The Exciting Universe Of Music Theory
presents

more than you ever wanted to know about...

Scale 1637: "Syptimic"

Scale 1637: Syptimic, 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
Syptimic
Dozenal
Karian

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

{0,2,5,6,9,10}

Forte Number

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

6-31

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: 1229

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.

3

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.

5

Prime Form

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

no
prime: 691

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.

[2, 3, 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.

<2, 2, 3, 4, 3, 1>

Interval Spectrum

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

p3m4n3s2d2t

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

Spectra Variation

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

1.667

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.

2.366

Polygon Perimeter

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

5.864

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".

Proper

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.

(0, 8, 54)

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 TriadsD{2,6,9}321.17
F{5,9,0}231.5
A♯{10,2,5}231.5
Minor Triadsdm{2,5,9}321.17
Augmented TriadsD+{2,6,10}231.5
Diminished Triadsf♯°{6,9,0}231.5
Parsimonious Voice Leading Between Common Triads of Scale 1637. Created by Ian Ring ©2019 dm dm D D dm->D F F dm->F A# A# dm->A# D+ D+ D->D+ f#° f#° D->f#° D+->A# F->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.

Diameter3
Radius2
Self-Centeredno
Central Verticesdm, D
Peripheral VerticesD+, F, f♯°, A♯

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.


Augmented: {2, 6, 10}
Major: {5, 9, 0}

Diminished: {6, 9, 0}
Major: {10, 2, 5}

Modes

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
Scale 1433: Dynimic, Ian Ring Music TheoryDynimic
3rd mode:
Scale 691
Scale 691: Raga Kalavati, Ian Ring Music TheoryRaga KalavatiThis is the prime mode
4th mode:
Scale 2393
Scale 2393: Zathimic, Ian Ring Music TheoryZathimic
5th mode:
Scale 811
Scale 811: Radimic, Ian Ring Music TheoryRadimic
6th mode:
Scale 2453
Scale 2453: Raga Latika, Ian Ring Music TheoryRaga Latika

Prime

The prime form of this scale is Scale 691

Scale 691Scale 691: Raga Kalavati, Ian Ring Music TheoryRaga Kalavati

Complement

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)

Inverse

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

Scale 1229Scale 1229: Raga Simharava, Ian Ring Music TheoryRaga Simharava

Enantiomorph

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

Scale 1229Scale 1229: Raga Simharava, Ian Ring Music TheoryRaga Simharava

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> 1637       T0I <11,0> 1229
T1 <1,1> 3274      T1I <11,1> 2458
T2 <1,2> 2453      T2I <11,2> 821
T3 <1,3> 811      T3I <11,3> 1642
T4 <1,4> 1622      T4I <11,4> 3284
T5 <1,5> 3244      T5I <11,5> 2473
T6 <1,6> 2393      T6I <11,6> 851
T7 <1,7> 691      T7I <11,7> 1702
T8 <1,8> 1382      T8I <11,8> 3404
T9 <1,9> 2764      T9I <11,9> 2713
T10 <1,10> 1433      T10I <11,10> 1331
T11 <1,11> 2866      T11I <11,11> 2662
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 1607      T0MI <7,0> 3149
T1M <5,1> 3214      T1MI <7,1> 2203
T2M <5,2> 2333      T2MI <7,2> 311
T3M <5,3> 571      T3MI <7,3> 622
T4M <5,4> 1142      T4MI <7,4> 1244
T5M <5,5> 2284      T5MI <7,5> 2488
T6M <5,6> 473      T6MI <7,6> 881
T7M <5,7> 946      T7MI <7,7> 1762
T8M <5,8> 1892      T8MI <7,8> 3524
T9M <5,9> 3784      T9MI <7,9> 2953
T10M <5,10> 3473      T10MI <7,10> 1811
T11M <5,11> 2851      T11MI <7,11> 3622

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 1639Scale 1639: Aeolothian, Ian Ring Music TheoryAeolothian
Scale 1633Scale 1633: Kapian, Ian Ring Music TheoryKapian
Scale 1635Scale 1635: Sygimic, Ian Ring Music TheorySygimic
Scale 1641Scale 1641: Bocrimic, Ian Ring Music TheoryBocrimic
Scale 1645Scale 1645: Dorian Flat 5, Ian Ring Music TheoryDorian Flat 5
Scale 1653Scale 1653: Minor Romani Inverse, Ian Ring Music TheoryMinor Romani Inverse
Scale 1605Scale 1605: Zanitonic, Ian Ring Music TheoryZanitonic
Scale 1621Scale 1621: Scriabin's Prometheus, Ian Ring Music TheoryScriabin's Prometheus
Scale 1573Scale 1573: Raga Guhamanohari, Ian Ring Music TheoryRaga Guhamanohari
Scale 1701Scale 1701: Dominant Seventh, Ian Ring Music TheoryDominant Seventh
Scale 1765Scale 1765: Lonian, Ian Ring Music TheoryLonian
Scale 1893Scale 1893: Ionylian, Ian Ring Music TheoryIonylian
Scale 1125Scale 1125: Ionaritonic, Ian Ring Music TheoryIonaritonic
Scale 1381Scale 1381: Padimic, Ian Ring Music TheoryPadimic
Scale 613Scale 613: Phralitonic, Ian Ring Music TheoryPhralitonic
Scale 2661Scale 2661: Stydimic, Ian Ring Music TheoryStydimic
Scale 3685Scale 3685: Kodian, Ian Ring Music TheoryKodian

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.