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Scale 1811: "Kyptimic"

Scale 1811: Kyptimic, 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

Zeitler
Kyptimic
Dozenal
Latian

Analysis

Cardinality

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

6 (hexatonic)

Pitch Class Set

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

{0,1,4,8,9,10}

Forte Number

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

6-15

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: 2333

Hemitonia

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

3 (trihemitonic)

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.

5

Prime Form

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

no
prime: 311

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, 3, 4, 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.

<3, 2, 3, 4, 2, 1>

Interval Spectrum

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

p2m4n3s2d3t

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> = {1,2,3,4}
<2> = {2,3,4,5,7}
<3> = {4,6,8}
<4> = {5,7,8,9,10}
<5> = {8,9,10,11}

Spectra Variation

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

3.333

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.

2.116

Polygon Perimeter

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

5.699

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

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.

(21, 18, 64)

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 TriadsA{9,1,4}321
Minor Triadsc♯m{1,4,8}221.2
am{9,0,4}221.2
Augmented TriadsC+{0,4,8}231.4
Diminished Triadsa♯°{10,1,4}131.6
Parsimonious Voice Leading Between Common Triads of Scale 1811. Created by Ian Ring ©2019 C+ C+ c#m c#m C+->c#m am am C+->am A A c#m->A am->A a#° a#° A->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.

Diameter3
Radius2
Self-Centeredno
Central Verticesc♯m, am, A
Peripheral VerticesC+, a♯°

Modes

Modes are the rotational transformation of this scale. Scale 1811 can be rotated to make 5 other scales. The 1st mode is itself.

2nd mode:
Scale 2953
Scale 2953: Ionylimic, Ian Ring Music TheoryIonylimic
3rd mode:
Scale 881
Scale 881: Aerothimic, Ian Ring Music TheoryAerothimic
4th mode:
Scale 311
Scale 311: Stagimic, Ian Ring Music TheoryStagimicThis is the prime mode
5th mode:
Scale 2203
Scale 2203: Dorimic, Ian Ring Music TheoryDorimic
6th mode:
Scale 3149
Scale 3149: Phrycrimic, Ian Ring Music TheoryPhrycrimic

Prime

The prime form of this scale is Scale 311

Scale 311Scale 311: Stagimic, Ian Ring Music TheoryStagimic

Complement

The hexatonic modal family [1811, 2953, 881, 311, 2203, 3149] (Forte: 6-15) is the complement of the hexatonic modal family [311, 881, 1811, 2203, 2953, 3149] (Forte: 6-15)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 1811 is 2333

Scale 2333Scale 2333: Stynimic, Ian Ring Music TheoryStynimic

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 1811 is chiral, and its enantiomorph is scale 2333

Scale 2333Scale 2333: Stynimic, Ian Ring Music TheoryStynimic

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> 1811       T0I <11,0> 2333
T1 <1,1> 3622      T1I <11,1> 571
T2 <1,2> 3149      T2I <11,2> 1142
T3 <1,3> 2203      T3I <11,3> 2284
T4 <1,4> 311      T4I <11,4> 473
T5 <1,5> 622      T5I <11,5> 946
T6 <1,6> 1244      T6I <11,6> 1892
T7 <1,7> 2488      T7I <11,7> 3784
T8 <1,8> 881      T8I <11,8> 3473
T9 <1,9> 1762      T9I <11,9> 2851
T10 <1,10> 3524      T10I <11,10> 1607
T11 <1,11> 2953      T11I <11,11> 3214
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 821      T0MI <7,0> 1433
T1M <5,1> 1642      T1MI <7,1> 2866
T2M <5,2> 3284      T2MI <7,2> 1637
T3M <5,3> 2473      T3MI <7,3> 3274
T4M <5,4> 851      T4MI <7,4> 2453
T5M <5,5> 1702      T5MI <7,5> 811
T6M <5,6> 3404      T6MI <7,6> 1622
T7M <5,7> 2713      T7MI <7,7> 3244
T8M <5,8> 1331      T8MI <7,8> 2393
T9M <5,9> 2662      T9MI <7,9> 691
T10M <5,10> 1229      T10MI <7,10> 1382
T11M <5,11> 2458      T11MI <7,11> 2764

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 1809Scale 1809: Ranitonic, Ian Ring Music TheoryRanitonic
Scale 1813Scale 1813: Katothimic, Ian Ring Music TheoryKatothimic
Scale 1815Scale 1815: Godian, Ian Ring Music TheoryGodian
Scale 1819Scale 1819: Pydian, Ian Ring Music TheoryPydian
Scale 1795Scale 1795: Lakian, Ian Ring Music TheoryLakian
Scale 1803Scale 1803: Lapian, Ian Ring Music TheoryLapian
Scale 1827Scale 1827: Katygimic, Ian Ring Music TheoryKatygimic
Scale 1843Scale 1843: Ionygian, Ian Ring Music TheoryIonygian
Scale 1875Scale 1875: Persichetti Scale, Ian Ring Music TheoryPersichetti Scale
Scale 1939Scale 1939: Dathian, Ian Ring Music TheoryDathian
Scale 1555Scale 1555: Jotian, Ian Ring Music TheoryJotian
Scale 1683Scale 1683: Raga Malayamarutam, Ian Ring Music TheoryRaga Malayamarutam
Scale 1299Scale 1299: Aerophitonic, Ian Ring Music TheoryAerophitonic
Scale 787Scale 787: Aeolapritonic, Ian Ring Music TheoryAeolapritonic
Scale 2835Scale 2835: Ionygimic, Ian Ring Music TheoryIonygimic
Scale 3859Scale 3859: Aeolarian, Ian Ring Music TheoryAeolarian

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.