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Scale 1493: "Lydian Minor"

Scale 1493: Lydian Minor, Ian Ring Music Theory
Many musicians have complained - why is this called a "minor" scale, when it doesn't have the flattened third of a minor triad? The unsatisfying answer is that the Lydian ♭3 scale already has a name, Lydian Diminished. This scale starts its ascent like a true Lydian scale, but ends with the flattened minor 6th and 7th members giving it a very minor quality. It shares this quality with Harmonic Lydian.

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

Western Modern
Lydian Minor
Minor Lydian
Carnatic
Risabhapriya
Mela Risabhapriya
Raga Ratipriya
Zeitler
Phryrian
Dozenal
JEHian
Carnatic Melakarta
Rishabhapriya
Carnatic Numbered Melakarta
62nd Melakarta raga

Analysis

Cardinality

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

7 (heptatonic)

Pitch Class Set

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

{0,2,4,6,7,8,10}

Forte Number

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

7-33

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.

[1]

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.

2 (dihemitonic)

Cohemitonia

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

1 (uncohemitonic)

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.

5

Modes

Modes are the rotational transformations of this scale. This number includes the scale itself, so the number is usually the same as its cardinality; unless there are rotational symmetries then there are fewer modes.

7

Prime Form

Describes if this scale is in prime form, using the Starr/Rahn algorithm.

no
prime: 1367

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, an indicator of maximum hierarchization.

no

Interval Structure

Defines the scale as the sequence of intervals between one tone and the next.

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

<2, 6, 2, 6, 2, 3>

Proportional Saturation Vector

First described by Michael Buchler (2001), this is a vector showing the prominence of intervals relative to the maximum and minimum possible for the scale's cardinality. A saturation of 0 means the interval is present minimally, a saturation of 1 means it is the maximum possible.

<0, 1, 0, 1, 0, 1>

Interval Spectrum

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

p2m6n2s6d2t3

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> = {4,5,6}
<4> = {6,7,8}
<5> = {8,9,10}
<6> = {10,11}

Spectra Variation

Determined by the Distribution Spectra; this is the sum of all spectrum widths divided by the scale cardinality.

1.429

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.

2.665

Polygon Perimeter

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

6.035

Myhill Property

A scale has Myhill Property if the Distribution Spectra have exactly two specific intervals for every generic interval.

no

Centre of Gravity Distance

When tones of a scale are imagined as physical objects of equal weight arranged around a unit circle, this is the distance from the center of the circle to the center of gravity for all the tones. A perfectly balanced scale has a CoG distance of zero.

0.142857

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.

[2]

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".

Proper

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.

(0, 35, 80)

Coherence Quotient

The Coherence Quotient is a score between 0 and 1, indicating the proportion of coherence failures (ambiguity or contradiction) in the scale, against the maximum possible for a cardinality. A high coherence quotient indicates a less complex scale, whereas a quotient of 0 indicates a maximally complex scale.

0.75

Sameness Quotient

The Sameness Quotient is a score between 0 and 1, indicating the proportion of differences in the heteromorphic profile, against the maximum possible for a cardinality. A higher quotient indicates a less complex scale, whereas a quotient of 0 indicates a scale with maximum complexity.

0.365

Tertian Harmonic Chords

Tertian chords are made from alternating members of the scale, ie built from "stacked thirds". Not all scales lend themselves well to tertian harmony.

Generator

This scale has no generator.

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}231.4
Minor Triadsgm{7,10,2}231.4
Augmented TriadsC+{0,4,8}142
D+{2,6,10}142
Diminished Triads{4,7,10}221.2
Parsimonious Voice Leading Between Common Triads of Scale 1493. Created by Ian Ring ©2019 C C C+ C+ C->C+ C->e° D+ D+ gm gm D+->gm e°->gm

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
Radius2
Self-Centeredno
Central Vertices
Peripheral VerticesC+, D+

Modes

Modes are the rotational transformation of this scale. Scale 1493 can be rotated to make 6 other scales. The 1st mode is itself.

2nd mode:
Scale 1397
Scale 1397: Major Locrian, Ian Ring Music TheoryMajor Locrian
3rd mode:
Scale 1373
Scale 1373: Storian, Ian Ring Music TheoryStorian
4th mode:
Scale 1367
Scale 1367: Leading Whole-Tone Inverse, Ian Ring Music TheoryLeading Whole-Tone InverseThis is the prime mode
5th mode:
Scale 2731
Scale 2731: Neapolitan Major, Ian Ring Music TheoryNeapolitan Major
6th mode:
Scale 3413
Scale 3413: Leading Whole-tone, Ian Ring Music TheoryLeading Whole-tone
7th mode:
Scale 1877
Scale 1877: Aeroptian, Ian Ring Music TheoryAeroptian

Prime

The prime form of this scale is Scale 1367

Scale 1367Scale 1367: Leading Whole-Tone Inverse, Ian Ring Music TheoryLeading Whole-Tone Inverse

Complement

The heptatonic modal family [1493, 1397, 1373, 1367, 2731, 3413, 1877] (Forte: 7-33) is the complement of the pentatonic modal family [341, 1109, 1301, 1349, 1361] (Forte: 5-33)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 1493 is 1397

Scale 1397Scale 1397: Major Locrian, Ian Ring Music TheoryMajor Locrian

Interval Matrix

Each row is a generic interval, cells contain the specific size of each generic. Useful for identifying contradictions and ambiguities.

Contradictions (0)

Ambiguities(35)

Hierarchizability

Based on the work of Niels Verosky, hierarchizability is the measure of repeated patterns with "place-finding" remainder bits, applied recursively to the binary representation of a scale. For a full explanation, read Niels' paper, Hierarchizability as a Predictor of Scale Candidacy. The variable k is the maximum number of remainders allowed at each level of recursion, for them to count as an increment of hierarchizability. A high hierarchizability score is a good indicator of scale candidacy, ie a measure of usefulness for producing pleasing music. There is a strong correlation between scales with maximal hierarchizability and scales that are in popular use in a variety of world musical traditions.

kHierarchizabilityBreakdown PatternDiagram
111010101110101493k = 1h = 1
230([10][10]1)1([10][10]1)1493k = 2h = 3
330([10][10]1)1([10][10]1)1493k = 3h = 3
430([10][10]1)1([10][10]1)1493k = 4h = 3
530([10][10]1)1([10][10]1)1493k = 5h = 3

Center of Gravity

If tones of the scale are imagined as identical physical objects spaced around a unit circle, the center of gravity is the point where the scale is balanced.

Position

with origin in the center

(-0.071429, 0.123718)
Distance from Center0.142857
Angle in degrees

measured clockwise starting from the root.

210
Angle in cents

100 cents = 1 semitone.

700

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. A note about the multipliers: multiplying by 1 changes nothing, multiplying by 11 produces the same result as inversion. 5 is the only non-degenerate multiplier, with the multiplier 7 producing the inverse of 5.

Abbrev Operation Result Abbrev Operation Result
T0 <1,0> 1493       T0I <11,0> 1397
T1 <1,1> 2986      T1I <11,1> 2794
T2 <1,2> 1877      T2I <11,2> 1493
T3 <1,3> 3754      T3I <11,3> 2986
T4 <1,4> 3413      T4I <11,4> 1877
T5 <1,5> 2731      T5I <11,5> 3754
T6 <1,6> 1367      T6I <11,6> 3413
T7 <1,7> 2734      T7I <11,7> 2731
T8 <1,8> 1373      T8I <11,8> 1367
T9 <1,9> 2746      T9I <11,9> 2734
T10 <1,10> 1397      T10I <11,10> 1373
T11 <1,11> 2794      T11I <11,11> 2746
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 3413      T0MI <7,0> 1367
T1M <5,1> 2731      T1MI <7,1> 2734
T2M <5,2> 1367      T2MI <7,2> 1373
T3M <5,3> 2734      T3MI <7,3> 2746
T4M <5,4> 1373      T4MI <7,4> 1397
T5M <5,5> 2746      T5MI <7,5> 2794
T6M <5,6> 1397      T6MI <7,6> 1493
T7M <5,7> 2794      T7MI <7,7> 2986
T8M <5,8> 1493       T8MI <7,8> 1877
T9M <5,9> 2986      T9MI <7,9> 3754
T10M <5,10> 1877      T10MI <7,10> 3413
T11M <5,11> 3754      T11MI <7,11> 2731

The transformations that map this set to itself are: T0, T2I, T8M, 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.


This scale analysis was created by Ian Ring, Canadian Composer of works for Piano, and total music theory nerd. Scale notation generated by VexFlow and Lilypond, graph visualization by Graphviz, audio by TiMIDIty and FFMPEG. 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. (DOI, Patent owner: Dokuz Eylül University, Used with Permission.

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 naming the Carnatic ragas. Thanks to Niels Verosky for collaborating on the Hierarchizability diagrams. Thanks to u/howaboot for inventing the Center of Gravity metrics.