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Scale 1913

Scale 1913, 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).

Analysis

Cardinality

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

8 (octatonic)

Pitch Class Set

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

{0,3,4,5,6,8,9,10}

Forte Number

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

8-Z29

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: 989

Hemitonia

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

5 (multihemitonic)

Cohemitonia

A cohemitone is an instance of two adjacent hemitones. Cohemitonia describes how many such cohemitones exist.

3 (tricohemitonic)

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.

7

Prime Form

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

no
prime: 751

Deep Scale

A deep scale is one where the interval vector has 6 different digits.

no

Interval Formula

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

[3, 1, 1, 1, 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.

<5, 5, 5, 5, 5, 3>

Interval Spectrum

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

p5m5n5s5d5t3

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

Spectra Variation

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

2.25

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.

2.616

Polygon Perimeter

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

6.002

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

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{5,9,0}341.9
G♯{8,0,3}341.9
Minor Triadsd♯m{3,6,10}242.3
fm{5,8,0}242.1
am{9,0,4}341.9
Augmented TriadsC+{0,4,8}341.9
Diminished Triads{0,3,6}242.1
d♯°{3,6,9}242.3
f♯°{6,9,0}242.1
{9,0,3}242.1
Parsimonious Voice Leading Between Common Triads of Scale 1913. Created by Ian Ring ©2019 d#m d#m c°->d#m G# G# c°->G# C+ C+ fm fm C+->fm C+->G# am am C+->am d#° d#° d#°->d#m f#° f#° d#°->f#° F F fm->F F->f#° F->am G#->a° a°->am

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
Radius4
Self-Centeredyes

Modes

Modes are the rotational transformation of this scale. Scale 1913 can be rotated to make 7 other scales. The 1st mode is itself.

2nd mode:
Scale 751
Scale 751, Ian Ring Music TheoryThis is the prime mode
3rd mode:
Scale 2423
Scale 2423, Ian Ring Music Theory
4th mode:
Scale 3259
Scale 3259, Ian Ring Music Theory
5th mode:
Scale 3677
Scale 3677, Ian Ring Music Theory
6th mode:
Scale 1943
Scale 1943, Ian Ring Music Theory
7th mode:
Scale 3019
Scale 3019, Ian Ring Music Theory
8th mode:
Scale 3557
Scale 3557, Ian Ring Music Theory

Prime

The prime form of this scale is Scale 751

Scale 751Scale 751, Ian Ring Music Theory

Complement

The octatonic modal family [1913, 751, 2423, 3259, 3677, 1943, 3019, 3557] (Forte: 8-Z29) is the complement of the tetratonic modal family [139, 353, 1553, 2117] (Forte: 4-Z29)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 1913 is 989

Scale 989Scale 989: Phrolyllic, Ian Ring Music TheoryPhrolyllic

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 1913 is chiral, and its enantiomorph is scale 989

Scale 989Scale 989: Phrolyllic, Ian Ring Music TheoryPhrolyllic

Transformations:

T0 1913  T0I 989
T1 3826  T1I 1978
T2 3557  T2I 3956
T3 3019  T3I 3817
T4 1943  T4I 3539
T5 3886  T5I 2983
T6 3677  T6I 1871
T7 3259  T7I 3742
T8 2423  T8I 3389
T9 751  T9I 2683
T10 1502  T10I 1271
T11 3004  T11I 2542

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 1915Scale 1915: Thydygic, Ian Ring Music TheoryThydygic
Scale 1917Scale 1917: Sacrygic, Ian Ring Music TheorySacrygic
Scale 1905Scale 1905: Katacrian, Ian Ring Music TheoryKatacrian
Scale 1909Scale 1909: Epicryllic, Ian Ring Music TheoryEpicryllic
Scale 1897Scale 1897: Ionopian, Ian Ring Music TheoryIonopian
Scale 1881Scale 1881: Katorian, Ian Ring Music TheoryKatorian
Scale 1849Scale 1849: Chromatic Hypodorian Inverse, Ian Ring Music TheoryChromatic Hypodorian Inverse
Scale 1977Scale 1977: Dagyllic, Ian Ring Music TheoryDagyllic
Scale 2041Scale 2041: Aeolacrygic, Ian Ring Music TheoryAeolacrygic
Scale 1657Scale 1657: Ionothian, Ian Ring Music TheoryIonothian
Scale 1785Scale 1785: Tharyllic, Ian Ring Music TheoryTharyllic
Scale 1401Scale 1401: Pagian, Ian Ring Music TheoryPagian
Scale 889Scale 889: Borian, Ian Ring Music TheoryBorian
Scale 2937Scale 2937: Phragyllic, Ian Ring Music TheoryPhragyllic
Scale 3961Scale 3961: Zathygic, Ian Ring Music TheoryZathygic

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. 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.