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Scale 1685: "Zeracrimic"

Scale 1685: Zeracrimic, 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
Zeracrimic
Dozenal
Kivian

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

{0,2,4,7,9,10}

Forte Number

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

6-33

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: 1325

Hemitonia

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

1 (unhemitonic)

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.

2

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: 685

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, 2, 3, 2, 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.

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

Interval Spectrum

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

p4m2n3s4dt

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.

2.482

Polygon Perimeter

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

5.932

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, 12, 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 TriadsC{0,4,7}221
Minor Triadsgm{7,10,2}131.5
am{9,0,4}131.5
Diminished Triads{4,7,10}221
Parsimonious Voice Leading Between Common Triads of Scale 1685. Created by Ian Ring ©2019 C C C->e° am am C->am gm gm e°->gm

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, e°
Peripheral Verticesgm, am

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 is 1 way that this hexatonic scale can be split into two common triads.


Minor: {7, 10, 2}
Minor: {9, 0, 4}

Modes

Modes are the rotational transformation of this scale. Scale 1685 can be rotated to make 5 other scales. The 1st mode is itself.

2nd mode:
Scale 1445
Scale 1445: Raga Navamanohari, Ian Ring Music TheoryRaga Navamanohari
3rd mode:
Scale 1385
Scale 1385: Phracrimic, Ian Ring Music TheoryPhracrimic
4th mode:
Scale 685
Scale 685: Raga Suddha Bangala, Ian Ring Music TheoryRaga Suddha BangalaThis is the prime mode
5th mode:
Scale 1195
Scale 1195: Raga Gandharavam, Ian Ring Music TheoryRaga Gandharavam
6th mode:
Scale 2645
Scale 2645: Raga Mruganandana, Ian Ring Music TheoryRaga Mruganandana

Prime

The prime form of this scale is Scale 685

Scale 685Scale 685: Raga Suddha Bangala, Ian Ring Music TheoryRaga Suddha Bangala

Complement

The hexatonic modal family [1685, 1445, 1385, 685, 1195, 2645] (Forte: 6-33) is the complement of the hexatonic modal family [685, 1195, 1385, 1445, 1685, 2645] (Forte: 6-33)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 1685 is 1325

Scale 1325Scale 1325: Phradimic, Ian Ring Music TheoryPhradimic

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 1685 is chiral, and its enantiomorph is scale 1325

Scale 1325Scale 1325: Phradimic, Ian Ring Music TheoryPhradimic

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> 1685       T0I <11,0> 1325
T1 <1,1> 3370      T1I <11,1> 2650
T2 <1,2> 2645      T2I <11,2> 1205
T3 <1,3> 1195      T3I <11,3> 2410
T4 <1,4> 2390      T4I <11,4> 725
T5 <1,5> 685      T5I <11,5> 1450
T6 <1,6> 1370      T6I <11,6> 2900
T7 <1,7> 2740      T7I <11,7> 1705
T8 <1,8> 1385      T8I <11,8> 3410
T9 <1,9> 2770      T9I <11,9> 2725
T10 <1,10> 1445      T10I <11,10> 1355
T11 <1,11> 2890      T11I <11,11> 2710
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 3845      T0MI <7,0> 1055
T1M <5,1> 3595      T1MI <7,1> 2110
T2M <5,2> 3095      T2MI <7,2> 125
T3M <5,3> 2095      T3MI <7,3> 250
T4M <5,4> 95      T4MI <7,4> 500
T5M <5,5> 190      T5MI <7,5> 1000
T6M <5,6> 380      T6MI <7,6> 2000
T7M <5,7> 760      T7MI <7,7> 4000
T8M <5,8> 1520      T8MI <7,8> 3905
T9M <5,9> 3040      T9MI <7,9> 3715
T10M <5,10> 1985      T10MI <7,10> 3335
T11M <5,11> 3970      T11MI <7,11> 2575

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 1687Scale 1687: Phralian, Ian Ring Music TheoryPhralian
Scale 1681Scale 1681: Raga Valaji, Ian Ring Music TheoryRaga Valaji
Scale 1683Scale 1683: Raga Malayamarutam, Ian Ring Music TheoryRaga Malayamarutam
Scale 1689Scale 1689: Lorimic, Ian Ring Music TheoryLorimic
Scale 1693Scale 1693: Dogian, Ian Ring Music TheoryDogian
Scale 1669Scale 1669: Raga Matha Kokila, Ian Ring Music TheoryRaga Matha Kokila
Scale 1677Scale 1677: Raga Manavi, Ian Ring Music TheoryRaga Manavi
Scale 1701Scale 1701: Dominant Seventh, Ian Ring Music TheoryDominant Seventh
Scale 1717Scale 1717: Mixolydian, Ian Ring Music TheoryMixolydian
Scale 1749Scale 1749: Acoustic, Ian Ring Music TheoryAcoustic
Scale 1557Scale 1557: Jovian, Ian Ring Music TheoryJovian
Scale 1621Scale 1621: Scriabin's Prometheus, Ian Ring Music TheoryScriabin's Prometheus
Scale 1813Scale 1813: Katothimic, Ian Ring Music TheoryKatothimic
Scale 1941Scale 1941: Aeranian, Ian Ring Music TheoryAeranian
Scale 1173Scale 1173: Dominant Pentatonic, Ian Ring Music TheoryDominant Pentatonic
Scale 1429Scale 1429: Bythimic, Ian Ring Music TheoryBythimic
Scale 661Scale 661: Major Pentatonic, Ian Ring Music TheoryMajor Pentatonic
Scale 2709Scale 2709: Raga Kumud, Ian Ring Music TheoryRaga Kumud
Scale 3733Scale 3733: Gycrian, Ian Ring Music TheoryGycrian

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.