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Scale 1861: "Phrygimic"

Scale 1861: Phrygimic, 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
Phrygimic
Dozenal
Liyian

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

{0,2,6,8,9,10}

Forte Number

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

6-21

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: 1117

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.

5

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 Starr/Rahn algorithm.

no
prime: 349

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, an indicator of maximum hierarchization.

no

Interval Structure

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

[2, 4, 2, 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, 4, 2, 4, 1, 2>

Interval Spectrum

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

pm4n2s4d2t2

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

Spectra Variation

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

3

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.

2.232

Polygon Perimeter

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

5.767

Myhill Property

A scale has Myhill Property if the Distribution Spectra have 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.

(18, 20, 61)

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}210.67
Augmented TriadsD+{2,6,10}121
Diminished Triadsf♯°{6,9,0}121

The following pitch classes are not present in any of the common triads: {8}

Parsimonious Voice Leading Between Common Triads of Scale 1861. Created by Ian Ring ©2019 D D D+ D+ D->D+ f#° f#° D->f#°

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.

Diameter2
Radius1
Self-Centeredno
Central VerticesD
Peripheral VerticesD+, f♯°

Modes

Modes are the rotational transformation of this scale. Scale 1861 can be rotated to make 5 other scales. The 1st mode is itself.

2nd mode:
Scale 1489
Scale 1489: Raga Jyoti, Ian Ring Music TheoryRaga Jyoti
3rd mode:
Scale 349
Scale 349: Borimic, Ian Ring Music TheoryBorimicThis is the prime mode
4th mode:
Scale 1111
Scale 1111: Sycrimic, Ian Ring Music TheorySycrimic
5th mode:
Scale 2603
Scale 2603: Gadimic, Ian Ring Music TheoryGadimic
6th mode:
Scale 3349
Scale 3349: Aeolocrimic, Ian Ring Music TheoryAeolocrimic

Prime

The prime form of this scale is Scale 349

Scale 349Scale 349: Borimic, Ian Ring Music TheoryBorimic

Complement

The hexatonic modal family [1861, 1489, 349, 1111, 2603, 3349] (Forte: 6-21) is the complement of the hexatonic modal family [349, 1111, 1489, 1861, 2603, 3349] (Forte: 6-21)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 1861 is 1117

Scale 1117Scale 1117: Raptimic, Ian Ring Music TheoryRaptimic

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 1861 is chiral, and its enantiomorph is scale 1117

Scale 1117Scale 1117: Raptimic, Ian Ring Music TheoryRaptimic

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> 1861       T0I <11,0> 1117
T1 <1,1> 3722      T1I <11,1> 2234
T2 <1,2> 3349      T2I <11,2> 373
T3 <1,3> 2603      T3I <11,3> 746
T4 <1,4> 1111      T4I <11,4> 1492
T5 <1,5> 2222      T5I <11,5> 2984
T6 <1,6> 349      T6I <11,6> 1873
T7 <1,7> 698      T7I <11,7> 3746
T8 <1,8> 1396      T8I <11,8> 3397
T9 <1,9> 2792      T9I <11,9> 2699
T10 <1,10> 1489      T10I <11,10> 1303
T11 <1,11> 2978      T11I <11,11> 2606
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 1621      T0MI <7,0> 1357
T1M <5,1> 3242      T1MI <7,1> 2714
T2M <5,2> 2389      T2MI <7,2> 1333
T3M <5,3> 683      T3MI <7,3> 2666
T4M <5,4> 1366      T4MI <7,4> 1237
T5M <5,5> 2732      T5MI <7,5> 2474
T6M <5,6> 1369      T6MI <7,6> 853
T7M <5,7> 2738      T7MI <7,7> 1706
T8M <5,8> 1381      T8MI <7,8> 3412
T9M <5,9> 2762      T9MI <7,9> 2729
T10M <5,10> 1429      T10MI <7,10> 1363
T11M <5,11> 2858      T11MI <7,11> 2726

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 1863Scale 1863: Pycrian, Ian Ring Music TheoryPycrian
Scale 1857Scale 1857: Liwian, Ian Ring Music TheoryLiwian
Scale 1859Scale 1859: Lixian, Ian Ring Music TheoryLixian
Scale 1865Scale 1865: Thagimic, Ian Ring Music TheoryThagimic
Scale 1869Scale 1869: Katyrian, Ian Ring Music TheoryKatyrian
Scale 1877Scale 1877: Aeroptian, Ian Ring Music TheoryAeroptian
Scale 1893Scale 1893: Ionylian, Ian Ring Music TheoryIonylian
Scale 1797Scale 1797: Lalian, Ian Ring Music TheoryLalian
Scale 1829Scale 1829: Pathimic, Ian Ring Music TheoryPathimic
Scale 1925Scale 1925: Lumian, Ian Ring Music TheoryLumian
Scale 1989Scale 1989: Dydian, Ian Ring Music TheoryDydian
Scale 1605Scale 1605: Zanitonic, Ian Ring Music TheoryZanitonic
Scale 1733Scale 1733: Raga Sarasvati, Ian Ring Music TheoryRaga Sarasvati
Scale 1349Scale 1349: Tholitonic, Ian Ring Music TheoryTholitonic
Scale 837Scale 837: Epaditonic, Ian Ring Music TheoryEpaditonic
Scale 2885Scale 2885: Byrimic, Ian Ring Music TheoryByrimic
Scale 3909Scale 3909: Rydian, Ian Ring Music TheoryRydian

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.