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Scale 1635: "Sygimic"

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 Type	Triad^*	Pitch Classes	Degree	Eccentricity	Closeness Centrality
Major Triads	F	{5,9,0}	2	3	1.5
Major Triads	F♯	{6,10,1}	2	3	1.5
Minor Triads	f♯m	{6,9,1}	3	2	1.17
Minor Triads	a♯m	{10,1,5}	2	3	1.5
Augmented Triads	C♯+	{1,5,9}	3	2	1.17
Diminished Triads	f♯°	{6,9,0}	2	3	1.5

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.

Diameter	3
Radius	2
Self-Centered	no
Central Vertices	C♯+, f♯m
Peripheral Vertices	F, 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				Solimic
3rd mode: Scale 435				Raga Purna Pancama
4th mode: Scale 2265				Raga Rasamanjari
5th mode: Scale 795				Aeologimic
6th mode: Scale 2445				Zadimic

Prime

The prime form of this scale is Scale 411

Scale 411

Lygimic

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 2253

Raga Amarasenapriya

Enantiomorph

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

Scale 2253

Raga 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

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 1633				KAPian
Scale 1637				Syptimic
Scale 1639				Aeolothian
Scale 1643				Locrian Natural 6
Scale 1651				Asian
Scale 1603				JUXian
Scale 1619				Prometheus Neapolitan
Scale 1571				Lagitonic
Scale 1699				Raga Rasavali
Scale 1763				Katalian
Scale 1891				Thalian
Scale 1123				Iwato
Scale 1379				Kycrimic
Scale 611				Anchihoye
Scale 2659				Katynimic
Scale 3683				Dycrian

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.

Scale 1635: "Sygimic"

Bracelet Diagram

Tonnetz Diagram

Common Names

Analysis

Cardinality

Pitch Class Set

Proportional Saturation Vector

Polygon Perimeter

Heteromorphic Profile

Coherence Quotient

Sameness Quotient