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Scale 1635: "Sygimic"

Scale 1635: Sygimic, 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

Zeitler
Sygimic
Dozenal
KAQian

Analysis

Cardinality

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

 6 (hexatonic)

Pitch Class Set

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

 {0,1,5,6,9,10}

Forte Number

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

 6-Z19

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: 2253

Hemitonia

A hemitone is two tones separated by a semitone interval. Hemitonia describes how many such hemitones exist.

 3 (trihemitonic)

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.

 3

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.

 6

Prime Form

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

 no
prime: 411

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.

 [1, 4, 1, 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.

 <3, 1, 3, 4, 3, 1>

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.

<0.6, 0.167, 0.6, 0.5, 0.6, 0.333>

Interval Spectrum

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

 p3m4n3sd3t

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

Spectra Variation

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

 2.333

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.

 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.

2.116

Polygon Perimeter

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

5.699

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.

 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.

(8, 18, 62)

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.

0.6

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.

0.173

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 TriadsF{5,9,0}231.5
F♯{6,10,1}231.5
Minor Triadsf♯m{6,9,1}321.17
a♯m{10,1,5}231.5
Augmented TriadsC♯+{1,5,9}321.17
Diminished Triadsf♯°{6,9,0}231.5
Parsimonious Voice Leading Between Common Triads of Scale 1635. Created by Ian Ring ©2019 C#+ C#+ F F C#+->F f#m f#m C#+->f#m a#m a#m C#+->a#m f#° f#° F->f#° f#°->f#m F# F# f#m->F# F#->a#m

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
Radius2
Self-Centeredno
Central VerticesC♯+, f♯m
Peripheral VerticesF, f♯°, F♯, a♯m

Triad Polychords

Also known as Bi-Triadic Hexatonics (a term coined by mDecks), and related to Generic Modality Compression (a method for guitar by Mick Goodrick and Tim Miller), these are two common triads that when combined use all the tones in this scale.

There are 2 ways that this hexatonic scale can be split into two common triads.


Major: {5, 9, 0}
Major: {6, 10, 1}
Diminished: {6, 9, 0}
Minor: {10, 1, 5}

Modes

Modes are the rotational transformation of this scale.Scale 1635 can be rotated to make 5 other scales. The 1st mode is itself.

2nd mode:
Scale 2865		Scale 2865: Solimic, Ian Ring Music TheorySolimic
3rd mode:
Scale 435		Scale 435: Raga Purna Pancama, Ian Ring Music TheoryRaga Purna Pancama
4th mode:
Scale 2265		Scale 2265: Raga Rasamanjari, Ian Ring Music TheoryRaga Rasamanjari
5th mode:
Scale 795		Scale 795: Aeologimic, Ian Ring Music TheoryAeologimic
6th mode:
Scale 2445		Scale 2445: Zadimic, Ian Ring Music TheoryZadimic

Prime

The prime form of this scale is Scale 411

Scale 411Scale 411: Lygimic, Ian Ring Music TheoryLygimic

Complement

The hexatonic modal family [1635, 2865, 435, 2265, 795, 2445] (Forte: 6-Z19) is the complement of the hexatonic modal family [615, 825, 915, 2355, 2505, 3225] (Forte: 6-Z44)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 1635 is 2253

Scale 2253Scale 2253: Raga Amarasenapriya, Ian Ring Music TheoryRaga Amarasenapriya

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
111100011001101635k = 1h = 1
23([0]11[0][0])11([0]11[0][0])1635k = 2h = 3
33([0]11[0][0])11([0]11[0][0])1635k = 3h = 3
43([0]11[0][0])11([0]11[0][0])1635k = 4h = 3
53([0]11[0][0])11([0]11[0][0])1635k = 5h = 3

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 1635 is chiral, and its enantiomorph is scale 2253

Scale 2253Scale 2253: Raga Amarasenapriya, Ian Ring Music TheoryRaga Amarasenapriya

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> 1635       T0I <11,0> 2253
T1 <1,1> 3270      T1I <11,1> 411
T2 <1,2> 2445      T2I <11,2> 822
T3 <1,3> 795      T3I <11,3> 1644
T4 <1,4> 1590      T4I <11,4> 3288
T5 <1,5> 3180      T5I <11,5> 2481
T6 <1,6> 2265      T6I <11,6> 867
T7 <1,7> 435      T7I <11,7> 1734
T8 <1,8> 870      T8I <11,8> 3468
T9 <1,9> 1740      T9I <11,9> 2841
T10 <1,10> 3480      T10I <11,10> 1587
T11 <1,11> 2865      T11I <11,11> 3174
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 615      T0MI <7,0> 3273
T1M <5,1> 1230      T1MI <7,1> 2451
T2M <5,2> 2460      T2MI <7,2> 807
T3M <5,3> 825      T3MI <7,3> 1614
T4M <5,4> 1650      T4MI <7,4> 3228
T5M <5,5> 3300      T5MI <7,5> 2361
T6M <5,6> 2505      T6MI <7,6> 627
T7M <5,7> 915      T7MI <7,7> 1254
T8M <5,8> 1830      T8MI <7,8> 2508
T9M <5,9> 3660      T9MI <7,9> 921
T10M <5,10> 3225      T10MI <7,10> 1842
T11M <5,11> 2355      T11MI <7,11> 3684

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 1633Scale 1633: KAPian, Ian Ring Music TheoryKAPian
Scale 1637Scale 1637: Syptimic, Ian Ring Music TheorySyptimic
Scale 1639Scale 1639: Aeolothian, Ian Ring Music TheoryAeolothian
Scale 1643Scale 1643: Locrian Natural 6, Ian Ring Music TheoryLocrian Natural 6
Scale 1651Scale 1651: Asian, Ian Ring Music TheoryAsian
Scale 1603Scale 1603: JUXian, Ian Ring Music TheoryJUXian
Scale 1619Scale 1619: Prometheus Neapolitan, Ian Ring Music TheoryPrometheus Neapolitan
Scale 1571Scale 1571: Lagitonic, Ian Ring Music TheoryLagitonic
Scale 1699Scale 1699: Raga Rasavali, Ian Ring Music TheoryRaga Rasavali
Scale 1763Scale 1763: Katalian, Ian Ring Music TheoryKatalian
Scale 1891Scale 1891: Thalian, Ian Ring Music TheoryThalian
Scale 1123Scale 1123: Iwato, Ian Ring Music TheoryIwato
Scale 1379Scale 1379: Kycrimic, Ian Ring Music TheoryKycrimic
Scale 611Scale 611: Anchihoye, Ian Ring Music TheoryAnchihoye
Scale 2659Scale 2659: Katynimic, Ian Ring Music TheoryKatynimic
Scale 3683Scale 3683: Dycrian, Ian Ring Music TheoryDycrian

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.

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