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Scale 1749: "Acoustic"

Scale 1749: Acoustic, 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

41161837294116105072918310504116183
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

Western Modern
Acoustic
Lydian Dominant
Overtone Scale
Western Altered
Mixolydian Sharp 4
Carnatic Mela
Mela Vacaspati
Carnatic Raga
Raga Bhusavati
Unknown / Unsorted
Bhusavali
Overtone
Overtone Dominant
Western Mixed
Lydian-Mixolydian
Lydian-Mixolydian Combo
Named After Composers
Bartok
Zeitler
Lythian

Analysis

Cardinality7 (heptatonic)
Pitch Class Set{0,2,4,6,7,9,10}
Forte Number7-34
Rotational Symmetrynone
Reflection Axes2
Palindromicno
Chiralityno
Hemitonia2 (dihemitonic)
Cohemitonia0 (ancohemitonic)
Imperfections3
Modes6
Prime?no
prime: 1371
Deep Scaleno
Interval Vector254442
Interval Spectrump4m4n4s5d2t2
Distribution Spectra<1> = {1,2}
<2> = {3,4}
<3> = {4,5,6}
<4> = {6,7,8}
<5> = {8,9}
<6> = {10,11}
Spectra Variation1.143
Maximally Evenno
Maximal Area Setyes
Interior Area2.665
Myhill Propertyno
Balancedno
Ridge Tones[4]
ProprietyProper
Heliotonicyes

Harmonic Chords

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}231.71
D{2,6,9}231.71
Minor Triadsgm{7,10,2}231.71
am{9,0,4}231.71
Augmented TriadsD+{2,6,10}231.71
Diminished Triads{4,7,10}231.71
f♯°{6,9,0}231.71
Parsimonious Voice Leading Between Common Triads of Scale 1749. Created by Ian Ring ©2019 C C C->e° am am C->am D D D+ D+ D->D+ f#° f#° D->f#° gm gm D+->gm e°->gm f#°->am

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
Radius3
Self-Centeredyes

Modes

Modes are the rotational transformation of this scale. Scale 1749 can be rotated to make 6 other scales. The 1st mode is itself.

2nd mode:
Scale 1461
Scale 1461: Major-Minor, Ian Ring Music TheoryMajor-Minor
3rd mode:
Scale 1389
Scale 1389: Minor Locrian, Ian Ring Music TheoryMinor Locrian
4th mode:
Scale 1371
Scale 1371: Superlocrian, Ian Ring Music TheorySuperlocrianThis is the prime mode
5th mode:
Scale 2733
Scale 2733: Melodic Minor Ascending, Ian Ring Music TheoryMelodic Minor Ascending
6th mode:
Scale 1707
Scale 1707: Dorian Flat 2, Ian Ring Music TheoryDorian Flat 2
7th mode:
Scale 2901
Scale 2901: Lydian Augmented, Ian Ring Music TheoryLydian Augmented

Prime

The prime form of this scale is Scale 1371

Scale 1371Scale 1371: Superlocrian, Ian Ring Music TheorySuperlocrian

Complement

The heptatonic modal family [1749, 1461, 1389, 1371, 2733, 1707, 2901] (Forte: 7-34) is the complement of the pentatonic modal family [597, 681, 1173, 1317, 1353] (Forte: 5-34)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 1749 is 1389

Scale 1389Scale 1389: Minor Locrian, Ian Ring Music TheoryMinor Locrian

Transformations:

T0 1749  T0I 1389
T1 3498  T1I 2778
T2 2901  T2I 1461
T3 1707  T3I 2922
T4 3414  T4I 1749
T5 2733  T5I 3498
T6 1371  T6I 2901
T7 2742  T7I 1707
T8 1389  T8I 3414
T9 2778  T9I 2733
T10 1461  T10I 1371
T11 2922  T11I 2742

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 1751Scale 1751: Aeolyryllic, Ian Ring Music TheoryAeolyryllic
Scale 1745Scale 1745: Raga Vutari, Ian Ring Music TheoryRaga Vutari
Scale 1747Scale 1747: Mela Ramapriya, Ian Ring Music TheoryMela Ramapriya
Scale 1753Scale 1753: Hungarian Major, Ian Ring Music TheoryHungarian Major
Scale 1757Scale 1757, Ian Ring Music Theory
Scale 1733Scale 1733: Raga Sarasvati, Ian Ring Music TheoryRaga Sarasvati
Scale 1741Scale 1741: Lydian Diminished, Ian Ring Music TheoryLydian Diminished
Scale 1765Scale 1765: Lonian, Ian Ring Music TheoryLonian
Scale 1781Scale 1781: Gocryllic, Ian Ring Music TheoryGocryllic
Scale 1685Scale 1685: Zeracrimic, Ian Ring Music TheoryZeracrimic
Scale 1717Scale 1717: Mixolydian, Ian Ring Music TheoryMixolydian
Scale 1621Scale 1621: Scriabin's Prometheus, Ian Ring Music TheoryScriabin's Prometheus
Scale 1877Scale 1877: Aeroptian, Ian Ring Music TheoryAeroptian
Scale 2005Scale 2005: Gygyllic, Ian Ring Music TheoryGygyllic
Scale 1237Scale 1237: Salimic, Ian Ring Music TheorySalimic
Scale 1493Scale 1493: Lydian Minor, Ian Ring Music TheoryLydian Minor
Scale 725Scale 725: Raga Yamuna Kalyani, Ian Ring Music TheoryRaga Yamuna Kalyani
Scale 2773Scale 2773: Lydian, Ian Ring Music TheoryLydian
Scale 3797Scale 3797: Rocryllic, Ian Ring Music TheoryRocryllic

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.

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.