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Scale 1435: "Makam Huzzam"

Scale 1435: Makam Huzzam, 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

Turkish
Makam Huzzam
Arabic
Maqam Saba Zamzam
Western Altered
Phrygian Flat 4
12Tone
Gummy Bear Scale
Zeitler
Phronian

Analysis

Cardinality7 (heptatonic)
Pitch Class Set{0,1,3,4,7,8,10}
Forte Number7-32
Rotational Symmetrynone
Reflection Axesnone
Palindromicno
Chiralityyes
enantiomorph: 2869
Hemitonia3 (trihemitonic)
Cohemitonia0 (ancohemitonic)
Imperfections3
Modes6
Prime?no
prime: 859
Deep Scaleno
Interval Vector335442
Interval Spectrump4m4n5s3d3t2
Distribution Spectra<1> = {1,2,3}
<2> = {3,4}
<3> = {4,5,6}
<4> = {6,7,8}
<5> = {8,9}
<6> = {9,10,11}
Spectra Variation1.429
Maximally Evenno
Maximal Area Setno
Interior Area2.549
Myhill Propertyno
Balancedno
Ridge Tonesnone
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 TriadsC{0,4,7}431.6
D♯{3,7,10}331.8
G♯{8,0,3}232
Minor Triadscm{0,3,7}331.7
c♯m{1,4,8}331.8
Augmented TriadsC+{0,4,8}331.7
Diminished Triadsc♯°{1,4,7}231.9
{4,7,10}231.9
{7,10,1}232
a♯°{10,1,4}232
Parsimonious Voice Leading Between Common Triads of Scale 1435. Created by Ian Ring ©2019 cm cm C C cm->C D# D# cm->D# G# G# cm->G# C+ C+ C->C+ c#° c#° C->c#° C->e° c#m c#m C+->c#m C+->G# c#°->c#m a#° a#° c#m->a#° D#->e° D#->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 1435 can be rotated to make 6 other scales. The 1st mode is itself.

2nd mode:
Scale 2765
Scale 2765: Lydian Diminished, Ian Ring Music TheoryLydian Diminished
3rd mode:
Scale 1715
Scale 1715: Harmonic Minor Inverse, Ian Ring Music TheoryHarmonic Minor Inverse
4th mode:
Scale 2905
Scale 2905: Aeolian Flat 1, Ian Ring Music TheoryAeolian Flat 1
5th mode:
Scale 875
Scale 875: Locrian Double-flat 7, Ian Ring Music TheoryLocrian Double-flat 7
6th mode:
Scale 2485
Scale 2485: Harmonic Major, Ian Ring Music TheoryHarmonic Major
7th mode:
Scale 1645
Scale 1645: Dorian Flat 5, Ian Ring Music TheoryDorian Flat 5

Prime

The prime form of this scale is Scale 859

Scale 859Scale 859: Ultralocrian, Ian Ring Music TheoryUltralocrian

Complement

The heptatonic modal family [1435, 2765, 1715, 2905, 875, 2485, 1645] (Forte: 7-32) is the complement of the pentatonic modal family [595, 665, 805, 1225, 2345] (Forte: 5-32)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 1435 is 2869

Scale 2869Scale 2869: Major Augmented, Ian Ring Music TheoryMajor Augmented

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 1435 is chiral, and its enantiomorph is scale 2869

Scale 2869Scale 2869: Major Augmented, Ian Ring Music TheoryMajor Augmented

Transformations:

T0 1435  T0I 2869
T1 2870  T1I 1643
T2 1645  T2I 3286
T3 3290  T3I 2477
T4 2485  T4I 859
T5 875  T5I 1718
T6 1750  T6I 3436
T7 3500  T7I 2777
T8 2905  T8I 1459
T9 1715  T9I 2918
T10 3430  T10I 1741
T11 2765  T11I 3482

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 1433Scale 1433: Dynimic, Ian Ring Music TheoryDynimic
Scale 1437Scale 1437: Sabach ascending, Ian Ring Music TheorySabach ascending
Scale 1439Scale 1439: Rolyllic, Ian Ring Music TheoryRolyllic
Scale 1427Scale 1427: Lolimic, Ian Ring Music TheoryLolimic
Scale 1431Scale 1431: Phragian, Ian Ring Music TheoryPhragian
Scale 1419Scale 1419: Raga Kashyapi, Ian Ring Music TheoryRaga Kashyapi
Scale 1451Scale 1451: Phrygian, Ian Ring Music TheoryPhrygian
Scale 1467Scale 1467: Spanish Phrygian, Ian Ring Music TheorySpanish Phrygian
Scale 1499Scale 1499: Bebop Locrian, Ian Ring Music TheoryBebop Locrian
Scale 1307Scale 1307: Katorimic, Ian Ring Music TheoryKatorimic
Scale 1371Scale 1371: Superlocrian, Ian Ring Music TheorySuperlocrian
Scale 1179Scale 1179: Sonimic, Ian Ring Music TheorySonimic
Scale 1691Scale 1691: Kathian, Ian Ring Music TheoryKathian
Scale 1947Scale 1947: Byptyllic, Ian Ring Music TheoryByptyllic
Scale 411Scale 411: Lygimic, Ian Ring Music TheoryLygimic
Scale 923Scale 923: Ultraphrygian, Ian Ring Music TheoryUltraphrygian
Scale 2459Scale 2459: Ionocrian, Ian Ring Music TheoryIonocrian
Scale 3483Scale 3483: Mixotharyllic, Ian Ring Music TheoryMixotharyllic

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.