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Scale 1519: "Locrian/Aeolian Mixed"

Scale 1519: Locrian/Aeolian Mixed, 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

Western Mixed
Locrian/Aeolian Mixed
Zeitler
Solygic
Dozenal
JIXian

Analysis

Cardinality

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

 9 (enneatonic)

Pitch Class Set

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

 {0,1,2,3,5,6,7,8,10}

Forte Number

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

 9-9

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.

 [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.

 6 (multihemitonic)

Cohemitonia

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

 4 (multicohemitonic)

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.

 1

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.

 8

Prime Form

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

 yes

Generator

Indicates if the scale can be constructed using a generator, and an origin.

 generator: 5
origin: 2

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.

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

 <6, 7, 6, 6, 8, 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, 0.5, 0, 0, 1, 0>

Interval Spectrum

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

 p8m6n6s7d6t3

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> = {3,4,5}
<4> = {5,6}
<5> = {6,7}
<6> = {7,8,9}
<7> = {8,9,10}
<8> = {10,11}

Spectra Variation

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

 1.333

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.

2.799

Polygon Perimeter

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

6.106

Myhill Property

A scale has Myhill Property if the Distribution Spectra have 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.

 no

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.

 [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".

Improper

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.

(4, 83, 168)

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.

0.812

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.

0.417

Generator

This scale has a generator of 5, originating on 2.

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♯{1,5,8}342.43
D♯{3,7,10}342.29
F♯{6,10,1}342.21
G♯{8,0,3}242.57
A♯{10,2,5}342.21
Minor Triadscm{0,3,7}342.43
d♯m{3,6,10}342.21
fm{5,8,0}242.57
gm{7,10,2}342.21
a♯m{10,1,5}342.29
Augmented TriadsD+{2,6,10}442
Diminished Triadsc°{0,3,6}242.57
d°{2,5,8}242.57
g°{7,10,1}242.57
Parsimonious Voice Leading Between Common Triads of Scale 1519. Created by Ian Ring ©2019 c° c° cm cm c°->cm d#m d#m c°->d#m D# D# cm->D# G# G# cm->G# C# C# d° d° C#->d° fm fm C#->fm a#m a#m C#->a#m A# A# d°->A# D+ D+ D+->d#m F# F# D+->F# gm gm D+->gm D+->A# d#m->D# D#->gm fm->G# g° g° F#->g° F#->a#m g°->gm a#m->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.

Diameter4
Radius4
Self-Centeredyes

Modes

Modes are the rotational transformation of this scale. Scale 1519 can be rotated to make 8 other scales. The 1st mode is itself.

2nd mode:
Scale 2807		Scale 2807: Zylygic, Ian Ring Music TheoryZylygic
3rd mode:
Scale 3451		Scale 3451: Garygic, Ian Ring Music TheoryGarygic
4th mode:
Scale 3773		Scale 3773: Raga Malgunji, Ian Ring Music TheoryRaga Malgunji
5th mode:
Scale 1967		Scale 1967: Diatonic Dorian Mixed, Ian Ring Music TheoryDiatonic Dorian Mixed
6th mode:
Scale 3031		Scale 3031: Epithygic, Ian Ring Music TheoryEpithygic
7th mode:
Scale 3563		Scale 3563: Ionoptygic, Ian Ring Music TheoryIonoptygic
8th mode:
Scale 3829		Scale 3829: Taishikicho, Ian Ring Music TheoryTaishikicho
9th mode:
Scale 1981		Scale 1981: Houseini, Ian Ring Music TheoryHouseini

Prime

This is the prime form of this scale.

Complement

The enneatonic modal family [1519, 2807, 3451, 3773, 1967, 3031, 3563, 3829, 1981] (Forte: 9-9) is the complement of the tritonic modal family [133, 161, 1057] (Forte: 3-9)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 1519 is 3829

Scale 3829Scale 3829: Taishikicho, Ian Ring Music TheoryTaishikicho

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> 1519       T0I <11,0> 3829
T1 <1,1> 3038      T1I <11,1> 3563
T2 <1,2> 1981      T2I <11,2> 3031
T3 <1,3> 3962      T3I <11,3> 1967
T4 <1,4> 3829      T4I <11,4> 3934
T5 <1,5> 3563      T5I <11,5> 3773
T6 <1,6> 3031      T6I <11,6> 3451
T7 <1,7> 1967      T7I <11,7> 2807
T8 <1,8> 3934      T8I <11,8> 1519
T9 <1,9> 3773      T9I <11,9> 3038
T10 <1,10> 3451      T10I <11,10> 1981
T11 <1,11> 2807      T11I <11,11> 3962
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 3199      T0MI <7,0> 4039
T1M <5,1> 2303      T1MI <7,1> 3983
T2M <5,2> 511      T2MI <7,2> 3871
T3M <5,3> 1022      T3MI <7,3> 3647
T4M <5,4> 2044      T4MI <7,4> 3199
T5M <5,5> 4088      T5MI <7,5> 2303
T6M <5,6> 4081      T6MI <7,6> 511
T7M <5,7> 4067      T7MI <7,7> 1022
T8M <5,8> 4039      T8MI <7,8> 2044
T9M <5,9> 3983      T9MI <7,9> 4088
T10M <5,10> 3871      T10MI <7,10> 4081
T11M <5,11> 3647      T11MI <7,11> 4067

The transformations that map this set to itself are: T0, T8I

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 1517Scale 1517: Spanish Octamode 4th Rotation, Ian Ring Music TheorySpanish Octamode 4th Rotation
Scale 1515Scale 1515: Phrygian/Locrian Mixed, Ian Ring Music TheoryPhrygian/Locrian Mixed
Scale 1511Scale 1511: Styptyllic, Ian Ring Music TheoryStyptyllic
Scale 1527Scale 1527: Aeolyrygic, Ian Ring Music TheoryAeolyrygic
Scale 1535Scale 1535: Mixodyllian, Ian Ring Music TheoryMixodyllian
Scale 1487Scale 1487: Lycryllic, Ian Ring Music TheoryLycryllic
Scale 1503Scale 1503: Padygic, Ian Ring Music TheoryPadygic
Scale 1455Scale 1455: Quartal Octamode, Ian Ring Music TheoryQuartal Octamode
Scale 1391Scale 1391: Aeradyllic, Ian Ring Music TheoryAeradyllic
Scale 1263Scale 1263: Stynyllic, Ian Ring Music TheoryStynyllic
Scale 1775Scale 1775: Lyrygic, Ian Ring Music TheoryLyrygic
Scale 2031Scale 2031: Gadyllian, Ian Ring Music TheoryGadyllian
Scale 495Scale 495: Bocryllic, Ian Ring Music TheoryBocryllic
Scale 1007Scale 1007: Ionycrygic, Ian Ring Music TheoryIonycrygic
Scale 2543Scale 2543: Dydygic, Ian Ring Music TheoryDydygic
Scale 3567Scale 3567: Epityllian, Ian Ring Music TheoryEpityllian

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. (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.