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Scale 2173: "Nehian"

Scale 2173: Nehian, 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
Nehian

Analysis

Cardinality

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

7 (heptatonic)

Pitch Class Set

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

{0,2,3,4,5,6,11}

Forte Number

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

7-4

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: 1987

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.

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.

6

Prime Form

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

no
prime: 223

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.

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

<5, 4, 4, 3, 3, 2>

Interval Spectrum

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

p3m3n4s4d5t2

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

Spectra Variation

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

3.714

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.

1.933

Polygon Perimeter

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

5.52

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.

(57, 26, 90)

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}221
Minor Triadsbm{11,2,6}221
Diminished Triads{0,3,6}131.5
{11,2,5}131.5

The following pitch classes are not present in any of the common triads: {4}

Parsimonious Voice Leading Between Common Triads of Scale 2173. Created by Ian Ring ©2019 B B c°->B bm bm b°->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.

Diameter3
Radius2
Self-Centeredno
Central Verticesbm, B
Peripheral Verticesc°, b°

Modes

Modes are the rotational transformation of this scale. Scale 2173 can be rotated to make 6 other scales. The 1st mode is itself.

2nd mode:
Scale 1567
Scale 1567: Jobian, Ian Ring Music TheoryJobian
3rd mode:
Scale 2831
Scale 2831: Ruqian, Ian Ring Music TheoryRuqian
4th mode:
Scale 3463
Scale 3463: Vofian, Ian Ring Music TheoryVofian
5th mode:
Scale 3779
Scale 3779, Ian Ring Music Theory
6th mode:
Scale 3937
Scale 3937: Zalian, Ian Ring Music TheoryZalian
7th mode:
Scale 251
Scale 251: Borian, Ian Ring Music TheoryBorian

Prime

The prime form of this scale is Scale 223

Scale 223Scale 223: Bizian, Ian Ring Music TheoryBizian

Complement

The heptatonic modal family [2173, 1567, 2831, 3463, 3779, 3937, 251] (Forte: 7-4) is the complement of the pentatonic modal family [79, 961, 2087, 3091, 3593] (Forte: 5-4)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 2173 is 1987

Scale 1987Scale 1987: Mexian, Ian Ring Music TheoryMexian

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 2173 is chiral, and its enantiomorph is scale 1987

Scale 1987Scale 1987: Mexian, Ian Ring Music TheoryMexian

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> 2173       T0I <11,0> 1987
T1 <1,1> 251      T1I <11,1> 3974
T2 <1,2> 502      T2I <11,2> 3853
T3 <1,3> 1004      T3I <11,3> 3611
T4 <1,4> 2008      T4I <11,4> 3127
T5 <1,5> 4016      T5I <11,5> 2159
T6 <1,6> 3937      T6I <11,6> 223
T7 <1,7> 3779      T7I <11,7> 446
T8 <1,8> 3463      T8I <11,8> 892
T9 <1,9> 2831      T9I <11,9> 1784
T10 <1,10> 1567      T10I <11,10> 3568
T11 <1,11> 3134      T11I <11,11> 3041
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 1483      T0MI <7,0> 2677
T1M <5,1> 2966      T1MI <7,1> 1259
T2M <5,2> 1837      T2MI <7,2> 2518
T3M <5,3> 3674      T3MI <7,3> 941
T4M <5,4> 3253      T4MI <7,4> 1882
T5M <5,5> 2411      T5MI <7,5> 3764
T6M <5,6> 727      T6MI <7,6> 3433
T7M <5,7> 1454      T7MI <7,7> 2771
T8M <5,8> 2908      T8MI <7,8> 1447
T9M <5,9> 1721      T9MI <7,9> 2894
T10M <5,10> 3442      T10MI <7,10> 1693
T11M <5,11> 2789      T11MI <7,11> 3386

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 2175Scale 2175: Octatonic Chromatic 2, Ian Ring Music TheoryOctatonic Chromatic 2
Scale 2169Scale 2169: Nefian, Ian Ring Music TheoryNefian
Scale 2171Scale 2171: Negian, Ian Ring Music TheoryNegian
Scale 2165Scale 2165: Necian, Ian Ring Music TheoryNecian
Scale 2157Scale 2157: Nexian, Ian Ring Music TheoryNexian
Scale 2141Scale 2141: Nanian, Ian Ring Music TheoryNanian
Scale 2109Scale 2109: Muvian, Ian Ring Music TheoryMuvian
Scale 2237Scale 2237: Epothian, Ian Ring Music TheoryEpothian
Scale 2301Scale 2301: Bydyllic, Ian Ring Music TheoryBydyllic
Scale 2429Scale 2429: Kadyllic, Ian Ring Music TheoryKadyllic
Scale 2685Scale 2685: Ionoryllic, Ian Ring Music TheoryIonoryllic
Scale 3197Scale 3197: Gylyllic, Ian Ring Music TheoryGylyllic
Scale 125Scale 125: Atwian, Ian Ring Music TheoryAtwian
Scale 1149Scale 1149: Bydian, Ian Ring Music TheoryBydian

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.