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Scale 2015: "Messiaen Mode 7"

Scale 2015: Messiaen Mode 7, 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

Messiaen
Messiaen Mode 7
Dozenal
Mepian
Zeitler
Epiryllian

Analysis

Cardinality

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

10 (decatonic)

Pitch Class Set

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

{0,1,2,3,4,6,7,8,9,10}

Forte Number

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

10-6

Rotational Symmetry

Some scales have rotational symmetry, sometimes known as "limited transposition". If there are any rotational symmetries, these are the intervals of periodicity.

[6]

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.

[2, 5]

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.

no

Hemitonia

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

8 (multihemitonic)

Cohemitonia

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

6 (multicohemitonic)

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.

2

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.

4

Prime Form

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

yes

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.

[1, 1, 1, 1, 2, 1, 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.

<8, 8, 8, 8, 8, 5>

Interval Spectrum

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

p8m8n8s8d8t5

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

Spectra Variation

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

0.8

Maximally Even

A scale is maximally even if the tones are optimally spaced apart from each other.

yes

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.

yes

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.

2.866

Polygon Perimeter

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

6.141

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.

yes

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.

[4,10]

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".

Proper

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.

(0, 80, 160)

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}452.68
D{2,6,9}352.77
D♯{3,7,10}452.59
F♯{6,10,1}452.68
G♯{8,0,3}352.77
A{9,1,4}452.59
Minor Triadscm{0,3,7}452.59
c♯m{1,4,8}352.77
d♯m{3,6,10}452.68
f♯m{6,9,1}452.59
gm{7,10,2}352.77
am{9,0,4}452.68
Augmented TriadsC+{0,4,8}452.68
D+{2,6,10}452.68
Diminished Triads{0,3,6}252.86
c♯°{1,4,7}253.05
d♯°{3,6,9}253.05
{4,7,10}252.86
f♯°{6,9,0}252.86
{7,10,1}253.05
{9,0,3}253.05
a♯°{10,1,4}252.86
Parsimonious Voice Leading Between Common Triads of Scale 2015. Created by Ian Ring ©2019 cm cm c°->cm d#m d#m c°->d#m C C cm->C D# D# cm->D# G# G# cm->G# C+ C+ C->C+ c#° c#° C->c#° C->e° c#m c#m C+->c#m C+->G# am am C+->am c#°->c#m A A c#m->A D D D+ D+ D->D+ d#° d#° D->d#° f#m f#m D->f#m D+->d#m F# F# D+->F# gm gm D+->gm d#°->d#m d#m->D# D#->e° D#->gm f#° f#° f#°->f#m f#°->am f#m->F# f#m->A F#->g° a#° a#° F#->a#° g°->gm G#->a° a°->am am->A A->a#°

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.

Diameter5
Radius5
Self-Centeredyes

Modes

Modes are the rotational transformation of this scale. Scale 2015 can be rotated to make 4 other scales. The 1st mode is itself.

2nd mode:
Scale 3055
Scale 3055: Messiaen Mode 7, Ian Ring Music TheoryMessiaen Mode 7
3rd mode:
Scale 3575
Scale 3575: Symmetrical Decatonic, Ian Ring Music TheorySymmetrical Decatonic
4th mode:
Scale 3835
Scale 3835: Katodyllian, Ian Ring Music TheoryKatodyllian
5th mode:
Scale 3965
Scale 3965: Messiaen Mode 7 Inverse, Ian Ring Music TheoryMessiaen Mode 7 Inverse

Prime

This is the prime form of this scale.

Complement

The decatonic modal family [2015, 3055, 3575, 3835, 3965] (Forte: 10-6) is the complement of the ditonic modal family [65] (Forte: 2-6)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 2015 is 3965

Scale 3965Scale 3965: Messiaen Mode 7 Inverse, Ian Ring Music TheoryMessiaen Mode 7 Inverse

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> 2015       T0I <11,0> 3965
T1 <1,1> 4030      T1I <11,1> 3835
T2 <1,2> 3965      T2I <11,2> 3575
T3 <1,3> 3835      T3I <11,3> 3055
T4 <1,4> 3575      T4I <11,4> 2015
T5 <1,5> 3055      T5I <11,5> 4030
T6 <1,6> 2015       T6I <11,6> 3965
T7 <1,7> 4030      T7I <11,7> 3835
T8 <1,8> 3965      T8I <11,8> 3575
T9 <1,9> 3835      T9I <11,9> 3055
T10 <1,10> 3575      T10I <11,10> 2015
T11 <1,11> 3055      T11I <11,11> 4030
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 3965      T0MI <7,0> 2015
T1M <5,1> 3835      T1MI <7,1> 4030
T2M <5,2> 3575      T2MI <7,2> 3965
T3M <5,3> 3055      T3MI <7,3> 3835
T4M <5,4> 2015       T4MI <7,4> 3575
T5M <5,5> 4030      T5MI <7,5> 3055
T6M <5,6> 3965      T6MI <7,6> 2015
T7M <5,7> 3835      T7MI <7,7> 4030
T8M <5,8> 3575      T8MI <7,8> 3965
T9M <5,9> 3055      T9MI <7,9> 3835
T10M <5,10> 2015       T10MI <7,10> 3575
T11M <5,11> 4030      T11MI <7,11> 3055

The transformations that map this set to itself are: T0, T6, T4I, T10I, T4M, T10M, T0MI, T6MI

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 2013Scale 2013: Mocrygic, Ian Ring Music TheoryMocrygic
Scale 2011Scale 2011: Raphygic, Ian Ring Music TheoryRaphygic
Scale 2007Scale 2007: Stonygic, Ian Ring Music TheoryStonygic
Scale 1999Scale 1999: Zacrygic, Ian Ring Music TheoryZacrygic
Scale 2031Scale 2031: Gadyllian, Ian Ring Music TheoryGadyllian
Scale 2047Scale 2047: Chromatic Undecamode, Ian Ring Music TheoryChromatic Undecamode
Scale 1951Scale 1951: Marygic, Ian Ring Music TheoryMarygic
Scale 1983Scale 1983: Soryllian, Ian Ring Music TheorySoryllian
Scale 1887Scale 1887: Aerocrygic, Ian Ring Music TheoryAerocrygic
Scale 1759Scale 1759: Pylygic, Ian Ring Music TheoryPylygic
Scale 1503Scale 1503: Padygic, Ian Ring Music TheoryPadygic
Scale 991Scale 991: Aeolygic, Ian Ring Music TheoryAeolygic
Scale 3039Scale 3039: Godyllian, Ian Ring Music TheoryGodyllian
Scale 4063Scale 4063: Chromatic Undecamode 7, Ian Ring Music TheoryChromatic Undecamode 7

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.