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Scale 2289: "Mocrimic"

Scale 2289: Mocrimic, 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
Mocrimic
Dozenal
Nubian

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

{0,4,5,6,7,11}

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-Z38

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.

[5.5]

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.

4 (multihemitonic)

Cohemitonia

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

2 (dicohemitonic)

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.

5

Prime Form

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

no
prime: 399

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.

[4, 1, 1, 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.

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

Interval Spectrum

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

p4m2ns2d4t2

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

Spectra Variation

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

3

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.

1.866

Polygon Perimeter

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

5.535

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.

[11]

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.

(20, 0, 41)

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}110.5
Minor Triadsem{4,7,11}110.5

The following pitch classes are not present in any of the common triads: {5,6}

Parsimonious Voice Leading Between Common Triads of Scale 2289. Created by Ian Ring ©2019 C C em em C->em

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.

Diameter1
Radius1
Self-Centeredyes

Modes

Modes are the rotational transformation of this scale. Scale 2289 can be rotated to make 5 other scales. The 1st mode is itself.

2nd mode:
Scale 399
Scale 399: Zynimic, Ian Ring Music TheoryZynimicThis is the prime mode
3rd mode:
Scale 2247
Scale 2247: Raga Vijayasri, Ian Ring Music TheoryRaga Vijayasri
4th mode:
Scale 3171
Scale 3171: Zythimic, Ian Ring Music TheoryZythimic
5th mode:
Scale 3633
Scale 3633: Daptimic, Ian Ring Music TheoryDaptimic
6th mode:
Scale 483
Scale 483: Kygimic, Ian Ring Music TheoryKygimic

Prime

The prime form of this scale is Scale 399

Scale 399Scale 399: Zynimic, Ian Ring Music TheoryZynimic

Complement

The hexatonic modal family [2289, 399, 2247, 3171, 3633, 483] (Forte: 6-Z38) is the complement of the hexatonic modal family [231, 903, 2163, 2499, 3129, 3297] (Forte: 6-Z6)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 2289 is 483

Scale 483Scale 483: Kygimic, Ian Ring Music TheoryKygimic

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> 2289       T0I <11,0> 483
T1 <1,1> 483      T1I <11,1> 966
T2 <1,2> 966      T2I <11,2> 1932
T3 <1,3> 1932      T3I <11,3> 3864
T4 <1,4> 3864      T4I <11,4> 3633
T5 <1,5> 3633      T5I <11,5> 3171
T6 <1,6> 3171      T6I <11,6> 2247
T7 <1,7> 2247      T7I <11,7> 399
T8 <1,8> 399      T8I <11,8> 798
T9 <1,9> 798      T9I <11,9> 1596
T10 <1,10> 1596      T10I <11,10> 3192
T11 <1,11> 3192      T11I <11,11> 2289
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 2499      T0MI <7,0> 2163
T1M <5,1> 903      T1MI <7,1> 231
T2M <5,2> 1806      T2MI <7,2> 462
T3M <5,3> 3612      T3MI <7,3> 924
T4M <5,4> 3129      T4MI <7,4> 1848
T5M <5,5> 2163      T5MI <7,5> 3696
T6M <5,6> 231      T6MI <7,6> 3297
T7M <5,7> 462      T7MI <7,7> 2499
T8M <5,8> 924      T8MI <7,8> 903
T9M <5,9> 1848      T9MI <7,9> 1806
T10M <5,10> 3696      T10MI <7,10> 3612
T11M <5,11> 3297      T11MI <7,11> 3129

The transformations that map this set to itself are: T0, T11I

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 2291Scale 2291: Zydian, Ian Ring Music TheoryZydian
Scale 2293Scale 2293: Gorian, Ian Ring Music TheoryGorian
Scale 2297Scale 2297: Thylian, Ian Ring Music TheoryThylian
Scale 2273Scale 2273: Nurian, Ian Ring Music TheoryNurian
Scale 2281Scale 2281: Rathimic, Ian Ring Music TheoryRathimic
Scale 2257Scale 2257: Lydian Pentatonic, Ian Ring Music TheoryLydian Pentatonic
Scale 2225Scale 2225: Ionian Pentatonic, Ian Ring Music TheoryIonian Pentatonic
Scale 2161Scale 2161: Nezian, Ian Ring Music TheoryNezian
Scale 2417Scale 2417: Kanimic, Ian Ring Music TheoryKanimic
Scale 2545Scale 2545: Thycrian, Ian Ring Music TheoryThycrian
Scale 2801Scale 2801: Zogian, Ian Ring Music TheoryZogian
Scale 3313Scale 3313: Aeolacrian, Ian Ring Music TheoryAeolacrian
Scale 241Scale 241: Bilian, Ian Ring Music TheoryBilian
Scale 1265Scale 1265: Pynimic, Ian Ring Music TheoryPynimic

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.