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Scale 1827: "Katygimic"

Scale 1827: Katygimic, 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
Katygimic
Dozenal
Ledian

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

{0,1,5,8,9,10}

Forte Number

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

6-14

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: 2205

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.

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.

5

Prime Form

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

no
prime: 315

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, 4, 3, 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, 3, 0>

Interval Spectrum

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

p3m4n3s2d3

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> = {4,5,7,8}
<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.

(19, 22, 65)

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♯{1,5,8}221.2
F{5,9,0}221.2
Minor Triadsfm{5,8,0}231.4
a♯m{10,1,5}131.6
Augmented TriadsC♯+{1,5,9}321
Parsimonious Voice Leading Between Common Triads of Scale 1827. Created by Ian Ring ©2019 C# C# C#+ C#+ C#->C#+ fm fm C#->fm F F C#+->F a#m a#m C#+->a#m fm->F

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♯, C♯+, F
Peripheral Verticesfm, a♯m

Modes

Modes are the rotational transformation of this scale. Scale 1827 can be rotated to make 5 other scales. The 1st mode is itself.

2nd mode:
Scale 2961
Scale 2961: Bygimic, Ian Ring Music TheoryBygimic
3rd mode:
Scale 441
Scale 441: Thycrimic, Ian Ring Music TheoryThycrimic
4th mode:
Scale 567
Scale 567: Aeoladimic, Ian Ring Music TheoryAeoladimic
5th mode:
Scale 2331
Scale 2331: Dylimic, Ian Ring Music TheoryDylimic
6th mode:
Scale 3213
Scale 3213: Eponimic, Ian Ring Music TheoryEponimic

Prime

The prime form of this scale is Scale 315

Scale 315Scale 315: Stodimic, Ian Ring Music TheoryStodimic

Complement

The hexatonic modal family [1827, 2961, 441, 567, 2331, 3213] (Forte: 6-14) is the complement of the hexatonic modal family [315, 945, 1575, 2205, 2835, 3465] (Forte: 6-14)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 1827 is 2205

Scale 2205Scale 2205: Ionocrimic, Ian Ring Music TheoryIonocrimic

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 1827 is chiral, and its enantiomorph is scale 2205

Scale 2205Scale 2205: Ionocrimic, Ian Ring Music TheoryIonocrimic

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> 1827       T0I <11,0> 2205
T1 <1,1> 3654      T1I <11,1> 315
T2 <1,2> 3213      T2I <11,2> 630
T3 <1,3> 2331      T3I <11,3> 1260
T4 <1,4> 567      T4I <11,4> 2520
T5 <1,5> 1134      T5I <11,5> 945
T6 <1,6> 2268      T6I <11,6> 1890
T7 <1,7> 441      T7I <11,7> 3780
T8 <1,8> 882      T8I <11,8> 3465
T9 <1,9> 1764      T9I <11,9> 2835
T10 <1,10> 3528      T10I <11,10> 1575
T11 <1,11> 2961      T11I <11,11> 3150
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 567      T0MI <7,0> 3465
T1M <5,1> 1134      T1MI <7,1> 2835
T2M <5,2> 2268      T2MI <7,2> 1575
T3M <5,3> 441      T3MI <7,3> 3150
T4M <5,4> 882      T4MI <7,4> 2205
T5M <5,5> 1764      T5MI <7,5> 315
T6M <5,6> 3528      T6MI <7,6> 630
T7M <5,7> 2961      T7MI <7,7> 1260
T8M <5,8> 1827       T8MI <7,8> 2520
T9M <5,9> 3654      T9MI <7,9> 945
T10M <5,10> 3213      T10MI <7,10> 1890
T11M <5,11> 2331      T11MI <7,11> 3780

The transformations that map this set to itself are: T0, T8M

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 1825Scale 1825: Lecian, Ian Ring Music TheoryLecian
Scale 1829Scale 1829: Pathimic, Ian Ring Music TheoryPathimic
Scale 1831Scale 1831: Pothian, Ian Ring Music TheoryPothian
Scale 1835Scale 1835: Byptian, Ian Ring Music TheoryByptian
Scale 1843Scale 1843: Ionygian, Ian Ring Music TheoryIonygian
Scale 1795Scale 1795: Lakian, Ian Ring Music TheoryLakian
Scale 1811Scale 1811: Kyptimic, Ian Ring Music TheoryKyptimic
Scale 1859Scale 1859: Lixian, Ian Ring Music TheoryLixian
Scale 1891Scale 1891: Thalian, Ian Ring Music TheoryThalian
Scale 1955Scale 1955: Sonian, Ian Ring Music TheorySonian
Scale 1571Scale 1571: Lagitonic, Ian Ring Music TheoryLagitonic
Scale 1699Scale 1699: Raga Rasavali, Ian Ring Music TheoryRaga Rasavali
Scale 1315Scale 1315: Pyritonic, Ian Ring Music TheoryPyritonic
Scale 803Scale 803: Loritonic, Ian Ring Music TheoryLoritonic
Scale 2851Scale 2851: Katoptimic, Ian Ring Music TheoryKatoptimic
Scale 3875Scale 3875: Aeryptian, Ian Ring Music TheoryAeryptian

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.