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Scale 1337: "Epogimic"

Scale 1337: Epogimic, 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
Epogimic
Dozenal
Ifoian

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

{0,3,4,5,8,10}

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-Z48

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]

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.

2 (dihemitonic)

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.

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.

5

Prime Form

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

no
prime: 679

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.

[3, 1, 1, 3, 2, 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.

<2, 3, 2, 3, 4, 1>

Interval Spectrum

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

p4m3n2s3d2t

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

Spectra Variation

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

2

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.

2.366

Polygon Perimeter

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

5.864

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.

[8]

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.

(4, 12, 58)

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 TriadsG♯{8,0,3}121
Minor Triadsfm{5,8,0}121
Augmented TriadsC+{0,4,8}210.67

The following pitch classes are not present in any of the common triads: {10}

Parsimonious Voice Leading Between Common Triads of Scale 1337. Created by Ian Ring ©2019 C+ C+ fm fm C+->fm G# G# C+->G#

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
Radius1
Self-Centeredno
Central VerticesC+
Peripheral Verticesfm, G♯

Modes

Modes are the rotational transformation of this scale. Scale 1337 can be rotated to make 5 other scales. The 1st mode is itself.

2nd mode:
Scale 679
Scale 679: Lanimic, Ian Ring Music TheoryLanimicThis is the prime mode
3rd mode:
Scale 2387
Scale 2387: Paptimic, Ian Ring Music TheoryPaptimic
4th mode:
Scale 3241
Scale 3241: Dalimic, Ian Ring Music TheoryDalimic
5th mode:
Scale 917
Scale 917: Dygimic, Ian Ring Music TheoryDygimic
6th mode:
Scale 1253
Scale 1253: Zolimic, Ian Ring Music TheoryZolimic

Prime

The prime form of this scale is Scale 679

Scale 679Scale 679: Lanimic, Ian Ring Music TheoryLanimic

Complement

The hexatonic modal family [1337, 679, 2387, 3241, 917, 1253] (Forte: 6-Z48) is the complement of the hexatonic modal family [427, 1379, 1421, 1589, 2261, 2737] (Forte: 6-Z26)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 1337 is 917

Scale 917Scale 917: Dygimic, Ian Ring Music TheoryDygimic

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> 1337       T0I <11,0> 917
T1 <1,1> 2674      T1I <11,1> 1834
T2 <1,2> 1253      T2I <11,2> 3668
T3 <1,3> 2506      T3I <11,3> 3241
T4 <1,4> 917      T4I <11,4> 2387
T5 <1,5> 1834      T5I <11,5> 679
T6 <1,6> 3668      T6I <11,6> 1358
T7 <1,7> 3241      T7I <11,7> 2716
T8 <1,8> 2387      T8I <11,8> 1337
T9 <1,9> 679      T9I <11,9> 2674
T10 <1,10> 1358      T10I <11,10> 1253
T11 <1,11> 2716      T11I <11,11> 2506
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 287      T0MI <7,0> 3857
T1M <5,1> 574      T1MI <7,1> 3619
T2M <5,2> 1148      T2MI <7,2> 3143
T3M <5,3> 2296      T3MI <7,3> 2191
T4M <5,4> 497      T4MI <7,4> 287
T5M <5,5> 994      T5MI <7,5> 574
T6M <5,6> 1988      T6MI <7,6> 1148
T7M <5,7> 3976      T7MI <7,7> 2296
T8M <5,8> 3857      T8MI <7,8> 497
T9M <5,9> 3619      T9MI <7,9> 994
T10M <5,10> 3143      T10MI <7,10> 1988
T11M <5,11> 2191      T11MI <7,11> 3976

The transformations that map this set to itself are: T0, T8I

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 1339Scale 1339: Kycrian, Ian Ring Music TheoryKycrian
Scale 1341Scale 1341: Madian, Ian Ring Music TheoryMadian
Scale 1329Scale 1329: Epygitonic, Ian Ring Music TheoryEpygitonic
Scale 1333Scale 1333: Lyptimic, Ian Ring Music TheoryLyptimic
Scale 1321Scale 1321: Blues Minor, Ian Ring Music TheoryBlues Minor
Scale 1305Scale 1305: Dynitonic, Ian Ring Music TheoryDynitonic
Scale 1369Scale 1369: Boptimic, Ian Ring Music TheoryBoptimic
Scale 1401Scale 1401: Pagian, Ian Ring Music TheoryPagian
Scale 1465Scale 1465: Mela Ragavardhani, Ian Ring Music TheoryMela Ragavardhani
Scale 1081Scale 1081: Goxian, Ian Ring Music TheoryGoxian
Scale 1209Scale 1209: Raga Bhanumanjari, Ian Ring Music TheoryRaga Bhanumanjari
Scale 1593Scale 1593: Zogimic, Ian Ring Music TheoryZogimic
Scale 1849Scale 1849: Chromatic Hypodorian Inverse, Ian Ring Music TheoryChromatic Hypodorian Inverse
Scale 313Scale 313: Goritonic, Ian Ring Music TheoryGoritonic
Scale 825Scale 825: Thyptimic, Ian Ring Music TheoryThyptimic
Scale 2361Scale 2361: Docrimic, Ian Ring Music TheoryDocrimic
Scale 3385Scale 3385: Chromatic Phrygian, Ian Ring Music TheoryChromatic Phrygian

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.