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Scale 1625: "Lythimic"

Scale 1625: Lythimic, 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

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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

Zeitler
Lythimic

Analysis

Cardinality6 (hexatonic)
Pitch Class Set{0,3,4,6,9,10}
Forte Number6-30
Rotational Symmetry6 semitones
Reflection Axesnone
Palindromicno
Chiralityyes
enantiomorph: 845
Hemitonia2 (dihemitonic)
Cohemitonia0 (ancohemitonic)
Imperfections4
Modes2
Prime?no
prime: 715
Deep Scaleno
Interval Vector224223
Interval Spectrump2m2n4s2d2t3
Distribution Spectra<1> = {1,2,3}
<2> = {3,4,5}
<3> = {6}
<4> = {7,8,9}
<5> = {9,10,11}
Spectra Variation1.333
Maximally Evenno
Maximal Area Setno
Interior Area2.366
Myhill Propertyno
Balancedyes
Ridge Tonesnone
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
Minor Triadsd♯m{3,6,10}231.5
am{9,0,4}231.5
Diminished Triads{0,3,6}231.5
d♯°{3,6,9}231.5
f♯°{6,9,0}231.5
{9,0,3}231.5
Parsimonious Voice Leading Between Common Triads of Scale 1625. Created by Ian Ring ©2019 d#m d#m c°->d#m c°->a° d#° d#° d#°->d#m f#° f#° d#°->f#° am am f#°->am a°->am

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.

Diameter3
Radius3
Self-Centeredyes

Modes

Modes are the rotational transformation of this scale. Scale 1625 can be rotated to make 2 other scales. The 1st mode is itself.

2nd mode:
Scale 715
Scale 715: Messiaen Truncated Mode 2, Ian Ring Music TheoryMessiaen Truncated Mode 2This is the prime mode
3rd mode:
Scale 2405
Scale 2405: Katalimic, Ian Ring Music TheoryKatalimic

Prime

The prime form of this scale is Scale 715

Scale 715Scale 715: Messiaen Truncated Mode 2, Ian Ring Music TheoryMessiaen Truncated Mode 2

Complement

The hexatonic modal family [1625, 715, 2405] (Forte: 6-30) is the complement of the hexatonic modal family [715, 1625, 2405] (Forte: 6-30)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 1625 is 845

Scale 845Scale 845: Raga Neelangi, Ian Ring Music TheoryRaga Neelangi

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 1625 is chiral, and its enantiomorph is scale 845

Scale 845Scale 845: Raga Neelangi, Ian Ring Music TheoryRaga Neelangi

Transformations:

T0 1625  T0I 845
T1 3250  T1I 1690
T2 2405  T2I 3380
T3 715  T3I 2665
T4 1430  T4I 1235
T5 2860  T5I 2470
T6 1625  T6I 845
T7 3250  T7I 1690
T8 2405  T8I 3380
T9 715  T9I 2665
T10 1430  T10I 1235
T11 2860  T11I 2470

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 1627Scale 1627: Zyptian, Ian Ring Music TheoryZyptian
Scale 1629Scale 1629: Synian, Ian Ring Music TheorySynian
Scale 1617Scale 1617: Phronitonic, Ian Ring Music TheoryPhronitonic
Scale 1621Scale 1621: Scriabin's Prometheus, Ian Ring Music TheoryScriabin's Prometheus
Scale 1609Scale 1609: Thyritonic, Ian Ring Music TheoryThyritonic
Scale 1641Scale 1641: Bocrimic, Ian Ring Music TheoryBocrimic
Scale 1657Scale 1657: Ionothian, Ian Ring Music TheoryIonothian
Scale 1561Scale 1561, Ian Ring Music Theory
Scale 1593Scale 1593: Zogimic, Ian Ring Music TheoryZogimic
Scale 1689Scale 1689: Lorimic, Ian Ring Music TheoryLorimic
Scale 1753Scale 1753: Hungarian Major, Ian Ring Music TheoryHungarian Major
Scale 1881Scale 1881: Katorian, Ian Ring Music TheoryKatorian
Scale 1113Scale 1113: Locrian Pentatonic 2, Ian Ring Music TheoryLocrian Pentatonic 2
Scale 1369Scale 1369: Boptimic, Ian Ring Music TheoryBoptimic
Scale 601Scale 601: Bycritonic, Ian Ring Music TheoryBycritonic
Scale 2649Scale 2649: Aeolythimic, Ian Ring Music TheoryAeolythimic
Scale 3673Scale 3673: Ranian, Ian Ring Music TheoryRanian

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.