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# Scale 1693: "Dogian" ### 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).

Zeitler
Dogian
Dozenal
Kizian

## Analysis

#### Cardinality

Cardinality is the count of how many pitches are in the scale.

7 (heptatonic)

#### Pitch Class Set

The tones in this scale, expressed as numbers from 0 to 11

{0,2,3,4,7,9,10}

#### Forte Number

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

7-29

#### 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: 1837

#### 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.

1 (uncohemitonic)

#### 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.

6

#### Prime Form

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

no
prime: 727

#### 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, 1, 1, 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.

<3, 4, 4, 3, 5, 2>

#### Interval Spectrum

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

p5m3n4s4d3t2

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

#### Spectra Variation

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

2

#### 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.

2.549

#### Polygon Perimeter

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

5.967

#### 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".

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.

(4, 28, 92)

## Tertian Harmonic Chords

Tertian chords are made from alternating members of the scale, ie built from "stacked thirds". Not all scales lend themselves well to tertian harmony. 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

D♯{3,7,10}331.43
gm{7,10,2}142.14
am{9,0,4}241.86
{9,0,3}231.71

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.

Diameter 4 2 no cm gm, am

## Modes

Modes are the rotational transformation of this scale. Scale 1693 can be rotated to make 6 other scales. The 1st mode is itself.

 2nd mode:Scale 1447 Mela Ratnangi 3rd mode:Scale 2771 Marva That 4th mode:Scale 3433 Thonian 5th mode:Scale 941 Mela Jhankaradhvani 6th mode:Scale 1259 Stadian 7th mode:Scale 2677 Thodian

## Prime

The prime form of this scale is Scale 727

 Scale 727 Phradian

## Complement

The heptatonic modal family [1693, 1447, 2771, 3433, 941, 1259, 2677] (Forte: 7-29) is the complement of the pentatonic modal family [331, 709, 1201, 1577, 2213] (Forte: 5-29)

## Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 1693 is 1837

 Scale 1837 Dalian

## Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 1693 is chiral, and its enantiomorph is scale 1837

 Scale 1837 Dalian

## 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> 1693       T0I <11,0> 1837
T1 <1,1> 3386      T1I <11,1> 3674
T2 <1,2> 2677      T2I <11,2> 3253
T3 <1,3> 1259      T3I <11,3> 2411
T4 <1,4> 2518      T4I <11,4> 727
T5 <1,5> 941      T5I <11,5> 1454
T6 <1,6> 1882      T6I <11,6> 2908
T7 <1,7> 3764      T7I <11,7> 1721
T8 <1,8> 3433      T8I <11,8> 3442
T9 <1,9> 2771      T9I <11,9> 2789
T10 <1,10> 1447      T10I <11,10> 1483
T11 <1,11> 2894      T11I <11,11> 2966
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 3853      T0MI <7,0> 1567
T1M <5,1> 3611      T1MI <7,1> 3134
T2M <5,2> 3127      T2MI <7,2> 2173
T3M <5,3> 2159      T3MI <7,3> 251
T4M <5,4> 223      T4MI <7,4> 502
T5M <5,5> 446      T5MI <7,5> 1004
T6M <5,6> 892      T6MI <7,6> 2008
T7M <5,7> 1784      T7MI <7,7> 4016
T8M <5,8> 3568      T8MI <7,8> 3937
T9M <5,9> 3041      T9MI <7,9> 3779
T10M <5,10> 1987      T10MI <7,10> 3463
T11M <5,11> 3974      T11MI <7,11> 2831

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 1695 Phrodyllic Scale 1689 Lorimic Scale 1691 Kathian Scale 1685 Zeracrimic Scale 1677 Raga Manavi Scale 1709 Dorian Scale 1725 Minor Bebop Scale 1757 Kunian Scale 1565 Jozian Scale 1629 Synian Scale 1821 Aeradian Scale 1949 Mathyllic Scale 1181 Katagimic Scale 1437 Sabach ascending Scale 669 Gycrimic Scale 2717 Epygian Scale 3741 Zydyllic

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.