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Scale 1883

Scale 1883, 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).

Analysis

Cardinality8 (octatonic)
Pitch Class Set{0,1,3,4,6,8,9,10}
Forte Number8-27
Rotational Symmetrynone
Reflection Axesnone
Palindromicno
Chiralityyes
enantiomorph: 2909
Hemitonia4 (multihemitonic)
Cohemitonia1 (uncohemitonic)
Imperfections3
Modes7
Prime?no
prime: 1463
Deep Scaleno
Interval Vector456553
Interval Spectrump5m5n6s5d4t3
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 Tonesnone
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 TriadsF♯{6,10,1}342.15
G♯{8,0,3}342.23
A{9,1,4}441.85
Minor Triadsc♯m{1,4,8}242.23
d♯m{3,6,10}342.23
f♯m{6,9,1}441.92
am{9,0,4}441.92
Augmented TriadsC+{0,4,8}342.15
Diminished Triads{0,3,6}242.31
d♯°{3,6,9}242.31
f♯°{6,9,0}242.15
{9,0,3}242.31
a♯°{10,1,4}242.23
Parsimonious Voice Leading Between Common Triads of Scale 1883. Created by Ian Ring ©2019 d#m d#m c°->d#m G# G# c°->G# C+ C+ c#m c#m C+->c#m C+->G# am am C+->am A A c#m->A d#° d#° d#°->d#m f#m f#m d#°->f#m F# F# d#m->F# f#° f#° f#°->f#m f#°->am f#m->F# f#m->A a#° a#° F#->a#° G#->a° a°->am am->A A->a#°

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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 1883 can be rotated to make 7 other scales. The 1st mode is itself.

2nd mode:
Scale 2989
Scale 2989: Bebop Minor, Ian Ring Music TheoryBebop Minor
3rd mode:
Scale 1771
Scale 1771, Ian Ring Music Theory
4th mode:
Scale 2933
Scale 2933, Ian Ring Music Theory
5th mode:
Scale 1757
Scale 1757, Ian Ring Music Theory
6th mode:
Scale 1463
Scale 1463, Ian Ring Music TheoryThis is the prime mode
7th mode:
Scale 2779
Scale 2779: Shostakovich, Ian Ring Music TheoryShostakovich
8th mode:
Scale 3437
Scale 3437, Ian Ring Music Theory

Prime

The prime form of this scale is Scale 1463

Scale 1463Scale 1463, Ian Ring Music Theory

Complement

The octatonic modal family [1883, 2989, 1771, 2933, 1757, 1463, 2779, 3437] (Forte: 8-27) is the complement of the tetratonic modal family [293, 593, 649, 1097] (Forte: 4-27)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 1883 is 2909

Scale 2909Scale 2909: Mocryllic, Ian Ring Music TheoryMocryllic

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 1883 is chiral, and its enantiomorph is scale 2909

Scale 2909Scale 2909: Mocryllic, Ian Ring Music TheoryMocryllic

Transformations:

T0 1883  T0I 2909
T1 3766  T1I 1723
T2 3437  T2I 3446
T3 2779  T3I 2797
T4 1463  T4I 1499
T5 2926  T5I 2998
T6 1757  T6I 1901
T7 3514  T7I 3802
T8 2933  T8I 3509
T9 1771  T9I 2923
T10 3542  T10I 1751
T11 2989  T11I 3502

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 1881Scale 1881: Katorian, Ian Ring Music TheoryKatorian
Scale 1885Scale 1885: Saptyllic, Ian Ring Music TheorySaptyllic
Scale 1887Scale 1887: Aerocrygic, Ian Ring Music TheoryAerocrygic
Scale 1875Scale 1875: Persichetti Scale, Ian Ring Music TheoryPersichetti Scale
Scale 1879Scale 1879: Mixoryllic, Ian Ring Music TheoryMixoryllic
Scale 1867Scale 1867: Solian, Ian Ring Music TheorySolian
Scale 1899Scale 1899: Moptyllic, Ian Ring Music TheoryMoptyllic
Scale 1915Scale 1915: Thydygic, Ian Ring Music TheoryThydygic
Scale 1819Scale 1819: Pydian, Ian Ring Music TheoryPydian
Scale 1851Scale 1851: Zacryllic, Ian Ring Music TheoryZacryllic
Scale 1947Scale 1947: Byptyllic, Ian Ring Music TheoryByptyllic
Scale 2011Scale 2011: Raphygic, Ian Ring Music TheoryRaphygic
Scale 1627Scale 1627: Zyptian, Ian Ring Music TheoryZyptian
Scale 1755Scale 1755: Octatonic, Ian Ring Music TheoryOctatonic
Scale 1371Scale 1371: Superlocrian, Ian Ring Music TheorySuperlocrian
Scale 859Scale 859: Ultralocrian, Ian Ring Music TheoryUltralocrian
Scale 2907Scale 2907: Magen Abot 2, Ian Ring Music TheoryMagen Abot 2
Scale 3931Scale 3931: Aerygic, Ian Ring Music TheoryAerygic

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.