The Exciting Universe Of Music Theory
presents

more than you ever wanted to know about...

Scale 1893: "Ionylian"

Scale 1893: Ionylian, 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).

Common Names

Zeitler
Ionylian

Analysis

Cardinality7 (heptatonic)
Pitch Class Set{0,2,5,6,8,9,10}
Forte Number7-26
Rotational Symmetrynone
Reflection Axesnone
Palindromicno
Chiralityyes
enantiomorph: 1245
Hemitonia3 (trihemitonic)
Cohemitonia1 (uncohemitonic)
Imperfections4
Modes6
Prime?no
prime: 699
Deep Scaleno
Interval Vector344532
Interval Spectrump3m5n4s4d3t2
Distribution Spectra<1> = {1,2,3}
<2> = {2,3,4,5}
<3> = {4,5,6,7}
<4> = {5,6,7,8}
<5> = {7,8,9,10}
<6> = {9,10,11}
Spectra Variation2.286
Maximally Evenno
Maximal Area Setno
Interior Area2.549
Myhill Propertyno
Balancedno
Ridge Tonesnone
ProprietyImproper
Heliotonicyes

Harmonic Chords

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}331.5
F{5,9,0}331.5
A♯{10,2,5}231.75
Minor Triadsdm{2,5,9}421.25
fm{5,8,0}242
Augmented TriadsD+{2,6,10}242
Diminished Triads{2,5,8}231.75
f♯°{6,9,0}231.75
Parsimonious Voice Leading Between Common Triads of Scale 1893. Created by Ian Ring ©2019 dm dm d°->dm fm fm d°->fm D D dm->D F F dm->F A# A# dm->A# D+ D+ D->D+ f#° f#° D->f#° D+->A# fm->F F->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.

Diameter4
Radius2
Self-Centeredno
Central Verticesdm
Peripheral VerticesD+, fm

Modes

Modes are the rotational transformation of this scale. Scale 1893 can be rotated to make 6 other scales. The 1st mode is itself.

2nd mode:
Scale 1497
Scale 1497: Mela Jyotisvarupini, Ian Ring Music TheoryMela Jyotisvarupini
3rd mode:
Scale 699
Scale 699: Aerothian, Ian Ring Music TheoryAerothianThis is the prime mode
4th mode:
Scale 2397
Scale 2397: Stagian, Ian Ring Music TheoryStagian
5th mode:
Scale 1623
Scale 1623: Lothian, Ian Ring Music TheoryLothian
6th mode:
Scale 2859
Scale 2859: Phrycrian, Ian Ring Music TheoryPhrycrian
7th mode:
Scale 3477
Scale 3477: Kyptian, Ian Ring Music TheoryKyptian

Prime

The prime form of this scale is Scale 699

Scale 699Scale 699: Aerothian, Ian Ring Music TheoryAerothian

Complement

The heptatonic modal family [1893, 1497, 699, 2397, 1623, 2859, 3477] (Forte: 7-26) is the complement of the pentatonic modal family [309, 849, 1101, 1299, 2697] (Forte: 5-26)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 1893 is 1245

Scale 1245Scale 1245: Lathian, Ian Ring Music TheoryLathian

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 1893 is chiral, and its enantiomorph is scale 1245

Scale 1245Scale 1245: Lathian, Ian Ring Music TheoryLathian

Transformations:

T0 1893  T0I 1245
T1 3786  T1I 2490
T2 3477  T2I 885
T3 2859  T3I 1770
T4 1623  T4I 3540
T5 3246  T5I 2985
T6 2397  T6I 1875
T7 699  T7I 3750
T8 1398  T8I 3405
T9 2796  T9I 2715
T10 1497  T10I 1335
T11 2994  T11I 2670

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 1895Scale 1895: Salyllic, Ian Ring Music TheorySalyllic
Scale 1889Scale 1889, Ian Ring Music Theory
Scale 1891Scale 1891: Thalian, Ian Ring Music TheoryThalian
Scale 1897Scale 1897: Ionopian, Ian Ring Music TheoryIonopian
Scale 1901Scale 1901: Ionidyllic, Ian Ring Music TheoryIonidyllic
Scale 1909Scale 1909: Epicryllic, Ian Ring Music TheoryEpicryllic
Scale 1861Scale 1861: Phrygimic, Ian Ring Music TheoryPhrygimic
Scale 1877Scale 1877: Aeroptian, Ian Ring Music TheoryAeroptian
Scale 1829Scale 1829: Pathimic, Ian Ring Music TheoryPathimic
Scale 1957Scale 1957: Pyrian, Ian Ring Music TheoryPyrian
Scale 2021Scale 2021: Katycryllic, Ian Ring Music TheoryKatycryllic
Scale 1637Scale 1637: Syptimic, Ian Ring Music TheorySyptimic
Scale 1765Scale 1765: Lonian, Ian Ring Music TheoryLonian
Scale 1381Scale 1381: Padimic, Ian Ring Music TheoryPadimic
Scale 869Scale 869: Kothimic, Ian Ring Music TheoryKothimic
Scale 2917Scale 2917: Nohkan Flute Scale, Ian Ring Music TheoryNohkan Flute Scale
Scale 3941Scale 3941: Stathyllic, Ian Ring Music TheoryStathyllic

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.