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).

- Western
- Dorian
- Thang Kruat
- Modern Dorian
- Gregorian Nr.8

- Southeast Asia
- Khmer Hepatatonic 5

- Thailand
- Thang Nawk

- Ancient Greek
- Greek Phrygian

- Medieval
- Medieval Dorian
- Medieval Hypomixolydian

- Hindustani
- Kafi That
- Kafi Theta
- That Kafi

- Carnatic
- Mela Kharaharapriya
- Raga Bageshri
- Karakarapriya

- Unknown / Unsorted
- Bhimpalasi
- Nayaki Kanada
- Sriraga
- Ritigaula
- Huseni
- Kanara
- Yu
- Hyojo
- Oshikicho
- Nam

- Japanese
- Banshikichô [from Bb]
- Oshikichô [from A]
- Hyôchô [from E]
- Banshikicho

- Schenkerian
- Mischung 5

- Gregorian Numbered
- Gregorian Number 8

- Exoticisms
- Eskimo Heptatonic

- Zeitler
- Dorian

- Dozenal
- DORian

- Carnatic Melakarta
- Kharaharapriya

- Carnatic Numbered Melakarta
- 22nd Melakarta raga

## CardinalityCardinality is the count of how many pitches are in the scale. |
7 (heptatonic) |

## Pitch Class SetThe tones in this scale, expressed as numbers from 0 to 11 |
{0,2,3,5,7,9,10} |

## Forte NumberA code assigned by theorist Allen Forte, for this pitch class set and all of its transpositional (rotation) and inversional (reflection) transformations. |
7-35 |

## Rotational SymmetrySome scales have rotational symmetry, sometimes known as "limited transposition". If there are any rotational symmetries, these are the intervals of periodicity. |
none |

## Reflection AxesIf 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. |
[0] |

## PalindromicityA palindromic scale has the same pattern of intervals both ascending and descending. |
yes |

## ChiralityA chiral scale can not be transformed into its inverse by rotation. If a scale is chiral, then it has an enantiomorph. |
no |

## HemitoniaA hemitone is two tones separated by a semitone interval. Hemitonia describes how many such hemitones exist. |
2 (dihemitonic) |

## CohemitoniaA cohemitone is an instance of two adjacent hemitones. Cohemitonia describes how many such cohemitones exist. |
0 (ancohemitonic) |

## ImperfectionsAn 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. |
1 |

## ModesModes 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 FormDescribes if this scale is in prime form, using the Starr/Rahn algorithm. |
no prime: 1387 |

## GeneratorIndicates if the scale can be constructed using a generator, and an origin. |
generator: 5 origin: 9 |

## Deep ScaleA deep scale is one where the interval vector has 6 different digits, an indicator of maximum hierarchization. |
yes |

## Interval StructureDefines the scale as the sequence of intervals between one tone and the next. |
[2, 1, 2, 2, 2, 1, 2] |

## Interval VectorDescribes 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, 5, 4, 3, 6, 1> |

## Proportional Saturation VectorFirst described by Michael Buchler (2001), this is a vector showing the prominence of intervals relative to the maximum and minimum possible for the scale's cardinality. A saturation of 0 means the interval is present minimally, a saturation of 1 means it is the maximum possible. | <0, 0.75, 0.5, 0, 1, 0> |

## Interval SpectrumThe same as the Interval Vector, but expressed in a syntax used by Howard Hanson. |
p^{6}m^{3}n^{4}s^{5}d^{2}t |

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

## Spectra VariationDetermined by the Distribution Spectra; this is the sum of all spectrum widths divided by the scale cardinality. |
0.857 |

## Maximally EvenA scale is maximally even if the tones are optimally spaced apart from each other. |
yes |

## Maximal Area SetA 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. |
yes |

## Interior AreaArea 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. |
2.665 |

## Polygon PerimeterPerimeter of the polygon described by vertices placed for each tone of the scale dodecimetrically around a unit circle. |
6.035 |

## Myhill PropertyA scale has Myhill Property if the Distribution Spectra have exactly two specific intervals for every generic interval. |
yes |

## BalancedA 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 TonesRidge 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. |
[0] |

## ProprietyAlso 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 ProfileDefined by Norman Carey (2002), the heteromorphic profile is an ordered triple of (c, a, d) where | (0, 1, 56) |

## Coherence QuotientThe Coherence Quotient is a score between 0 and 1, indicating the proportion of coherence failures (ambiguity or contradiction) in the scale, against the maximum possible for a cardinality. A high coherence quotient indicates a less complex scale, whereas a quotient of 0 indicates a maximally complex scale. | 0.993 |

## Sameness QuotientThe Sameness Quotient is a score between 0 and 1, indicating the proportion of differences in the heteromorphic profile, against the maximum possible for a cardinality. A higher quotient indicates a less complex scale, whereas a quotient of 0 indicates a scale with maximum complexity. | 0.556 |

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

This scale has a generator of 5, originating on 9.

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♯ | {3,7,10} | 2 | 3 | 1.71 |

F | {5,9,0} | 2 | 3 | 1.71 | |

A♯ | {10,2,5} | 2 | 3 | 1.71 | |

Minor Triads | cm | {0,3,7} | 2 | 3 | 1.71 |

dm | {2,5,9} | 2 | 3 | 1.71 | |

gm | {7,10,2} | 2 | 3 | 1.71 | |

Diminished Triads | a° | {9,0,3} | 2 | 3 | 1.71 |

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 | 3 |

Self-Centered | yes |

Modes are the rotational transformation of this scale. Scale 1709 can be rotated to make 6 other scales. The 1st mode is itself.

2nd mode: Scale 1451 | Phrygian | ||||

3rd mode: Scale 2773 | Lydian | ||||

4th mode: Scale 1717 | Mixolydian | ||||

5th mode: Scale 1453 | Aeolian | ||||

6th mode: Scale 1387 | Locrian | This is the prime mode | |||

7th mode: Scale 2741 | Major |

The prime form of this scale is Scale 1387

Scale 1387 | Locrian |

The heptatonic modal family [1709, 1451, 2773, 1717, 1453, 1387, 2741] (Forte: 7-35) is the complement of the pentatonic modal family [661, 677, 1189, 1193, 1321] (Forte: 5-35)

The inverse of a scale is a reflection using the root as its axis. The inverse of 1709 is itself, because it is a palindromic scale!

Scale 1709 | Dorian |

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 | |||
---|---|---|---|---|---|---|---|---|

T_{0} | <1,0> | 1709 | T_{0}I | <11,0> | 1709 | |||

T_{1} | <1,1> | 3418 | T_{1}I | <11,1> | 3418 | |||

T_{2} | <1,2> | 2741 | T_{2}I | <11,2> | 2741 | |||

T_{3} | <1,3> | 1387 | T_{3}I | <11,3> | 1387 | |||

T_{4} | <1,4> | 2774 | T_{4}I | <11,4> | 2774 | |||

T_{5} | <1,5> | 1453 | T_{5}I | <11,5> | 1453 | |||

T_{6} | <1,6> | 2906 | T_{6}I | <11,6> | 2906 | |||

T_{7} | <1,7> | 1717 | T_{7}I | <11,7> | 1717 | |||

T_{8} | <1,8> | 3434 | T_{8}I | <11,8> | 3434 | |||

T_{9} | <1,9> | 2773 | T_{9}I | <11,9> | 2773 | |||

T_{10} | <1,10> | 1451 | T_{10}I | <11,10> | 1451 | |||

T_{11} | <1,11> | 2902 | T_{11}I | <11,11> | 2902 | |||

Abbrev | Operation | Result | Abbrev | Operation | Result | |||

T_{0}M | <5,0> | 3599 | T_{0}MI | <7,0> | 3599 | |||

T_{1}M | <5,1> | 3103 | T_{1}MI | <7,1> | 3103 | |||

T_{2}M | <5,2> | 2111 | T_{2}MI | <7,2> | 2111 | |||

T_{3}M | <5,3> | 127 | T_{3}MI | <7,3> | 127 | |||

T_{4}M | <5,4> | 254 | T_{4}MI | <7,4> | 254 | |||

T_{5}M | <5,5> | 508 | T_{5}MI | <7,5> | 508 | |||

T_{6}M | <5,6> | 1016 | T_{6}MI | <7,6> | 1016 | |||

T_{7}M | <5,7> | 2032 | T_{7}MI | <7,7> | 2032 | |||

T_{8}M | <5,8> | 4064 | T_{8}MI | <7,8> | 4064 | |||

T_{9}M | <5,9> | 4033 | T_{9}MI | <7,9> | 4033 | |||

T_{10}M | <5,10> | 3971 | T_{10}MI | <7,10> | 3971 | |||

T_{11}M | <5,11> | 3847 | T_{11}MI | <7,11> | 3847 |

The transformations that map this set to itself are: T_{0}, T_{0}I

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 1711 | Adonai Malakh | |||

Scale 1705 | Raga Manohari | |||

Scale 1707 | Dorian Flat 2 | |||

Scale 1701 | Mixolydian Hexatonic | |||

Scale 1717 | Mixolydian | |||

Scale 1725 | Minor Bebop | |||

Scale 1677 | Raga Manavi | |||

Scale 1693 | Dogian | |||

Scale 1741 | Lydian Diminished | |||

Scale 1773 | Blues Scale II | |||

Scale 1581 | Raga Bagesri | |||

Scale 1645 | Dorian Flat 5 | |||

Scale 1837 | Dalian | |||

Scale 1965 | Raga Mukhari | |||

Scale 1197 | Minor Hexatonic | |||

Scale 1453 | Aeolian | |||

Scale 685 | Raga Suddha Bangala | |||

Scale 2733 | Melodic Minor Ascending | |||

Scale 3757 | Raga Mian Ki Malhar |

This scale analysis was created by Ian Ring, Canadian Composer of works for Piano, and total music theory nerd. Scale notation generated by VexFlow and Lilypond, graph visualization by Graphviz, audio by TiMIDIty and FFMPEG. 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.