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Scale 1659: "Maqam Shadd'araban"

Scale 1659: Maqam Shadd'araban, 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

Arabic
Maqam Shadd'araban
Zeitler
Magyllic

Analysis

Cardinality8 (octatonic)
Pitch Class Set{0,1,3,4,5,6,9,10}
Forte Number8-18
Rotational Symmetrynone
Reflection Axesnone
Palindromicno
Chiralityyes
enantiomorph: 3021
Hemitonia5 (multihemitonic)
Cohemitonia2 (dicohemitonic)
Imperfections3
Modes7
Prime?no
prime: 879
Deep Scaleno
Interval Vector546553
Interval Spectrump5m5n6s4d5t3
Distribution Spectra<1> = {1,2,3}
<2> = {2,3,4}
<3> = {3,4,5,6}
<4> = {5,6,7}
<5> = {6,7,8,9}
<6> = {8,9,10}
<7> = {9,10,11}
Spectra Variation2
Maximally Evenno
Maximal Area Setno
Interior Area2.616
Myhill Propertyno
Balancedno
Ridge Tonesnone
ProprietyImproper
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
Major TriadsF{5,9,0}342.08
F♯{6,10,1}342
A{9,1,4}342.08
Minor Triadsd♯m{3,6,10}342.23
f♯m{6,9,1}441.92
am{9,0,4}342.15
a♯m{10,1,5}342.08
Augmented TriadsC♯+{1,5,9}441.85
Diminished Triads{0,3,6}242.46
d♯°{3,6,9}242.31
f♯°{6,9,0}242.31
{9,0,3}242.38
a♯°{10,1,4}242.46
Parsimonious Voice Leading Between Common Triads of Scale 1659. Created by Ian Ring ©2019 d#m d#m c°->d#m c°->a° C#+ C#+ F F C#+->F f#m f#m C#+->f#m A A C#+->A a#m a#m C#+->a#m d#° d#° d#°->d#m d#°->f#m F# F# d#m->F# f#° f#° F->f#° am am F->am f#°->f#m f#m->F# F#->a#m a°->am am->A a#° a#° A->a#° a#°->a#m

view full size

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.

Diameter4
Radius4
Self-Centeredyes

Modes

Modes are the rotational transformation of this scale. Scale 1659 can be rotated to make 7 other scales. The 1st mode is itself.

2nd mode:
Scale 2877
Scale 2877: Phrylyllic, Ian Ring Music TheoryPhrylyllic
3rd mode:
Scale 1743
Scale 1743: Epigyllic, Ian Ring Music TheoryEpigyllic
4th mode:
Scale 2919
Scale 2919: Molyllic, Ian Ring Music TheoryMolyllic
5th mode:
Scale 3507
Scale 3507: Maqam Hijaz, Ian Ring Music TheoryMaqam Hijaz
6th mode:
Scale 3801
Scale 3801: Maptyllic, Ian Ring Music TheoryMaptyllic
7th mode:
Scale 987
Scale 987: Aeraptyllic, Ian Ring Music TheoryAeraptyllic
8th mode:
Scale 2541
Scale 2541: Algerian, Ian Ring Music TheoryAlgerian

Prime

The prime form of this scale is Scale 879

Scale 879Scale 879: Aeranyllic, Ian Ring Music TheoryAeranyllic

Complement

The octatonic modal family [1659, 2877, 1743, 2919, 3507, 3801, 987, 2541] (Forte: 8-18) is the complement of the tetratonic modal family [147, 609, 777, 2121] (Forte: 4-18)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 1659 is 3021

Scale 3021Scale 3021: Stodyllic, Ian Ring Music TheoryStodyllic

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 1659 is chiral, and its enantiomorph is scale 3021

Scale 3021Scale 3021: Stodyllic, Ian Ring Music TheoryStodyllic

Transformations:

T0 1659  T0I 3021
T1 3318  T1I 1947
T2 2541  T2I 3894
T3 987  T3I 3693
T4 1974  T4I 3291
T5 3948  T5I 2487
T6 3801  T6I 879
T7 3507  T7I 1758
T8 2919  T8I 3516
T9 1743  T9I 2937
T10 3486  T10I 1779
T11 2877  T11I 3558

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 1657Scale 1657: Ionothian, Ian Ring Music TheoryIonothian
Scale 1661Scale 1661: Gonyllic, Ian Ring Music TheoryGonyllic
Scale 1663Scale 1663: Lydygic, Ian Ring Music TheoryLydygic
Scale 1651Scale 1651: Asian, Ian Ring Music TheoryAsian
Scale 1655Scale 1655: Katygyllic, Ian Ring Music TheoryKatygyllic
Scale 1643Scale 1643: Locrian Natural 6, Ian Ring Music TheoryLocrian Natural 6
Scale 1627Scale 1627: Zyptian, Ian Ring Music TheoryZyptian
Scale 1595Scale 1595: Dacrian, Ian Ring Music TheoryDacrian
Scale 1723Scale 1723: JG Octatonic, Ian Ring Music TheoryJG Octatonic
Scale 1787Scale 1787: Mycrygic, Ian Ring Music TheoryMycrygic
Scale 1915Scale 1915: Thydygic, Ian Ring Music TheoryThydygic
Scale 1147Scale 1147: Epynian, Ian Ring Music TheoryEpynian
Scale 1403Scale 1403: Espla's Scale, Ian Ring Music TheoryEspla's Scale
Scale 635Scale 635: Epolian, Ian Ring Music TheoryEpolian
Scale 2683Scale 2683: Thodyllic, Ian Ring Music TheoryThodyllic
Scale 3707Scale 3707: Rynygic, Ian Ring Music TheoryRynygic

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. Tons of background resources contributed to the production of this summary; for a list of these peruse this Bibliography.