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Scale 1937: "Galimic"

Scale 1937: Galimic, 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
Galimic
Dozenal
Lutian

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

{0,4,7,8,9,10}

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-Z39

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: 317

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.

2 (dicohemitonic)

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.

4

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: 317

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.

[4, 3, 1, 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, 3, 3, 3, 2, 1>

Interval Spectrum

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

p2m3n3s3d3t

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

3.667

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.

(29, 19, 67)

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{0,4,7}221
Minor Triadsam{9,0,4}131.5
Augmented TriadsC+{0,4,8}221
Diminished Triads{4,7,10}131.5
Parsimonious Voice Leading Between Common Triads of Scale 1937. Created by Ian Ring ©2019 C C C+ C+ C->C+ C->e° am am C+->am

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+
Peripheral Verticese°, am

Modes

Modes are the rotational transformation of this scale. Scale 1937 can be rotated to make 5 other scales. The 1st mode is itself.

2nd mode:
Scale 377
Scale 377: Kathimic, Ian Ring Music TheoryKathimic
3rd mode:
Scale 559
Scale 559: Lylimic, Ian Ring Music TheoryLylimic
4th mode:
Scale 2327
Scale 2327: Epalimic, Ian Ring Music TheoryEpalimic
5th mode:
Scale 3211
Scale 3211: Epacrimic, Ian Ring Music TheoryEpacrimic
6th mode:
Scale 3653
Scale 3653: Sathimic, Ian Ring Music TheorySathimic

Prime

The prime form of this scale is Scale 317

Scale 317Scale 317: Korimic, Ian Ring Music TheoryKorimic

Complement

The hexatonic modal family [1937, 377, 559, 2327, 3211, 3653] (Forte: 6-Z39) is the complement of the hexatonic modal family [187, 1559, 1889, 2141, 2827, 3461] (Forte: 6-Z10)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 1937 is 317

Scale 317Scale 317: Korimic, Ian Ring Music TheoryKorimic

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 1937 is chiral, and its enantiomorph is scale 317

Scale 317Scale 317: Korimic, Ian Ring Music TheoryKorimic

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> 1937       T0I <11,0> 317
T1 <1,1> 3874      T1I <11,1> 634
T2 <1,2> 3653      T2I <11,2> 1268
T3 <1,3> 3211      T3I <11,3> 2536
T4 <1,4> 2327      T4I <11,4> 977
T5 <1,5> 559      T5I <11,5> 1954
T6 <1,6> 1118      T6I <11,6> 3908
T7 <1,7> 2236      T7I <11,7> 3721
T8 <1,8> 377      T8I <11,8> 3347
T9 <1,9> 754      T9I <11,9> 2599
T10 <1,10> 1508      T10I <11,10> 1103
T11 <1,11> 3016      T11I <11,11> 2206
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 2837      T0MI <7,0> 1307
T1M <5,1> 1579      T1MI <7,1> 2614
T2M <5,2> 3158      T2MI <7,2> 1133
T3M <5,3> 2221      T3MI <7,3> 2266
T4M <5,4> 347      T4MI <7,4> 437
T5M <5,5> 694      T5MI <7,5> 874
T6M <5,6> 1388      T6MI <7,6> 1748
T7M <5,7> 2776      T7MI <7,7> 3496
T8M <5,8> 1457      T8MI <7,8> 2897
T9M <5,9> 2914      T9MI <7,9> 1699
T10M <5,10> 1733      T10MI <7,10> 3398
T11M <5,11> 3466      T11MI <7,11> 2701

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 1939Scale 1939: Dathian, Ian Ring Music TheoryDathian
Scale 1941Scale 1941: Aeranian, Ian Ring Music TheoryAeranian
Scale 1945Scale 1945: Zarian, Ian Ring Music TheoryZarian
Scale 1921Scale 1921: Lukian, Ian Ring Music TheoryLukian
Scale 1929Scale 1929: Aeolycrimic, Ian Ring Music TheoryAeolycrimic
Scale 1953Scale 1953: Macian, Ian Ring Music TheoryMacian
Scale 1969Scale 1969: Stylian, Ian Ring Music TheoryStylian
Scale 2001Scale 2001: Gydian, Ian Ring Music TheoryGydian
Scale 1809Scale 1809: Ranitonic, Ian Ring Music TheoryRanitonic
Scale 1873Scale 1873: Dathimic, Ian Ring Music TheoryDathimic
Scale 1681Scale 1681: Raga Valaji, Ian Ring Music TheoryRaga Valaji
Scale 1425Scale 1425: Ryphitonic, Ian Ring Music TheoryRyphitonic
Scale 913Scale 913: Aeolyritonic, Ian Ring Music TheoryAeolyritonic
Scale 2961Scale 2961: Bygimic, Ian Ring Music TheoryBygimic
Scale 3985Scale 3985: Thadian, Ian Ring Music TheoryThadian

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.