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Scale 1603: "Juxian"

Scale 1603: Juxian, 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

Dozenal
Juxian

Analysis

Cardinality

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

5 (pentatonic)

Pitch Class Set

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

{0,1,6,9,10}

Forte Number

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

5-16

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.

none

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.

yes
enantiomorph: 2125

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.

0 (ancohemitonic)

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.

4

Prime Form

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

no
prime: 155

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, 5, 3, 1, 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, 1, 3, 2, 1, 1>

Interval Spectrum

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

pm2n3sd2t

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> = {1,2,3,5}
<2> = {3,4,6,8}
<3> = {4,6,8,9}
<4> = {7,9,10,11}

Spectra Variation

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

3.6

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.

no

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.

1.683

Polygon Perimeter

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

5.381

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.

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.

none

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.

(11, 7, 36)

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 TriadsF♯{6,10,1}121
Minor Triadsf♯m{6,9,1}210.67
Diminished Triadsf♯°{6,9,0}121
Parsimonious Voice Leading Between Common Triads of Scale 1603. Created by Ian Ring ©2019 f#° f#° f#m f#m f#°->f#m F# F# f#m->F#

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.

Diameter2
Radius1
Self-Centeredno
Central Verticesf♯m
Peripheral Verticesf♯°, F♯

Modes

Modes are the rotational transformation of this scale. Scale 1603 can be rotated to make 4 other scales. The 1st mode is itself.

2nd mode:
Scale 2849
Scale 2849: Rubian, Ian Ring Music TheoryRubian
3rd mode:
Scale 217
Scale 217: Biwian, Ian Ring Music TheoryBiwian
4th mode:
Scale 539
Scale 539: Delian, Ian Ring Music TheoryDelian
5th mode:
Scale 2317
Scale 2317: Odoian, Ian Ring Music TheoryOdoian

Prime

The prime form of this scale is Scale 155

Scale 155Scale 155: Bakian, Ian Ring Music TheoryBakian

Complement

The pentatonic modal family [1603, 2849, 217, 539, 2317] (Forte: 5-16) is the complement of the heptatonic modal family [623, 889, 1939, 2359, 3017, 3227, 3661] (Forte: 7-16)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 1603 is 2125

Scale 2125Scale 2125: Nadian, Ian Ring Music TheoryNadian

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 1603 is chiral, and its enantiomorph is scale 2125

Scale 2125Scale 2125: Nadian, Ian Ring Music TheoryNadian

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> 1603       T0I <11,0> 2125
T1 <1,1> 3206      T1I <11,1> 155
T2 <1,2> 2317      T2I <11,2> 310
T3 <1,3> 539      T3I <11,3> 620
T4 <1,4> 1078      T4I <11,4> 1240
T5 <1,5> 2156      T5I <11,5> 2480
T6 <1,6> 217      T6I <11,6> 865
T7 <1,7> 434      T7I <11,7> 1730
T8 <1,8> 868      T8I <11,8> 3460
T9 <1,9> 1736      T9I <11,9> 2825
T10 <1,10> 3472      T10I <11,10> 1555
T11 <1,11> 2849      T11I <11,11> 3110
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 613      T0MI <7,0> 1225
T1M <5,1> 1226      T1MI <7,1> 2450
T2M <5,2> 2452      T2MI <7,2> 805
T3M <5,3> 809      T3MI <7,3> 1610
T4M <5,4> 1618      T4MI <7,4> 3220
T5M <5,5> 3236      T5MI <7,5> 2345
T6M <5,6> 2377      T6MI <7,6> 595
T7M <5,7> 659      T7MI <7,7> 1190
T8M <5,8> 1318      T8MI <7,8> 2380
T9M <5,9> 2636      T9MI <7,9> 665
T10M <5,10> 1177      T10MI <7,10> 1330
T11M <5,11> 2354      T11MI <7,11> 2660

The transformations that map this set to itself are: T0

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 1601Scale 1601: Juwian, Ian Ring Music TheoryJuwian
Scale 1605Scale 1605: Zanitonic, Ian Ring Music TheoryZanitonic
Scale 1607Scale 1607: Epytimic, Ian Ring Music TheoryEpytimic
Scale 1611Scale 1611: Dacrimic, Ian Ring Music TheoryDacrimic
Scale 1619Scale 1619: Prometheus Neapolitan, Ian Ring Music TheoryPrometheus Neapolitan
Scale 1635Scale 1635: Sygimic, Ian Ring Music TheorySygimic
Scale 1539Scale 1539: Jikian, Ian Ring Music TheoryJikian
Scale 1571Scale 1571: Lagitonic, Ian Ring Music TheoryLagitonic
Scale 1667Scale 1667: Kekian, Ian Ring Music TheoryKekian
Scale 1731Scale 1731: Koxian, Ian Ring Music TheoryKoxian
Scale 1859Scale 1859: Lixian, Ian Ring Music TheoryLixian
Scale 1091Scale 1091: Pedian, Ian Ring Music TheoryPedian
Scale 1347Scale 1347: Igoian, Ian Ring Music TheoryIgoian
Scale 579Scale 579: Giyian, Ian Ring Music TheoryGiyian
Scale 2627Scale 2627: Qerian, Ian Ring Music TheoryQerian
Scale 3651Scale 3651: Wuqian, Ian Ring Music TheoryWuqian

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.