The Exciting Universe Of Music Theory

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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 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).

- Zeitler
- Syptimic

Cardinality | 6 (hexatonic) |
---|---|

Pitch Class Set | {0,2,5,6,9,10} |

Forte Number | 6-31 |

Rotational Symmetry | none |

Reflection Axes | none |

Palindromic | no |

Chirality | yes enantiomorph: 1229 |

Hemitonia | 2 (dihemitonic) |

Cohemitonia | 0 (ancohemitonic) |

Imperfections | 3 |

Modes | 5 |

Prime? | no prime: 691 |

Deep Scale | no |

Interval Vector | 223431 |

Interval Spectrum | p^{3}m^{4}n^{3}s^{2}d^{2}t |

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

Spectra Variation | 1.667 |

Maximally Even | no |

Maximal Area Set | no |

Interior Area | 2.366 |

Myhill Property | no |

Balanced | no |

Ridge Tones | none |

Propriety | Proper |

Heliotonic | no |

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 | D | {2,6,9} | 3 | 2 | 1.17 |

F | {5,9,0} | 2 | 3 | 1.5 | |

A♯ | {10,2,5} | 2 | 3 | 1.5 | |

Minor Triads | dm | {2,5,9} | 3 | 2 | 1.17 |

Augmented Triads | D+ | {2,6,10} | 2 | 3 | 1.5 |

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 | dm, D |

Peripheral Vertices | D+, F, f♯°, A♯ |

Modes are the rotational transformation of this scale. Scale 1637 can be rotated to make 5 other scales. The 1st mode is itself.

2nd mode: Scale 1433 | Dynimic | ||||

3rd mode: Scale 691 | Raga Kalavati | This is the prime mode | |||

4th mode: Scale 2393 | Zathimic | ||||

5th mode: Scale 811 | Radimic | ||||

6th mode: Scale 2453 | Raga Latika |

The prime form of this scale is Scale 691

Scale 691 | Raga Kalavati |

The hexatonic modal family [1637, 1433, 691, 2393, 811, 2453] (Forte: 6-31) is the complement of the hexatonic modal family [691, 811, 1433, 1637, 2393, 2453] (Forte: 6-31)

The inverse of a scale is a reflection using the root as its axis. The inverse of 1637 is 1229

Scale 1229 | Raga Simharava |

Only scales that are chiral will have an enantiomorph. Scale 1637 is chiral, and its enantiomorph is scale 1229

Scale 1229 | Raga Simharava |

T_{0} | 1637 | T_{0}I | 1229 | |||||

T_{1} | 3274 | T_{1}I | 2458 | |||||

T_{2} | 2453 | T_{2}I | 821 | |||||

T_{3} | 811 | T_{3}I | 1642 | |||||

T_{4} | 1622 | T_{4}I | 3284 | |||||

T_{5} | 3244 | T_{5}I | 2473 | |||||

T_{6} | 2393 | T_{6}I | 851 | |||||

T_{7} | 691 | T_{7}I | 1702 | |||||

T_{8} | 1382 | T_{8}I | 3404 | |||||

T_{9} | 2764 | T_{9}I | 2713 | |||||

T_{10} | 1433 | T_{10}I | 1331 | |||||

T_{11} | 2866 | T_{11}I | 2662 |

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 1639 | Aeolothian | |||

Scale 1633 | ||||

Scale 1635 | Sygimic | |||

Scale 1641 | Bocrimic | |||

Scale 1645 | Dorian Flat 5 | |||

Scale 1653 | Minor Romani Inverse | |||

Scale 1605 | Zanitonic | |||

Scale 1621 | Scriabin's Prometheus | |||

Scale 1573 | Raga Guhamanohari | |||

Scale 1701 | Dominant Seventh | |||

Scale 1765 | Lonian | |||

Scale 1893 | Ionylian | |||

Scale 1125 | Ionaritonic | |||

Scale 1381 | Padimic | |||

Scale 613 | Phralitonic | |||

Scale 2661 | Stydimic | |||

Scale 3685 | Kodian |

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.