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Scale 2251: "Zodimic"

Scale 2251: Zodimic, 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
Zodimic
Dozenal
Nodian

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

{0,1,3,6,7,11}

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-Z17

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: 2659

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.

1 (uncohemitonic)

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.

3

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: 407

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, 2, 3, 1, 4, 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.

<3, 2, 2, 3, 3, 2>

Interval Spectrum

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

p3m3n2s2d3t2

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

2.667

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.

(12, 10, 57)

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 Triadscm{0,3,7}221
Augmented TriadsD♯+{3,7,11}221
Diminished Triads{0,3,6}221

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

Parsimonious Voice Leading Between Common Triads of Scale 2251. Created by Ian Ring ©2019 cm cm c°->cm B B c°->B D#+ D#+ cm->D#+ D#+->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
Radius2
Self-Centeredyes

Modes

Modes are the rotational transformation of this scale. Scale 2251 can be rotated to make 5 other scales. The 1st mode is itself.

2nd mode:
Scale 3173
Scale 3173: Zarimic, Ian Ring Music TheoryZarimic
3rd mode:
Scale 1817
Scale 1817: Phrythimic, Ian Ring Music TheoryPhrythimic
4th mode:
Scale 739
Scale 739: Rorimic, Ian Ring Music TheoryRorimic
5th mode:
Scale 2417
Scale 2417: Kanimic, Ian Ring Music TheoryKanimic
6th mode:
Scale 407
Scale 407: All-Trichord Hexachord, Ian Ring Music TheoryAll-Trichord HexachordThis is the prime mode

Prime

The prime form of this scale is Scale 407

Scale 407Scale 407: All-Trichord Hexachord, Ian Ring Music TheoryAll-Trichord Hexachord

Complement

The hexatonic modal family [2251, 3173, 1817, 739, 2417, 407] (Forte: 6-Z17) is the complement of the hexatonic modal family [359, 907, 1649, 2227, 2501, 3161] (Forte: 6-Z43)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 2251 is 2659

Scale 2659Scale 2659: Katynimic, Ian Ring Music TheoryKatynimic

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 2251 is chiral, and its enantiomorph is scale 2659

Scale 2659Scale 2659: Katynimic, Ian Ring Music TheoryKatynimic

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> 2251       T0I <11,0> 2659
T1 <1,1> 407      T1I <11,1> 1223
T2 <1,2> 814      T2I <11,2> 2446
T3 <1,3> 1628      T3I <11,3> 797
T4 <1,4> 3256      T4I <11,4> 1594
T5 <1,5> 2417      T5I <11,5> 3188
T6 <1,6> 739      T6I <11,6> 2281
T7 <1,7> 1478      T7I <11,7> 467
T8 <1,8> 2956      T8I <11,8> 934
T9 <1,9> 1817      T9I <11,9> 1868
T10 <1,10> 3634      T10I <11,10> 3736
T11 <1,11> 3173      T11I <11,11> 3377
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 2281      T0MI <7,0> 739
T1M <5,1> 467      T1MI <7,1> 1478
T2M <5,2> 934      T2MI <7,2> 2956
T3M <5,3> 1868      T3MI <7,3> 1817
T4M <5,4> 3736      T4MI <7,4> 3634
T5M <5,5> 3377      T5MI <7,5> 3173
T6M <5,6> 2659      T6MI <7,6> 2251
T7M <5,7> 1223      T7MI <7,7> 407
T8M <5,8> 2446      T8MI <7,8> 814
T9M <5,9> 797      T9MI <7,9> 1628
T10M <5,10> 1594      T10MI <7,10> 3256
T11M <5,11> 3188      T11MI <7,11> 2417

The transformations that map this set to itself are: T0, 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 2249Scale 2249: Raga Multani, Ian Ring Music TheoryRaga Multani
Scale 2253Scale 2253: Raga Amarasenapriya, Ian Ring Music TheoryRaga Amarasenapriya
Scale 2255Scale 2255: Dylian, Ian Ring Music TheoryDylian
Scale 2243Scale 2243: Noyian, Ian Ring Music TheoryNoyian
Scale 2247Scale 2247: Raga Vijayasri, Ian Ring Music TheoryRaga Vijayasri
Scale 2259Scale 2259: Raga Mandari, Ian Ring Music TheoryRaga Mandari
Scale 2267Scale 2267: Padian, Ian Ring Music TheoryPadian
Scale 2283Scale 2283: Aeolyptian, Ian Ring Music TheoryAeolyptian
Scale 2187Scale 2187: Ionothitonic, Ian Ring Music TheoryIonothitonic
Scale 2219Scale 2219: Phrydimic, Ian Ring Music TheoryPhrydimic
Scale 2123Scale 2123: Nacian, Ian Ring Music TheoryNacian
Scale 2379Scale 2379: Raga Gurjari Todi, Ian Ring Music TheoryRaga Gurjari Todi
Scale 2507Scale 2507: Todi That, Ian Ring Music TheoryTodi That
Scale 2763Scale 2763: Mela Suvarnangi, Ian Ring Music TheoryMela Suvarnangi
Scale 3275Scale 3275: Mela Divyamani, Ian Ring Music TheoryMela Divyamani
Scale 203Scale 203: Ichian, Ian Ring Music TheoryIchian
Scale 1227Scale 1227: Thacrimic, Ian Ring Music TheoryThacrimic

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.