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Scale 1723: "JG Octatonic"

Scale 1723: JG Octatonic, 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

Unknown / Unsorted
JG Octatonic
Dozenal
Kosian
Zeitler
Poryllic

Analysis

Cardinality

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

8 (octatonic)

Pitch Class Set

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

{0,1,3,4,5,7,9,10}

Forte Number

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

8-27

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: 2989

Hemitonia

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

4 (multihemitonic)

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.

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.

7

Prime Form

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

no
prime: 1463

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.

[1, 2, 1, 1, 2, 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.

<4, 5, 6, 5, 5, 3>

Interval Spectrum

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

p5m5n6s5d4t3

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

Spectra Variation

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

1.25

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.

yes

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.

2.732

Polygon Perimeter

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

6.071

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, 24, 103)

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}441.92
D♯{3,7,10}342.23
F{5,9,0}242.23
A{9,1,4}441.92
Minor Triadscm{0,3,7}342.15
am{9,0,4}441.85
a♯m{10,1,5}342.23
Augmented TriadsC♯+{1,5,9}342.15
Diminished Triadsc♯°{1,4,7}242.15
{4,7,10}242.31
{7,10,1}242.31
{9,0,3}242.23
a♯°{10,1,4}242.31
Parsimonious Voice Leading Between Common Triads of Scale 1723. Created by Ian Ring ©2019 cm cm C C cm->C D# D# cm->D# cm->a° c#° c#° C->c#° C->e° am am C->am A A c#°->A C#+ C#+ F F C#+->F C#+->A a#m a#m C#+->a#m D#->e° D#->g° F->am g°->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 1723 can be rotated to make 7 other scales. The 1st mode is itself.

2nd mode:
Scale 2909
Scale 2909: Mocryllic, Ian Ring Music TheoryMocryllic
3rd mode:
Scale 1751
Scale 1751: Aeolyryllic, Ian Ring Music TheoryAeolyryllic
4th mode:
Scale 2923
Scale 2923: Baryllic, Ian Ring Music TheoryBaryllic
5th mode:
Scale 3509
Scale 3509: Stogyllic, Ian Ring Music TheoryStogyllic
6th mode:
Scale 1901
Scale 1901: Ionidyllic, Ian Ring Music TheoryIonidyllic
7th mode:
Scale 1499
Scale 1499: Bebop Locrian, Ian Ring Music TheoryBebop Locrian
8th mode:
Scale 2797
Scale 2797: Stalyllic, Ian Ring Music TheoryStalyllic

Prime

The prime form of this scale is Scale 1463

Scale 1463Scale 1463: Ugrian, Ian Ring Music TheoryUgrian

Complement

The octatonic modal family [1723, 2909, 1751, 2923, 3509, 1901, 1499, 2797] (Forte: 8-27) is the complement of the tetratonic modal family [293, 593, 649, 1097] (Forte: 4-27)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 1723 is 2989

Scale 2989Scale 2989: Bebop Minor, Ian Ring Music TheoryBebop Minor

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 1723 is chiral, and its enantiomorph is scale 2989

Scale 2989Scale 2989: Bebop Minor, Ian Ring Music TheoryBebop Minor

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> 1723       T0I <11,0> 2989
T1 <1,1> 3446      T1I <11,1> 1883
T2 <1,2> 2797      T2I <11,2> 3766
T3 <1,3> 1499      T3I <11,3> 3437
T4 <1,4> 2998      T4I <11,4> 2779
T5 <1,5> 1901      T5I <11,5> 1463
T6 <1,6> 3802      T6I <11,6> 2926
T7 <1,7> 3509      T7I <11,7> 1757
T8 <1,8> 2923      T8I <11,8> 3514
T9 <1,9> 1751      T9I <11,9> 2933
T10 <1,10> 3502      T10I <11,10> 1771
T11 <1,11> 2909      T11I <11,11> 3542
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 2863      T0MI <7,0> 3739
T1M <5,1> 1631      T1MI <7,1> 3383
T2M <5,2> 3262      T2MI <7,2> 2671
T3M <5,3> 2429      T3MI <7,3> 1247
T4M <5,4> 763      T4MI <7,4> 2494
T5M <5,5> 1526      T5MI <7,5> 893
T6M <5,6> 3052      T6MI <7,6> 1786
T7M <5,7> 2009      T7MI <7,7> 3572
T8M <5,8> 4018      T8MI <7,8> 3049
T9M <5,9> 3941      T9MI <7,9> 2003
T10M <5,10> 3787      T10MI <7,10> 4006
T11M <5,11> 3479      T11MI <7,11> 3917

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 1721Scale 1721: Mela Vagadhisvari, Ian Ring Music TheoryMela Vagadhisvari
Scale 1725Scale 1725: Minor Bebop, Ian Ring Music TheoryMinor Bebop
Scale 1727Scale 1727: Sydygic, Ian Ring Music TheorySydygic
Scale 1715Scale 1715: Harmonic Minor Inverse, Ian Ring Music TheoryHarmonic Minor Inverse
Scale 1719Scale 1719: Lyryllic, Ian Ring Music TheoryLyryllic
Scale 1707Scale 1707: Dorian Flat 2, Ian Ring Music TheoryDorian Flat 2
Scale 1691Scale 1691: Kathian, Ian Ring Music TheoryKathian
Scale 1755Scale 1755: Octatonic, Ian Ring Music TheoryOctatonic
Scale 1787Scale 1787: Mycrygic, Ian Ring Music TheoryMycrygic
Scale 1595Scale 1595: Dacrian, Ian Ring Music TheoryDacrian
Scale 1659Scale 1659: Maqam Shadd'araban, Ian Ring Music TheoryMaqam Shadd'araban
Scale 1851Scale 1851: Zacryllic, Ian Ring Music TheoryZacryllic
Scale 1979Scale 1979: Aeradygic, Ian Ring Music TheoryAeradygic
Scale 1211Scale 1211: Zadian, Ian Ring Music TheoryZadian
Scale 1467Scale 1467: Spanish Phrygian, Ian Ring Music TheorySpanish Phrygian
Scale 699Scale 699: Aerothian, Ian Ring Music TheoryAerothian
Scale 2747Scale 2747: Stythyllic, Ian Ring Music TheoryStythyllic
Scale 3771Scale 3771: Stophygic, Ian Ring Music TheoryStophygic

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.