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Scale 1407: "Tharygic"

Scale 1407: Tharygic, 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
Tharygic
Dozenal
Irrian

Analysis

Cardinality

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

9 (enneatonic)

Pitch Class Set

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

{0,1,2,3,4,5,6,8,10}

Forte Number

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

9-6

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.

[3]

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.

6 (multihemitonic)

Cohemitonia

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

5 (multicohemitonic)

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.

8

Prime Form

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

yes

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, 1, 1, 1, 1, 2, 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.

<6, 8, 6, 7, 6, 3>

Interval Spectrum

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

p6m7n6s8d6t3

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

yes

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.

2.799

Polygon Perimeter

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

6.106

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.

[6]

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.

(54, 115, 200)

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 TriadsC♯{1,5,8}442
F♯{6,10,1}242.31
G♯{8,0,3}242.54
A♯{10,2,5}342.15
Minor Triadsc♯m{1,4,8}342.15
d♯m{3,6,10}242.54
fm{5,8,0}242.31
a♯m{10,1,5}442
Augmented TriadsC+{0,4,8}342.31
D+{2,6,10}342.31
Diminished Triads{0,3,6}242.62
{2,5,8}242.31
a♯°{10,1,4}242.31
Parsimonious Voice Leading Between Common Triads of Scale 1407. Created by Ian Ring ©2019 d#m d#m c°->d#m G# G# c°->G# C+ C+ c#m c#m C+->c#m fm fm C+->fm C+->G# C# C# c#m->C# a#° a#° c#m->a#° C#->d° C#->fm a#m a#m C#->a#m A# A# d°->A# D+ D+ D+->d#m F# F# D+->F# D+->A# F#->a#m a#°->a#m a#m->A#

view full size

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.

Diameter4
Radius4
Self-Centeredyes

Modes

Modes are the rotational transformation of this scale. Scale 1407 can be rotated to make 8 other scales. The 1st mode is itself.

2nd mode:
Scale 2751
Scale 2751: Sylygic, Ian Ring Music TheorySylygic
3rd mode:
Scale 3423
Scale 3423: Lothygic, Ian Ring Music TheoryLothygic
4th mode:
Scale 3759
Scale 3759: Darygic, Ian Ring Music TheoryDarygic
5th mode:
Scale 3927
Scale 3927: Monygic, Ian Ring Music TheoryMonygic
6th mode:
Scale 4011
Scale 4011: Styrygic, Ian Ring Music TheoryStyrygic
7th mode:
Scale 4053
Scale 4053: Kyrygic, Ian Ring Music TheoryKyrygic
8th mode:
Scale 2037
Scale 2037: Sythygic, Ian Ring Music TheorySythygic
9th mode:
Scale 1533
Scale 1533: Katycrygic, Ian Ring Music TheoryKatycrygic

Prime

This is the prime form of this scale.

Complement

The enneatonic modal family [1407, 2751, 3423, 3759, 3927, 4011, 4053, 2037, 1533] (Forte: 9-6) is the complement of the tritonic modal family [21, 1029, 1281] (Forte: 3-6)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 1407 is 4053

Scale 4053Scale 4053: Kyrygic, Ian Ring Music TheoryKyrygic

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> 1407       T0I <11,0> 4053
T1 <1,1> 2814      T1I <11,1> 4011
T2 <1,2> 1533      T2I <11,2> 3927
T3 <1,3> 3066      T3I <11,3> 3759
T4 <1,4> 2037      T4I <11,4> 3423
T5 <1,5> 4074      T5I <11,5> 2751
T6 <1,6> 4053      T6I <11,6> 1407
T7 <1,7> 4011      T7I <11,7> 2814
T8 <1,8> 3927      T8I <11,8> 1533
T9 <1,9> 3759      T9I <11,9> 3066
T10 <1,10> 3423      T10I <11,10> 2037
T11 <1,11> 2751      T11I <11,11> 4074
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 1407       T0MI <7,0> 4053
T1M <5,1> 2814      T1MI <7,1> 4011
T2M <5,2> 1533      T2MI <7,2> 3927
T3M <5,3> 3066      T3MI <7,3> 3759
T4M <5,4> 2037      T4MI <7,4> 3423
T5M <5,5> 4074      T5MI <7,5> 2751
T6M <5,6> 4053      T6MI <7,6> 1407
T7M <5,7> 4011      T7MI <7,7> 2814
T8M <5,8> 3927      T8MI <7,8> 1533
T9M <5,9> 3759      T9MI <7,9> 3066
T10M <5,10> 3423      T10MI <7,10> 2037
T11M <5,11> 2751      T11MI <7,11> 4074

The transformations that map this set to itself are: T0, T6I, T0M, T6MI

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 1405Scale 1405: Goryllic, Ian Ring Music TheoryGoryllic
Scale 1403Scale 1403: Espla's Scale, Ian Ring Music TheoryEspla's Scale
Scale 1399Scale 1399: Syryllic, Ian Ring Music TheorySyryllic
Scale 1391Scale 1391: Aeradyllic, Ian Ring Music TheoryAeradyllic
Scale 1375Scale 1375: Bothyllic, Ian Ring Music TheoryBothyllic
Scale 1343Scale 1343: Zalyllic, Ian Ring Music TheoryZalyllic
Scale 1471Scale 1471: Radygic, Ian Ring Music TheoryRadygic
Scale 1535Scale 1535: Mixodyllian, Ian Ring Music TheoryMixodyllian
Scale 1151Scale 1151: Mythyllic, Ian Ring Music TheoryMythyllic
Scale 1279Scale 1279: Sarygic, Ian Ring Music TheorySarygic
Scale 1663Scale 1663: Lydygic, Ian Ring Music TheoryLydygic
Scale 1919Scale 1919: Rocryllian, Ian Ring Music TheoryRocryllian
Scale 383Scale 383: Logyllic, Ian Ring Music TheoryLogyllic
Scale 895Scale 895: Aeolathygic, Ian Ring Music TheoryAeolathygic
Scale 2431Scale 2431: Gythygic, Ian Ring Music TheoryGythygic
Scale 3455Scale 3455: Ryptyllian, Ian Ring Music TheoryRyptyllian

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.