diatonic Hexachord, Ian Ring Music TheoryArezzo Major Diatonic Hexachord

Complement

The hexatonic modal family [1197, 1323, 2709, 1701, 1449, 693] (Forte: 6-32) is the complement of the hexatonic modal family [693, 1197, 1323, 1449, 1701, 2709] (Forte: 6-32)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 1197 is 1701

Scale 1701Scale 1701: Dominant Seventh, Ian Ring Music TheoryDominant Seventh

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> 1197       T0I <11,0> 1701
T1 <1,1> 2394      T1I <11,1> 3402
T2 <1,2> 693      T2I <11,2> 2709
T3 <1,3> 1386      T3I <11,3> 1323
T4 <1,4> 2772      T4I <11,4> 2646
T5 <1,5> 1449      T5I <11,5> 1197
T6 <1,6> 2898      T6I <11,6> 2394
T7 <1,7> 1701      T7I <11,7> 693
T8 <1,8> 3402      T8I <11,8> 1386
T9 <1,9> 2709      T9I <11,9> 2772
T10 <1,10> 1323      T10I <11,10> 1449
T11 <1,11> 2646      T11I <11,11> 2898
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 3087      T0MI <7,0> 3591
T1M <5,1> 2079      T1MI <7,1> 3087
T2M <5,2> 63      T2MI <7,2> 2079
T3M <5,3> 126      T3MI <7,3> 63
T4M <5,4> 252      T4MI <7,4> 126
T5M <5,5> 504      T5MI <7,5> 252
T6M <5,6> 1008      T6MI <7,6> 504
T7M <5,7> 2016      T7MI <7,7> 1008
T8M <5,8> 4032      T8MI <7,8> 2016
T9M <5,9> 3969      T9MI <7,9> 4032
T10M <5,10> 3843      T10MI <7,10> 3969
T11M <5,11> 3591      T11MI <7,11> 3843

The transformations that map this set to itself are: T0, T5I

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 1199Scale 1199: Magian, Ian Ring Music TheoryMagian
Scale 1193Scale 1193: Minor Pentatonic, Ian Ring Music TheoryMinor Pentatonic
Scale 1195Scale 1195: Raga Gandharavam, Ian Ring Music TheoryRaga Gandharavam
Scale 1189Scale 1189: Suspended Pentatonic, Ian Ring Music TheorySuspended Pentatonic
Scale 1205Scale 1205: Raga Siva Kambhoji, Ian Ring Music TheoryRaga Siva Kambhoji
Scale 1213Scale 1213: Gyrian, Ian Ring Music TheoryGyrian
Scale 1165Scale 1165: Gycritonic, Ian Ring Music TheoryGycritonic
Scale 1181Scale 1181: Katagimic, Ian Ring Music TheoryKatagimic
Scale 1229Scale 1229: Raga Simharava, Ian Ring Music TheoryRaga Simharava
Scale 1261Scale 1261: Modified Blues, Ian Ring Music TheoryModified Blues
Scale 1069Scale 1069: Goqian, Ian Ring Music TheoryGoqian
Scale 1133Scale 1133: Stycrimic, Ian Ring Music TheoryStycrimic
Scale 1325Scale 1325: Phradimic, Ian Ring Music TheoryPhradimic
Scale 1453Scale 1453: Aeolian, Ian Ring Music TheoryAeolian
Scale 1709Scale 1709: Dorian, Ian Ring Music TheoryDorian
Scale 173Scale 173: Raga Purnalalita, Ian Ring Music TheoryRaga Purnalalita
Scale 685Scale 685: Raga Suddha Bangala, Ian Ring Music TheoryRaga Suddha Bangala
Scale 2221Scale 2221: Raga Sindhura Kafi, Ian Ring Music TheoryRaga Sindhura Kafi
Scale 3245Scale 3245: Mela Varunapriya, Ian Ring Music TheoryMela Varunapriya

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.