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Scale 1467: "Spanish Phrygian"

Scale 1467: Spanish Phrygian, 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

Exoticisms
Spanish Phrygian
Western Altered
Altered Dominant (a)
Zeitler
Thydyllic

Analysis

Cardinality8 (octatonic)
Pitch Class Set{0,1,3,4,5,7,8,10}
Forte Number8-26
Rotational Symmetrynone
Reflection Axes4
Palindromicno
Chiralityno
Hemitonia4 (multihemitonic)
Cohemitonia1 (uncohemitonic)
Imperfections2
Modes7
Prime?yes
Deep Scaleno
Interval Vector456562
Interval Spectrump6m5n6s5d4t2
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 Tones[8]
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}441.92
C♯{1,5,8}342.15
D♯{3,7,10}342.23
G♯{8,0,3}242.23
Minor Triadscm{0,3,7}342.15
c♯m{1,4,8}441.92
fm{5,8,0}242.23
a♯m{10,1,5}342.23
Augmented TriadsC+{0,4,8}441.85
Diminished Triadsc♯°{1,4,7}242.15
{4,7,10}242.31
{7,10,1}242.31
a♯°{10,1,4}242.31
Parsimonious Voice Leading Between Common Triads of Scale 1467. 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 fm fm C+->fm C+->G# c#°->c#m C# C# c#m->C# a#° a#° c#m->a#° C#->fm a#m a#m C#->a#m D#->e° D#->g° g°->a#m a#°->a#m

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 1467 can be rotated to make 7 other scales. The 1st mode is itself.

2nd mode:
Scale 2781
Scale 2781: Gycryllic, Ian Ring Music TheoryGycryllic
3rd mode:
Scale 1719
Scale 1719: Lyryllic, Ian Ring Music TheoryLyryllic
4th mode:
Scale 2907
Scale 2907: Magen Abot 2, Ian Ring Music TheoryMagen Abot 2
5th mode:
Scale 3501
Scale 3501: Maqam Nahawand, Ian Ring Music TheoryMaqam Nahawand
6th mode:
Scale 1899
Scale 1899: Moptyllic, Ian Ring Music TheoryMoptyllic
7th mode:
Scale 2997
Scale 2997: Major Bebop, Ian Ring Music TheoryMajor Bebop
8th mode:
Scale 1773
Scale 1773: Blues Scale II, Ian Ring Music TheoryBlues Scale II

Prime

This is the prime form of this scale.

Complement

The octatonic modal family [1467, 2781, 1719, 2907, 3501, 1899, 2997, 1773] (Forte: 8-26) is the complement of the tetratonic modal family [297, 549, 657, 1161] (Forte: 4-26)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 1467 is 2997

Scale 2997Scale 2997: Major Bebop, Ian Ring Music TheoryMajor Bebop

Transformations:

T0 1467  T0I 2997
T1 2934  T1I 1899
T2 1773  T2I 3798
T3 3546  T3I 3501
T4 2997  T4I 2907
T5 1899  T5I 1719
T6 3798  T6I 3438
T7 3501  T7I 2781
T8 2907  T8I 1467
T9 1719  T9I 2934
T10 3438  T10I 1773
T11 2781  T11I 3546

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 1465Scale 1465: Mela Ragavardhani, Ian Ring Music TheoryMela Ragavardhani
Scale 1469Scale 1469: Epiryllic, Ian Ring Music TheoryEpiryllic
Scale 1471Scale 1471: Radygic, Ian Ring Music TheoryRadygic
Scale 1459Scale 1459: Phrygian Dominant, Ian Ring Music TheoryPhrygian Dominant
Scale 1463Scale 1463, Ian Ring Music Theory
Scale 1451Scale 1451: Phrygian, Ian Ring Music TheoryPhrygian
Scale 1435Scale 1435: Makam Huzzam, Ian Ring Music TheoryMakam Huzzam
Scale 1499Scale 1499: Bebop Locrian, Ian Ring Music TheoryBebop Locrian
Scale 1531Scale 1531: Styptygic, Ian Ring Music TheoryStyptygic
Scale 1339Scale 1339: Kycrian, Ian Ring Music TheoryKycrian
Scale 1403Scale 1403: Espla's Scale, Ian Ring Music TheoryEspla's Scale
Scale 1211Scale 1211: Zadian, Ian Ring Music TheoryZadian
Scale 1723Scale 1723: JG Octatonic, Ian Ring Music TheoryJG Octatonic
Scale 1979Scale 1979: Aeradygic, Ian Ring Music TheoryAeradygic
Scale 443Scale 443: Kothian, Ian Ring Music TheoryKothian
Scale 955Scale 955: Ionogyllic, Ian Ring Music TheoryIonogyllic
Scale 2491Scale 2491: Layllic, Ian Ring Music TheoryLayllic
Scale 3515Scale 3515: Moorish Phrygian, Ian Ring Music TheoryMoorish Phrygian

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.