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Scale 1495: "Messiaen Mode 6"

Scale 1495: Messiaen Mode 6, 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

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

Messiaen
Messiaen Mode 6
Zeitler
Pygyllic
Dozenal
Jejian

Analysis

Cardinality

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

8 (octatonic)

Pitch Class Set

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

{0,1,2,4,6,7,8,10}

Forte Number

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

8-25

Rotational Symmetry

Some scales have rotational symmetry, sometimes known as "limited transposition". If there are any rotational symmetries, these are the intervals of periodicity.

[6]

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, 4]

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.

4 (multihemitonic)

Cohemitonia

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

2 (dicohemitonic)

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.

4

Modes

Modes are the rotational transformations of this scale. This number does not include the scale itself, so the number is usually one less than its cardinality; unless there are rotational symmetries then there are even fewer modes.

3

Prime Form

Describes if this scale is in prime form, using the Rahn/Ring formula.

yes

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.

no

Interval Structure

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

[1, 1, 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.

<4, 6, 4, 6, 4, 4>

Interval Spectrum

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

p4m6n4s6d4t4

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

Spectra Variation

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

1

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.

2.732

Polygon Perimeter

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

6.071

Myhill Property

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

no

Balanced

A scale is balanced if the distribution of its tones would satisfy the "centrifuge problem", ie are placed such that it would balance on its centre point.

yes

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.

[2,8]

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, 32, 104)

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
F♯{6,10,1}342
Minor Triadsc♯m{1,4,8}342
gm{7,10,2}342
Augmented TriadsC+{0,4,8}242.2
D+{2,6,10}242.2
Diminished Triadsc♯°{1,4,7}242.2
{4,7,10}242
{7,10,1}242.2
a♯°{10,1,4}242
Parsimonious Voice Leading Between Common Triads of Scale 1495. 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#° D+ D+ F# F# D+->F# gm gm D+->gm e°->gm F#->g° F#->a#° g°->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
Radius4
Self-Centeredyes

Modes

Modes are the rotational transformation of this scale. Scale 1495 can be rotated to make 3 other scales. The 1st mode is itself.

2nd mode:
Scale 2795
Scale 2795: Van der Horst Octatonic, Ian Ring Music TheoryVan der Horst Octatonic
3rd mode:
Scale 3445
Scale 3445: Messiaen Mode 6 Inverse, Ian Ring Music TheoryMessiaen Mode 6 Inverse
4th mode:
Scale 1885
Scale 1885: Saptyllic, Ian Ring Music TheorySaptyllic

Prime

This is the prime form of this scale.

Complement

The octatonic modal family [1495, 2795, 3445, 1885] (Forte: 8-25) is the complement of the tetratonic modal family [325, 1105] (Forte: 4-25)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 1495 is 3445

Scale 3445Scale 3445: Messiaen Mode 6 Inverse, Ian Ring Music TheoryMessiaen Mode 6 Inverse

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

Abbrev Operation Result Abbrev Operation Result
T0 <1,0> 1495       T0I <11,0> 3445
T1 <1,1> 2990      T1I <11,1> 2795
T2 <1,2> 1885      T2I <11,2> 1495
T3 <1,3> 3770      T3I <11,3> 2990
T4 <1,4> 3445      T4I <11,4> 1885
T5 <1,5> 2795      T5I <11,5> 3770
T6 <1,6> 1495       T6I <11,6> 3445
T7 <1,7> 2990      T7I <11,7> 2795
T8 <1,8> 1885      T8I <11,8> 1495
T9 <1,9> 3770      T9I <11,9> 2990
T10 <1,10> 3445      T10I <11,10> 1885
T11 <1,11> 2795      T11I <11,11> 3770
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 3445      T0MI <7,0> 1495
T1M <5,1> 2795      T1MI <7,1> 2990
T2M <5,2> 1495       T2MI <7,2> 1885
T3M <5,3> 2990      T3MI <7,3> 3770
T4M <5,4> 1885      T4MI <7,4> 3445
T5M <5,5> 3770      T5MI <7,5> 2795
T6M <5,6> 3445      T6MI <7,6> 1495
T7M <5,7> 2795      T7MI <7,7> 2990
T8M <5,8> 1495       T8MI <7,8> 1885
T9M <5,9> 2990      T9MI <7,9> 3770
T10M <5,10> 1885      T10MI <7,10> 3445
T11M <5,11> 3770      T11MI <7,11> 2795

The transformations that map this set to itself are: T0, T6, T2I, T8I, T2M, T8M, T0MI, 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.

Scale 1493Scale 1493: Lydian Minor, Ian Ring Music TheoryLydian Minor
Scale 1491Scale 1491: Namanarayani, Ian Ring Music TheoryNamanarayani
Scale 1499Scale 1499: Bebop Locrian, Ian Ring Music TheoryBebop Locrian
Scale 1503Scale 1503: Padygic, Ian Ring Music TheoryPadygic
Scale 1479Scale 1479: Mela Jalarnava, Ian Ring Music TheoryMela Jalarnava
Scale 1487Scale 1487: Mothyllic, Ian Ring Music TheoryMothyllic
Scale 1511Scale 1511: Styptyllic, Ian Ring Music TheoryStyptyllic
Scale 1527Scale 1527: Aeolyrigic, Ian Ring Music TheoryAeolyrigic
Scale 1431Scale 1431: Phragian, Ian Ring Music TheoryPhragian
Scale 1463Scale 1463: Ugrian, Ian Ring Music TheoryUgrian
Scale 1367Scale 1367: Leading Whole-Tone Inverse, Ian Ring Music TheoryLeading Whole-Tone Inverse
Scale 1239Scale 1239: Epaptian, Ian Ring Music TheoryEpaptian
Scale 1751Scale 1751: Aeolyryllic, Ian Ring Music TheoryAeolyryllic
Scale 2007Scale 2007: Stonygic, Ian Ring Music TheoryStonygic
Scale 471Scale 471: Dodian, Ian Ring Music TheoryDodian
Scale 983Scale 983: Thocryllic, Ian Ring Music TheoryThocryllic
Scale 2519Scale 2519: Dathyllic, Ian Ring Music TheoryDathyllic
Scale 3543Scale 3543: Aeolonygic, Ian Ring Music TheoryAeolonygic

This scale analysis was created by Ian Ring, Canadian Composer of works for Piano, and total music theory nerd. Scale notation generated by VexFlow, graph visualization by Graphviz, and MIDI playback by MIDI.js. 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. (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, and George Howlett for assistance with the Carnatic ragas.