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Scale 1223: "Phryptimic"

Scale 1223: Phryptimic, 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

Zeitler
Phryptimic
Dozenal
Higian

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

{0,1,2,6,7,10}

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-Z17

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.

none

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.

yes
enantiomorph: 3173

Hemitonia

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

3 (trihemitonic)

Cohemitonia

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

1 (uncohemitonic)

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.

3

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: 407

Generator

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

none

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, 4, 1, 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.

<3, 2, 2, 3, 3, 2>

Interval Spectrum

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

p3m3n2s2d3t2

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

Spectra Variation

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

2.667

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.

2.116

Polygon Perimeter

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

5.699

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.

none

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.

(12, 10, 57)

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 TriadsF♯{6,10,1}221
Minor Triadsgm{7,10,2}221
Augmented TriadsD+{2,6,10}221
Diminished Triads{7,10,1}221

The following pitch classes are not present in any of the common triads: {0}

Parsimonious Voice Leading Between Common Triads of Scale 1223. Created by Ian Ring ©2019 D+ D+ F# F# D+->F# gm gm D+->gm F#->g° g°->gm

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 1223 can be rotated to make 5 other scales. The 1st mode is itself.

2nd mode:
Scale 2659
Scale 2659: Katynimic, Ian Ring Music TheoryKatynimic
3rd mode:
Scale 3377
Scale 3377: Phralimic, Ian Ring Music TheoryPhralimic
4th mode:
Scale 467
Scale 467: Raga Dhavalangam, Ian Ring Music TheoryRaga Dhavalangam
5th mode:
Scale 2281
Scale 2281: Rathimic, Ian Ring Music TheoryRathimic
6th mode:
Scale 797
Scale 797: Katocrimic, Ian Ring Music TheoryKatocrimic

Prime

The prime form of this scale is Scale 407

Scale 407Scale 407: All-Trichord Hexachord, Ian Ring Music TheoryAll-Trichord Hexachord

Complement

The hexatonic modal family [1223, 2659, 3377, 467, 2281, 797] (Forte: 6-Z17) is the complement of the hexatonic modal family [359, 907, 1649, 2227, 2501, 3161] (Forte: 6-Z43)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 1223 is 3173

Scale 3173Scale 3173: Zarimic, Ian Ring Music TheoryZarimic

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 1223 is chiral, and its enantiomorph is scale 3173

Scale 3173Scale 3173: Zarimic, Ian Ring Music TheoryZarimic

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> 1223       T0I <11,0> 3173
T1 <1,1> 2446      T1I <11,1> 2251
T2 <1,2> 797      T2I <11,2> 407
T3 <1,3> 1594      T3I <11,3> 814
T4 <1,4> 3188      T4I <11,4> 1628
T5 <1,5> 2281      T5I <11,5> 3256
T6 <1,6> 467      T6I <11,6> 2417
T7 <1,7> 934      T7I <11,7> 739
T8 <1,8> 1868      T8I <11,8> 1478
T9 <1,9> 3736      T9I <11,9> 2956
T10 <1,10> 3377      T10I <11,10> 1817
T11 <1,11> 2659      T11I <11,11> 3634
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 3173      T0MI <7,0> 1223
T1M <5,1> 2251      T1MI <7,1> 2446
T2M <5,2> 407      T2MI <7,2> 797
T3M <5,3> 814      T3MI <7,3> 1594
T4M <5,4> 1628      T4MI <7,4> 3188
T5M <5,5> 3256      T5MI <7,5> 2281
T6M <5,6> 2417      T6MI <7,6> 467
T7M <5,7> 739      T7MI <7,7> 934
T8M <5,8> 1478      T8MI <7,8> 1868
T9M <5,9> 2956      T9MI <7,9> 3736
T10M <5,10> 1817      T10MI <7,10> 3377
T11M <5,11> 3634      T11MI <7,11> 2659

The transformations that map this set to itself are: T0, T0MI

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 1221Scale 1221: Epyritonic, Ian Ring Music TheoryEpyritonic
Scale 1219Scale 1219: Hidian, Ian Ring Music TheoryHidian
Scale 1227Scale 1227: Thacrimic, Ian Ring Music TheoryThacrimic
Scale 1231Scale 1231: Logian, Ian Ring Music TheoryLogian
Scale 1239Scale 1239: Epaptian, Ian Ring Music TheoryEpaptian
Scale 1255Scale 1255: Chromatic Mixolydian, Ian Ring Music TheoryChromatic Mixolydian
Scale 1159Scale 1159: Hasian, Ian Ring Music TheoryHasian
Scale 1191Scale 1191: Pyrimic, Ian Ring Music TheoryPyrimic
Scale 1095Scale 1095: Phrythitonic, Ian Ring Music TheoryPhrythitonic
Scale 1351Scale 1351: Aeraptimic, Ian Ring Music TheoryAeraptimic
Scale 1479Scale 1479: Mela Jalarnava, Ian Ring Music TheoryMela Jalarnava
Scale 1735Scale 1735: Mela Navanitam, Ian Ring Music TheoryMela Navanitam
Scale 199Scale 199: Raga Nabhomani, Ian Ring Music TheoryRaga Nabhomani
Scale 711Scale 711: Raga Chandrajyoti, Ian Ring Music TheoryRaga Chandrajyoti
Scale 2247Scale 2247: Raga Vijayasri, Ian Ring Music TheoryRaga Vijayasri
Scale 3271Scale 3271: Mela Raghupriya, Ian Ring Music TheoryMela Raghupriya

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.