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Scale 1427: "Lolimic"

Scale 1427: Lolimic, 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

Zeitler
Lolimic

Analysis

Cardinality6 (hexatonic)
Pitch Class Set{0,1,4,7,8,10}
Forte Number6-Z28
Rotational Symmetrynone
Reflection Axes4
Palindromicno
Chiralityno
Hemitonia2 (dihemitonic)
Cohemitonia0 (ancohemitonic)
Imperfections4
Modes5
Prime?no
prime: 619
Deep Scaleno
Interval Vector224322
Interval Spectrump2m3n4s2d2t2
Distribution Spectra<1> = {1,2,3}
<2> = {3,4,6}
<3> = {5,6,7}
<4> = {6,8,9}
<5> = {9,10,11}
Spectra Variation2
Maximally Evenno
Maximal Area Setno
Interior Area2.366
Myhill Propertyno
Balancedno
Ridge Tones[8]
ProprietyImproper
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 TriadsC{0,4,7}331.43
Minor Triadsc♯m{1,4,8}331.43
Augmented TriadsC+{0,4,8}231.57
Diminished Triadsc♯°{1,4,7}231.57
{4,7,10}231.57
{7,10,1}231.71
a♯°{10,1,4}231.57
Parsimonious Voice Leading Between Common Triads of Scale 1427. Created by Ian Ring ©2019 C C C+ C+ C->C+ c#° c#° C->c#° C->e° c#m c#m C+->c#m c#°->c#m a#° a#° c#m->a#° e°->g° g°->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.

Diameter3
Radius3
Self-Centeredyes

Modes

Modes are the rotational transformation of this scale. Scale 1427 can be rotated to make 5 other scales. The 1st mode is itself.

2nd mode:
Scale 2761
Scale 2761: Dagimic, Ian Ring Music TheoryDagimic
3rd mode:
Scale 857
Scale 857: Aeolydimic, Ian Ring Music TheoryAeolydimic
4th mode:
Scale 619
Scale 619: Double-Phrygian Hexatonic, Ian Ring Music TheoryDouble-Phrygian HexatonicThis is the prime mode
5th mode:
Scale 2357
Scale 2357: Raga Sarasanana, Ian Ring Music TheoryRaga Sarasanana
6th mode:
Scale 1613
Scale 1613: Thylimic, Ian Ring Music TheoryThylimic

Prime

The prime form of this scale is Scale 619

Scale 619Scale 619: Double-Phrygian Hexatonic, Ian Ring Music TheoryDouble-Phrygian Hexatonic

Complement

The hexatonic modal family [1427, 2761, 857, 619, 2357, 1613] (Forte: 6-Z28) is the complement of the hexatonic modal family [667, 869, 1241, 1619, 2381, 2857] (Forte: 6-Z49)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 1427 is 2357

Scale 2357Scale 2357: Raga Sarasanana, Ian Ring Music TheoryRaga Sarasanana

Transformations:

T0 1427  T0I 2357
T1 2854  T1I 619
T2 1613  T2I 1238
T3 3226  T3I 2476
T4 2357  T4I 857
T5 619  T5I 1714
T6 1238  T6I 3428
T7 2476  T7I 2761
T8 857  T8I 1427
T9 1714  T9I 2854
T10 3428  T10I 1613
T11 2761  T11I 3226

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 1425Scale 1425: Ryphitonic, Ian Ring Music TheoryRyphitonic
Scale 1429Scale 1429: Bythimic, Ian Ring Music TheoryBythimic
Scale 1431Scale 1431: Phragian, Ian Ring Music TheoryPhragian
Scale 1435Scale 1435: Makam Huzzam, Ian Ring Music TheoryMakam Huzzam
Scale 1411Scale 1411, Ian Ring Music Theory
Scale 1419Scale 1419: Raga Kashyapi, Ian Ring Music TheoryRaga Kashyapi
Scale 1443Scale 1443: Raga Phenadyuti, Ian Ring Music TheoryRaga Phenadyuti
Scale 1459Scale 1459: Phrygian Dominant, Ian Ring Music TheoryPhrygian Dominant
Scale 1491Scale 1491: Mela Namanarayani, Ian Ring Music TheoryMela Namanarayani
Scale 1299Scale 1299: Aerophitonic, Ian Ring Music TheoryAerophitonic
Scale 1363Scale 1363: Gygimic, Ian Ring Music TheoryGygimic
Scale 1171Scale 1171: Raga Manaranjani I, Ian Ring Music TheoryRaga Manaranjani I
Scale 1683Scale 1683: Raga Malayamarutam, Ian Ring Music TheoryRaga Malayamarutam
Scale 1939Scale 1939: Dathian, Ian Ring Music TheoryDathian
Scale 403Scale 403: Raga Reva, Ian Ring Music TheoryRaga Reva
Scale 915Scale 915: Raga Kalagada, Ian Ring Music TheoryRaga Kalagada
Scale 2451Scale 2451: Raga Bauli, Ian Ring Music TheoryRaga Bauli
Scale 3475Scale 3475: Kylian, Ian Ring Music TheoryKylian

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.