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Scale 1385: "Phracrimic"

Scale 1385: Phracrimic, 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
Phracrimic

Analysis

Cardinality6 (hexatonic)
Pitch Class Set{0,3,5,6,8,10}
Forte Number6-33
Rotational Symmetrynone
Reflection Axesnone
Palindromicno
Chiralityyes
enantiomorph: 725
Hemitonia1 (unhemitonic)
Cohemitonia0 (ancohemitonic)
Imperfections2
Modes5
Prime?no
prime: 685
Deep Scaleno
Interval Vector143241
Interval Spectrump4m2n3s4dt
Distribution Spectra<1> = {1,2,3}
<2> = {3,4,5}
<3> = {5,6,7}
<4> = {7,8,9}
<5> = {9,10,11}
Spectra Variation1.667
Maximally Evenno
Maximal Area Setno
Interior Area2.482
Myhill Propertyno
Balancedno
Ridge Tonesnone
ProprietyProper
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 TriadsG♯{8,0,3}221
Minor Triadsd♯m{3,6,10}131.5
fm{5,8,0}131.5
Diminished Triads{0,3,6}221
Parsimonious Voice Leading Between Common Triads of Scale 1385. Created by Ian Ring ©2019 d#m d#m c°->d#m G# G# c°->G# fm fm fm->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.

Diameter3
Radius2
Self-Centeredno
Central Verticesc°, G♯
Peripheral Verticesd♯m, fm

Modes

Modes are the rotational transformation of this scale. Scale 1385 can be rotated to make 5 other scales. The 1st mode is itself.

2nd mode:
Scale 685
Scale 685: Raga Suddha Bangala, Ian Ring Music TheoryRaga Suddha BangalaThis is the prime mode
3rd mode:
Scale 1195
Scale 1195: Raga Gandharavam, Ian Ring Music TheoryRaga Gandharavam
4th mode:
Scale 2645
Scale 2645: Raga Mruganandana, Ian Ring Music TheoryRaga Mruganandana
5th mode:
Scale 1685
Scale 1685: Zeracrimic, Ian Ring Music TheoryZeracrimic
6th mode:
Scale 1445
Scale 1445: Raga Navamanohari, Ian Ring Music TheoryRaga Navamanohari

Prime

The prime form of this scale is Scale 685

Scale 685Scale 685: Raga Suddha Bangala, Ian Ring Music TheoryRaga Suddha Bangala

Complement

The hexatonic modal family [1385, 685, 1195, 2645, 1685, 1445] (Forte: 6-33) is the complement of the hexatonic modal family [685, 1195, 1385, 1445, 1685, 2645] (Forte: 6-33)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 1385 is 725

Scale 725Scale 725: Raga Yamuna Kalyani, Ian Ring Music TheoryRaga Yamuna Kalyani

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 1385 is chiral, and its enantiomorph is scale 725

Scale 725Scale 725: Raga Yamuna Kalyani, Ian Ring Music TheoryRaga Yamuna Kalyani

Transformations:

T0 1385  T0I 725
T1 2770  T1I 1450
T2 1445  T2I 2900
T3 2890  T3I 1705
T4 1685  T4I 3410
T5 3370  T5I 2725
T6 2645  T6I 1355
T7 1195  T7I 2710
T8 2390  T8I 1325
T9 685  T9I 2650
T10 1370  T10I 1205
T11 2740  T11I 2410

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 1387Scale 1387: Locrian, Ian Ring Music TheoryLocrian
Scale 1389Scale 1389: Minor Locrian, Ian Ring Music TheoryMinor Locrian
Scale 1377Scale 1377, Ian Ring Music Theory
Scale 1381Scale 1381: Padimic, Ian Ring Music TheoryPadimic
Scale 1393Scale 1393: Mycrimic, Ian Ring Music TheoryMycrimic
Scale 1401Scale 1401: Pagian, Ian Ring Music TheoryPagian
Scale 1353Scale 1353: Raga Harikauns, Ian Ring Music TheoryRaga Harikauns
Scale 1369Scale 1369: Boptimic, Ian Ring Music TheoryBoptimic
Scale 1321Scale 1321: Blues Minor, Ian Ring Music TheoryBlues Minor
Scale 1449Scale 1449: Raga Gopikavasantam, Ian Ring Music TheoryRaga Gopikavasantam
Scale 1513Scale 1513: Stathian, Ian Ring Music TheoryStathian
Scale 1129Scale 1129: Raga Jayakauns, Ian Ring Music TheoryRaga Jayakauns
Scale 1257Scale 1257: Blues Scale, Ian Ring Music TheoryBlues Scale
Scale 1641Scale 1641: Bocrimic, Ian Ring Music TheoryBocrimic
Scale 1897Scale 1897: Ionopian, Ian Ring Music TheoryIonopian
Scale 361Scale 361: Bocritonic, Ian Ring Music TheoryBocritonic
Scale 873Scale 873: Bagimic, Ian Ring Music TheoryBagimic
Scale 2409Scale 2409: Zacrimic, Ian Ring Music TheoryZacrimic
Scale 3433Scale 3433: Thonian, Ian Ring Music TheoryThonian

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.