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Scale 1793

Scale 1793, 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).

Analysis

Cardinality

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

4 (tetratonic)

Pitch Class Set

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

{0,8,9,10}

Forte Number

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

4-2

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: 29

Hemitonia

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

2 (dihemitonic)

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.

4

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.

3

Prime Form

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

no
prime: 23

Deep Scale

A deep scale is one where the interval vector has 6 different digits.

no

Interval Formula

Defines the scale as the sequence of intervals between one tone and the next.

[8, 1, 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.

<2, 2, 1, 1, 0, 0>

Interval Spectrum

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

mns2d2

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> = {1,2,8}
<2> = {2,3,9,10}
<3> = {4,10,11}

Spectra Variation

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

5.5

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.

0.5

Polygon Perimeter

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

3.767

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

Common Triads

There are no common triads (major, minor, augmented and diminished) that can be formed using notes in this scale.

Modes

Modes are the rotational transformation of this scale. Scale 1793 can be rotated to make 3 other scales. The 1st mode is itself.

2nd mode:
Scale 23
Scale 23, Ian Ring Music TheoryThis is the prime mode
3rd mode:
Scale 2059
Scale 2059, Ian Ring Music Theory
4th mode:
Scale 3077
Scale 3077, Ian Ring Music Theory

Prime

The prime form of this scale is Scale 23

Scale 23Scale 23, Ian Ring Music Theory

Complement

The tetratonic modal family [1793, 23, 2059, 3077] (Forte: 4-2) is the complement of the octatonic modal family [383, 2033, 2239, 3167, 3631, 3863, 3979, 4037] (Forte: 8-2)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 1793 is 29

Scale 29Scale 29, Ian Ring Music Theory

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 1793 is chiral, and its enantiomorph is scale 29

Scale 29Scale 29, Ian Ring Music Theory

Transformations:

T0 1793  T0I 29
T1 3586  T1I 58
T2 3077  T2I 116
T3 2059  T3I 232
T4 23  T4I 464
T5 46  T5I 928
T6 92  T6I 1856
T7 184  T7I 3712
T8 368  T8I 3329
T9 736  T9I 2563
T10 1472  T10I 1031
T11 2944  T11I 2062

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 1795Scale 1795, Ian Ring Music Theory
Scale 1797Scale 1797, Ian Ring Music Theory
Scale 1801Scale 1801, Ian Ring Music Theory
Scale 1809Scale 1809: Ranitonic, Ian Ring Music TheoryRanitonic
Scale 1825Scale 1825, Ian Ring Music Theory
Scale 1857Scale 1857, Ian Ring Music Theory
Scale 1921Scale 1921, Ian Ring Music Theory
Scale 1537Scale 1537, Ian Ring Music Theory
Scale 1665Scale 1665, Ian Ring Music Theory
Scale 1281Scale 1281, Ian Ring Music Theory
Scale 769Scale 769, Ian Ring Music Theory
Scale 2817Scale 2817, Ian Ring Music Theory
Scale 3841Scale 3841: Pentatonic Chromatic Descending, Ian Ring Music TheoryPentatonic Chromatic Descending

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. 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.