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Scale 2127: "Nafian"

Scale 2127: Nafian, 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

Dozenal
Nafian

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

{0,1,2,3,6,11}

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-Z36

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: 3651

Hemitonia

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

4 (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.

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 Starr/Rahn algorithm.

no
prime: 159

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, an indicator of maximum hierarchization.

no

Interval Structure

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

[1, 1, 1, 3, 5, 1]

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.

<4, 3, 3, 2, 2, 1>

Interval Spectrum

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

p2m2n3s3d4t

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> = {1,3,5}
<2> = {2,4,6,8}
<3> = {3,5,7,9}
<4> = {4,6,8,10}
<5> = {7,9,11}

Spectra Variation

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

4.333

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.

1.75

Polygon Perimeter

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

5.417

Myhill Property

A scale has Myhill Property if the Distribution Spectra have 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.

(41, 9, 55)

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 TriadsB{11,3,6}210.67
Minor Triadsbm{11,2,6}121
Diminished Triads{0,3,6}121

The following pitch classes are not present in any of the common triads: {1}

Parsimonious Voice Leading Between Common Triads of Scale 2127. Created by Ian Ring ©2019 B B c°->B bm bm bm->B

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.

Diameter2
Radius1
Self-Centeredno
Central VerticesB
Peripheral Verticesc°, bm

Modes

Modes are the rotational transformation of this scale. Scale 2127 can be rotated to make 5 other scales. The 1st mode is itself.

2nd mode:
Scale 3111
Scale 3111: Tifian, Ian Ring Music TheoryTifian
3rd mode:
Scale 3603
Scale 3603: Womian, Ian Ring Music TheoryWomian
4th mode:
Scale 3849
Scale 3849: Yikian, Ian Ring Music TheoryYikian
5th mode:
Scale 993
Scale 993: Gavian, Ian Ring Music TheoryGavian
6th mode:
Scale 159
Scale 159: Bamian, Ian Ring Music TheoryBamianThis is the prime mode

Prime

The prime form of this scale is Scale 159

Scale 159Scale 159: Bamian, Ian Ring Music TheoryBamian

Complement

The hexatonic modal family [2127, 3111, 3603, 3849, 993, 159] (Forte: 6-Z36) is the complement of the hexatonic modal family [111, 1923, 2103, 3009, 3099, 3597] (Forte: 6-Z3)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 2127 is 3651

Scale 3651Scale 3651: Wuqian, Ian Ring Music TheoryWuqian

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 2127 is chiral, and its enantiomorph is scale 3651

Scale 3651Scale 3651: Wuqian, Ian Ring Music TheoryWuqian

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> 2127       T0I <11,0> 3651
T1 <1,1> 159      T1I <11,1> 3207
T2 <1,2> 318      T2I <11,2> 2319
T3 <1,3> 636      T3I <11,3> 543
T4 <1,4> 1272      T4I <11,4> 1086
T5 <1,5> 2544      T5I <11,5> 2172
T6 <1,6> 993      T6I <11,6> 249
T7 <1,7> 1986      T7I <11,7> 498
T8 <1,8> 3972      T8I <11,8> 996
T9 <1,9> 3849      T9I <11,9> 1992
T10 <1,10> 3603      T10I <11,10> 3984
T11 <1,11> 3111      T11I <11,11> 3873
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 1257      T0MI <7,0> 741
T1M <5,1> 2514      T1MI <7,1> 1482
T2M <5,2> 933      T2MI <7,2> 2964
T3M <5,3> 1866      T3MI <7,3> 1833
T4M <5,4> 3732      T4MI <7,4> 3666
T5M <5,5> 3369      T5MI <7,5> 3237
T6M <5,6> 2643      T6MI <7,6> 2379
T7M <5,7> 1191      T7MI <7,7> 663
T8M <5,8> 2382      T8MI <7,8> 1326
T9M <5,9> 669      T9MI <7,9> 2652
T10M <5,10> 1338      T10MI <7,10> 1209
T11M <5,11> 2676      T11MI <7,11> 2418

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 2125Scale 2125: Nadian, Ian Ring Music TheoryNadian
Scale 2123Scale 2123: Nacian, Ian Ring Music TheoryNacian
Scale 2119Scale 2119: Mubian, Ian Ring Music TheoryMubian
Scale 2135Scale 2135: Nakian, Ian Ring Music TheoryNakian
Scale 2143Scale 2143: Napian, Ian Ring Music TheoryNapian
Scale 2159Scale 2159: Neyian, Ian Ring Music TheoryNeyian
Scale 2063Scale 2063: Pentatonic Chromatic 2, Ian Ring Music TheoryPentatonic Chromatic 2
Scale 2095Scale 2095: Mumian, Ian Ring Music TheoryMumian
Scale 2191Scale 2191: Thydimic, Ian Ring Music TheoryThydimic
Scale 2255Scale 2255: Dylian, Ian Ring Music TheoryDylian
Scale 2383Scale 2383: Katorian, Ian Ring Music TheoryKatorian
Scale 2639Scale 2639: Dothian, Ian Ring Music TheoryDothian
Scale 3151Scale 3151: Pacrian, Ian Ring Music TheoryPacrian
Scale 79Scale 79: Appian, Ian Ring Music TheoryAppian
Scale 1103Scale 1103: Lynimic, Ian Ring Music TheoryLynimic

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.