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Scale 1463

Scale 1463, 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).

Analysis

Cardinality8 (octatonic)
Pitch Class Set{0,1,2,4,5,7,8,10}
Forte Number8-27
Rotational Symmetrynone
Reflection Axesnone
Palindromicno
Chiralityyes
enantiomorph: 3509
Hemitonia4 (multihemitonic)
Cohemitonia1 (uncohemitonic)
Imperfections3
Modes7
Prime?yes
Deep Scaleno
Interval Vector456553
Interval Spectrump5m5n6s5d4t3
Distribution Spectra<1> = {1,2}
<2> = {2,3,4}
<3> = {4,5}
<4> = {5,6,7}
<5> = {7,8}
<6> = {8,9,10}
<7> = {10,11}
Spectra Variation1.25
Maximally Evenno
Maximal Area Setyes
Interior Area2.732
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 TriadsC{0,4,7}342.23
C♯{1,5,8}441.85
A♯{10,2,5}342.15
Minor Triadsc♯m{1,4,8}441.92
fm{5,8,0}242.23
gm{7,10,2}342.23
a♯m{10,1,5}441.92
Augmented TriadsC+{0,4,8}342.15
Diminished Triadsc♯°{1,4,7}242.31
{2,5,8}242.23
{4,7,10}242.31
{7,10,1}242.31
a♯°{10,1,4}242.15
Parsimonious Voice Leading Between Common Triads of Scale 1463. Created by Ian Ring ©2019 C C C+ C+ C->C+ c#° c#° C->c#° C->e° c#m c#m C+->c#m fm fm C+->fm c#°->c#m 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# gm gm e°->gm g°->gm g°->a#m gm->A# a#°->a#m a#m->A#

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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 1463 can be rotated to make 7 other scales. The 1st mode is itself.

2nd mode:
Scale 2779
Scale 2779: Shostakovich, Ian Ring Music TheoryShostakovich
3rd mode:
Scale 3437
Scale 3437, Ian Ring Music Theory
4th mode:
Scale 1883
Scale 1883, Ian Ring Music Theory
5th mode:
Scale 2989
Scale 2989: Bebop Minor, Ian Ring Music TheoryBebop Minor
6th mode:
Scale 1771
Scale 1771, Ian Ring Music Theory
7th mode:
Scale 2933
Scale 2933, Ian Ring Music Theory
8th mode:
Scale 1757
Scale 1757, Ian Ring Music Theory

Prime

This is the prime form of this scale.

Complement

The octatonic modal family [1463, 2779, 3437, 1883, 2989, 1771, 2933, 1757] (Forte: 8-27) is the complement of the tetratonic modal family [293, 593, 649, 1097] (Forte: 4-27)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 1463 is 3509

Scale 3509Scale 3509: Stogyllic, Ian Ring Music TheoryStogyllic

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 1463 is chiral, and its enantiomorph is scale 3509

Scale 3509Scale 3509: Stogyllic, Ian Ring Music TheoryStogyllic

Transformations:

T0 1463  T0I 3509
T1 2926  T1I 2923
T2 1757  T2I 1751
T3 3514  T3I 3502
T4 2933  T4I 2909
T5 1771  T5I 1723
T6 3542  T6I 3446
T7 2989  T7I 2797
T8 1883  T8I 1499
T9 3766  T9I 2998
T10 3437  T10I 1901
T11 2779  T11I 3802

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 1461Scale 1461: Major-Minor, Ian Ring Music TheoryMajor-Minor
Scale 1459Scale 1459: Phrygian Dominant, Ian Ring Music TheoryPhrygian Dominant
Scale 1467Scale 1467: Spanish Phrygian, Ian Ring Music TheorySpanish Phrygian
Scale 1471Scale 1471: Radygic, Ian Ring Music TheoryRadygic
Scale 1447Scale 1447: Mela Ratnangi, Ian Ring Music TheoryMela Ratnangi
Scale 1455Scale 1455: Phrygiolian, Ian Ring Music TheoryPhrygiolian
Scale 1431Scale 1431: Phragian, Ian Ring Music TheoryPhragian
Scale 1495Scale 1495: Messiaen Mode 6, Ian Ring Music TheoryMessiaen Mode 6
Scale 1527Scale 1527: Aeolyrigic, Ian Ring Music TheoryAeolyrigic
Scale 1335Scale 1335: Elephant Scale, Ian Ring Music TheoryElephant Scale
Scale 1399Scale 1399: Syryllic, Ian Ring Music TheorySyryllic
Scale 1207Scale 1207: Aeoloptian, Ian Ring Music TheoryAeoloptian
Scale 1719Scale 1719: Lyryllic, Ian Ring Music TheoryLyryllic
Scale 1975Scale 1975: Ionocrygic, Ian Ring Music TheoryIonocrygic
Scale 439Scale 439: Bythian, Ian Ring Music TheoryBythian
Scale 951Scale 951: Thogyllic, Ian Ring Music TheoryThogyllic
Scale 2487Scale 2487: Dothyllic, Ian Ring Music TheoryDothyllic
Scale 3511Scale 3511: Epolygic, Ian Ring Music TheoryEpolygic

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.