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Scale 1389: "Minor Locrian"

Scale 1389: Minor Locrian, 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

41161837294116105072918310504116183
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 Locrian
Half Diminished
Western Altered
Locrian Sharp 2
Locrian Natural 2
Aeolian Flat 5
Minor Flat 5
Zeitler
Lorian

Analysis

Cardinality7 (heptatonic)
Pitch Class Set{0,2,3,5,6,8,10}
Forte Number7-34
Rotational Symmetrynone
Reflection Axes4
Palindromicno
Chiralityno
Hemitonia2 (dihemitonic)
Cohemitonia0 (ancohemitonic)
Imperfections3
Modes6
Prime?no
prime: 1371
Deep Scaleno
Interval Vector254442
Interval Spectrump4m4n4s5d2t2
Distribution Spectra<1> = {1,2}
<2> = {3,4}
<3> = {4,5,6}
<4> = {6,7,8}
<5> = {8,9}
<6> = {10,11}
Spectra Variation1.143
Maximally Evenno
Maximal Area Setyes
Interior Area2.665
Myhill Propertyno
Balancedno
Ridge Tones[8]
ProprietyProper
Heliotonicyes

Harmonic Chords

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}231.71
A♯{10,2,5}231.71
Minor Triadsd♯m{3,6,10}231.71
fm{5,8,0}231.71
Augmented TriadsD+{2,6,10}231.71
Diminished Triads{0,3,6}231.71
{2,5,8}231.71
Parsimonious Voice Leading Between Common Triads of Scale 1389. Created by Ian Ring ©2019 d#m d#m c°->d#m G# G# c°->G# fm fm d°->fm A# A# d°->A# D+ D+ D+->d#m D+->A# 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
Radius3
Self-Centeredyes

Modes

Modes are the rotational transformation of this scale. Scale 1389 can be rotated to make 6 other scales. The 1st mode is itself.

2nd mode:
Scale 1371
Scale 1371: Superlocrian, Ian Ring Music TheorySuperlocrianThis is the prime mode
3rd mode:
Scale 2733
Scale 2733: Melodic Minor Ascending, Ian Ring Music TheoryMelodic Minor Ascending
4th mode:
Scale 1707
Scale 1707: Dorian Flat 2, Ian Ring Music TheoryDorian Flat 2
5th mode:
Scale 2901
Scale 2901: Lydian Augmented, Ian Ring Music TheoryLydian Augmented
6th mode:
Scale 1749
Scale 1749: Acoustic, Ian Ring Music TheoryAcoustic
7th mode:
Scale 1461
Scale 1461: Major-Minor, Ian Ring Music TheoryMajor-Minor

Prime

The prime form of this scale is Scale 1371

Scale 1371Scale 1371: Superlocrian, Ian Ring Music TheorySuperlocrian

Complement

The heptatonic modal family [1389, 1371, 2733, 1707, 2901, 1749, 1461] (Forte: 7-34) is the complement of the pentatonic modal family [597, 681, 1173, 1317, 1353] (Forte: 5-34)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 1389 is 1749

Scale 1749Scale 1749: Acoustic, Ian Ring Music TheoryAcoustic

Transformations:

T0 1389  T0I 1749
T1 2778  T1I 3498
T2 1461  T2I 2901
T3 2922  T3I 1707
T4 1749  T4I 3414
T5 3498  T5I 2733
T6 2901  T6I 1371
T7 1707  T7I 2742
T8 3414  T8I 1389
T9 2733  T9I 2778
T10 1371  T10I 1461
T11 2742  T11I 2922

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 1391Scale 1391: Aeradyllic, Ian Ring Music TheoryAeradyllic
Scale 1385Scale 1385: Phracrimic, Ian Ring Music TheoryPhracrimic
Scale 1387Scale 1387: Locrian, Ian Ring Music TheoryLocrian
Scale 1381Scale 1381: Padimic, Ian Ring Music TheoryPadimic
Scale 1397Scale 1397: Major Locrian, Ian Ring Music TheoryMajor Locrian
Scale 1405Scale 1405: Goryllic, Ian Ring Music TheoryGoryllic
Scale 1357Scale 1357: Takemitsu Linea Mode 2, Ian Ring Music TheoryTakemitsu Linea Mode 2
Scale 1373Scale 1373: Storian, Ian Ring Music TheoryStorian
Scale 1325Scale 1325: Phradimic, Ian Ring Music TheoryPhradimic
Scale 1453Scale 1453: Aeolian, Ian Ring Music TheoryAeolian
Scale 1517Scale 1517: Sagyllic, Ian Ring Music TheorySagyllic
Scale 1133Scale 1133: Stycrimic, Ian Ring Music TheoryStycrimic
Scale 1261Scale 1261: Modified Blues, Ian Ring Music TheoryModified Blues
Scale 1645Scale 1645: Dorian Flat 5, Ian Ring Music TheoryDorian Flat 5
Scale 1901Scale 1901: Ionidyllic, Ian Ring Music TheoryIonidyllic
Scale 365Scale 365: Marimic, Ian Ring Music TheoryMarimic
Scale 877Scale 877: Moravian Pistalkova, Ian Ring Music TheoryMoravian Pistalkova
Scale 2413Scale 2413: Locrian Natural 2, Ian Ring Music TheoryLocrian Natural 2
Scale 3437Scale 3437, Ian Ring Music Theory

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.