The Exciting Universe Of Music Theory

presents

more than you ever wanted to know about...

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 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).

Cardinality | 6 (hexatonic) |
---|---|

Pitch Class Set | {0,2,3,5,7,11} |

Forte Number | 6-Z24 |

Rotational Symmetry | none |

Reflection Axes | none |

Palindromic | no |

Chirality | yes enantiomorph: 1699 |

Hemitonia | 2 (dihemitonic) |

Cohemitonia | 0 (ancohemitonic) |

Imperfections | 3 |

Modes | 5 |

Prime? | no prime: 347 |

Deep Scale | no |

Interval Vector | 233331 |

Interval Spectrum | p^{3}m^{3}n^{3}s^{3}d^{2}t |

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

Spectra Variation | 2.667 |

Maximally Even | no |

Maximal Area Set | no |

Interior Area | 2.232 |

Myhill Property | no |

Balanced | no |

Ridge Tones | none |

Propriety | Improper |

Heliotonic | no |

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 Type | Triad^{*} | Pitch Classes | Degree | Eccentricity | Closeness Centrality |
---|---|---|---|---|---|

Major Triads | G | {7,11,2} | 2 | 2 | 1 |

Minor Triads | cm | {0,3,7} | 1 | 3 | 1.5 |

Augmented Triads | D♯+ | {3,7,11} | 2 | 2 | 1 |

Diminished Triads | b° | {11,2,5} | 1 | 3 | 1.5 |

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.

Diameter | 3 |
---|---|

Radius | 2 |

Self-Centered | no |

Central Vertices | D♯+, G |

Peripheral Vertices | cm, b° |

Modes are the rotational transformation of this scale. Scale 2221 can be rotated to make 5 other scales. The 1st mode is itself.

2nd mode: Scale 1579 | Sagimic | ||||

3rd mode: Scale 2837 | Aelothimic | ||||

4th mode: Scale 1733 | Raga Sarasvati | ||||

5th mode: Scale 1457 | Raga Kamalamanohari | ||||

6th mode: Scale 347 | Barimic | This is the prime mode |

The prime form of this scale is Scale 347

Scale 347 | Barimic |

The hexatonic modal family [2221, 1579, 2837, 1733, 1457, 347] (Forte: 6-Z24) is the complement of the hexatonic modal family [599, 697, 1481, 1829, 2347, 3221] (Forte: 6-Z46)

The inverse of a scale is a reflection using the root as its axis. The inverse of 2221 is 1699

Scale 1699 | Raga Rasavali |

Only scales that are chiral will have an enantiomorph. Scale 2221 is chiral, and its enantiomorph is scale 1699

Scale 1699 | Raga Rasavali |

T_{0} | 2221 | T_{0}I | 1699 | |||||

T_{1} | 347 | T_{1}I | 3398 | |||||

T_{2} | 694 | T_{2}I | 2701 | |||||

T_{3} | 1388 | T_{3}I | 1307 | |||||

T_{4} | 2776 | T_{4}I | 2614 | |||||

T_{5} | 1457 | T_{5}I | 1133 | |||||

T_{6} | 2914 | T_{6}I | 2266 | |||||

T_{7} | 1733 | T_{7}I | 437 | |||||

T_{8} | 3466 | T_{8}I | 874 | |||||

T_{9} | 2837 | T_{9}I | 1748 | |||||

T_{10} | 1579 | T_{10}I | 3496 | |||||

T_{11} | 3158 | T_{11}I | 2897 |

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 2223 | Konian | |||

Scale 2217 | Kagitonic | |||

Scale 2219 | Phrydimic | |||

Scale 2213 | Raga Desh | |||

Scale 2229 | Raga Nalinakanti | |||

Scale 2237 | Epothian | |||

Scale 2189 | Zagitonic | |||

Scale 2205 | Ionocrimic | |||

Scale 2253 | Raga Amarasenapriya | |||

Scale 2285 | Aerogian | |||

Scale 2093 | ||||

Scale 2157 | ||||

Scale 2349 | Raga Ghantana | |||

Scale 2477 | Harmonic Minor | |||

Scale 2733 | Melodic Minor Ascending | |||

Scale 3245 | Mela Varunapriya | |||

Scale 173 | Raga Purnalalita | |||

Scale 1197 | Minor Hexatonic |

This scale analysis was created by Ian Ring, Canadian Composer of works for Piano, and total music theory nerd. The software used to generate this analysis is an open source project at GitHub. 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.