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Scale 1773: "Blues Scale II"

Scale 1773: Blues Scale II, 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

Jazz and Blues
Blues Scale II
Zeitler
Aeoloryllic

Analysis

Cardinality8 (octatonic)
Pitch Class Set{0,2,3,5,6,7,9,10}
Forte Number8-26
Rotational Symmetrynone
Reflection Axes0
Palindromicyes
Chiralityno
Hemitonia4 (multihemitonic)
Cohemitonia1 (uncohemitonic)
Imperfections2
Modes7
Prime?no
prime: 1467
Deep Scaleno
Interval Vector456562
Interval Spectrump6m5n6s5d4t2
Distribution Spectra<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 Variation1.25
Maximally Evenno
Maximal Area Setyes
Interior Area2.732
Myhill Propertyno
Balancedno
Ridge Tones[0]
ProprietyProper
Heliotonicno

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 TriadsD{2,6,9}441.92
D♯{3,7,10}342.15
F{5,9,0}342.23
A♯{10,2,5}242.23
Minor Triadscm{0,3,7}342.23
dm{2,5,9}342.15
d♯m{3,6,10}441.92
gm{7,10,2}242.23
Augmented TriadsD+{2,6,10}441.85
Diminished Triads{0,3,6}242.31
d♯°{3,6,9}242.15
f♯°{6,9,0}242.31
{9,0,3}242.31
Parsimonious Voice Leading Between Common Triads of Scale 1773. Created by Ian Ring ©2019 cm cm c°->cm d#m d#m c°->d#m D# D# cm->D# cm->a° dm dm D D dm->D F F dm->F A# A# dm->A# D+ D+ D->D+ d#° d#° D->d#° f#° f#° D->f#° D+->d#m gm gm D+->gm D+->A# d#°->d#m d#m->D# D#->gm F->f#° F->a°

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 1773 can be rotated to make 7 other scales. The 1st mode is itself.

2nd mode:
Scale 1467
Scale 1467: Spanish Phrygian, Ian Ring Music TheorySpanish PhrygianThis is the prime mode
3rd mode:
Scale 2781
Scale 2781: Gycryllic, Ian Ring Music TheoryGycryllic
4th mode:
Scale 1719
Scale 1719: Lyryllic, Ian Ring Music TheoryLyryllic
5th mode:
Scale 2907
Scale 2907: Magen Abot 2, Ian Ring Music TheoryMagen Abot 2
6th mode:
Scale 3501
Scale 3501: Maqam Nahawand, Ian Ring Music TheoryMaqam Nahawand
7th mode:
Scale 1899
Scale 1899: Moptyllic, Ian Ring Music TheoryMoptyllic
8th mode:
Scale 2997
Scale 2997: Major Bebop, Ian Ring Music TheoryMajor Bebop

Prime

The prime form of this scale is Scale 1467

Scale 1467Scale 1467: Spanish Phrygian, Ian Ring Music TheorySpanish Phrygian

Complement

The octatonic modal family [1773, 1467, 2781, 1719, 2907, 3501, 1899, 2997] (Forte: 8-26) is the complement of the tetratonic modal family [297, 549, 657, 1161] (Forte: 4-26)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 1773 is itself, because it is a palindromic scale!

Scale 1773Scale 1773: Blues Scale II, Ian Ring Music TheoryBlues Scale II

Transformations:

T0 1773  T0I 1773
T1 3546  T1I 3546
T2 2997  T2I 2997
T3 1899  T3I 1899
T4 3798  T4I 3798
T5 3501  T5I 3501
T6 2907  T6I 2907
T7 1719  T7I 1719
T8 3438  T8I 3438
T9 2781  T9I 2781
T10 1467  T10I 1467
T11 2934  T11I 2934

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 1775Scale 1775: Lyrygic, Ian Ring Music TheoryLyrygic
Scale 1769Scale 1769: Blues Heptatonic II, Ian Ring Music TheoryBlues Heptatonic II
Scale 1771Scale 1771, Ian Ring Music Theory
Scale 1765Scale 1765: Lonian, Ian Ring Music TheoryLonian
Scale 1781Scale 1781: Gocryllic, Ian Ring Music TheoryGocryllic
Scale 1789Scale 1789: Blues Enneatonic II, Ian Ring Music TheoryBlues Enneatonic II
Scale 1741Scale 1741: Lydian Diminished, Ian Ring Music TheoryLydian Diminished
Scale 1757Scale 1757, Ian Ring Music Theory
Scale 1709Scale 1709: Dorian, Ian Ring Music TheoryDorian
Scale 1645Scale 1645: Dorian Flat 5, Ian Ring Music TheoryDorian Flat 5
Scale 1901Scale 1901: Ionidyllic, Ian Ring Music TheoryIonidyllic
Scale 2029Scale 2029: Kiourdi, Ian Ring Music TheoryKiourdi
Scale 1261Scale 1261: Modified Blues, Ian Ring Music TheoryModified Blues
Scale 1517Scale 1517: Sagyllic, Ian Ring Music TheorySagyllic
Scale 749Scale 749: Aeologian, Ian Ring Music TheoryAeologian
Scale 2797Scale 2797: Stalyllic, Ian Ring Music TheoryStalyllic
Scale 3821Scale 3821: Epyrygic, Ian Ring Music TheoryEpyrygic

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.