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Scale 2343: "Tharimic"

Scale 2343: Tharimic, 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
Tharimic
Dozenal
Oclian

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

{0,1,2,5,8,11}

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-Z42

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.

[0.5]

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.

3 (trihemitonic)

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.

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 Rahn/Ring formula.

no
prime: 591

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

Interval Spectrum

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

p2m2n4s2d3t2

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

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.

2.25

Polygon Perimeter

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

5.796

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.

[1]

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.

(28, 10, 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 TriadsC♯{1,5,8}231.5
Minor Triadsfm{5,8,0}231.5
Diminished Triads{2,5,8}231.5
{5,8,11}231.5
g♯°{8,11,2}231.5
{11,2,5}231.5
Parsimonious Voice Leading Between Common Triads of Scale 2343. Created by Ian Ring ©2019 C# C# C#->d° fm fm C#->fm d°->b° f°->fm g#° g#° f°->g#° g#°->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
Radius3
Self-Centeredyes

Modes

Modes are the rotational transformation of this scale. Scale 2343 can be rotated to make 5 other scales. The 1st mode is itself.

2nd mode:
Scale 3219
Scale 3219: Ionaphimic, Ian Ring Music TheoryIonaphimic
3rd mode:
Scale 3657
Scale 3657: Epynimic, Ian Ring Music TheoryEpynimic
4th mode:
Scale 969
Scale 969: Ionogimic, Ian Ring Music TheoryIonogimic
5th mode:
Scale 633
Scale 633: Kydimic, Ian Ring Music TheoryKydimic
6th mode:
Scale 591
Scale 591: Gaptimic, Ian Ring Music TheoryGaptimicThis is the prime mode

Prime

The prime form of this scale is Scale 591

Scale 591Scale 591: Gaptimic, Ian Ring Music TheoryGaptimic

Complement

The hexatonic modal family [2343, 3219, 3657, 969, 633, 591] (Forte: 6-Z42) is the complement of the hexatonic modal family [219, 1563, 1731, 2157, 2829, 2913] (Forte: 6-Z13)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 2343 is 3219

Scale 3219Scale 3219: Ionaphimic, Ian Ring Music TheoryIonaphimic

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> 2343       T0I <11,0> 3219
T1 <1,1> 591      T1I <11,1> 2343
T2 <1,2> 1182      T2I <11,2> 591
T3 <1,3> 2364      T3I <11,3> 1182
T4 <1,4> 633      T4I <11,4> 2364
T5 <1,5> 1266      T5I <11,5> 633
T6 <1,6> 2532      T6I <11,6> 1266
T7 <1,7> 969      T7I <11,7> 2532
T8 <1,8> 1938      T8I <11,8> 969
T9 <1,9> 3876      T9I <11,9> 1938
T10 <1,10> 3657      T10I <11,10> 3876
T11 <1,11> 3219      T11I <11,11> 3657
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 1203      T0MI <7,0> 2469
T1M <5,1> 2406      T1MI <7,1> 843
T2M <5,2> 717      T2MI <7,2> 1686
T3M <5,3> 1434      T3MI <7,3> 3372
T4M <5,4> 2868      T4MI <7,4> 2649
T5M <5,5> 1641      T5MI <7,5> 1203
T6M <5,6> 3282      T6MI <7,6> 2406
T7M <5,7> 2469      T7MI <7,7> 717
T8M <5,8> 843      T8MI <7,8> 1434
T9M <5,9> 1686      T9MI <7,9> 2868
T10M <5,10> 3372      T10MI <7,10> 1641
T11M <5,11> 2649      T11MI <7,11> 3282

The transformations that map this set to itself are: T0, T1I

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 2341Scale 2341: Raga Priyadharshini, Ian Ring Music TheoryRaga Priyadharshini
Scale 2339Scale 2339: Raga Kshanika, Ian Ring Music TheoryRaga Kshanika
Scale 2347Scale 2347: Raga Viyogavarali, Ian Ring Music TheoryRaga Viyogavarali
Scale 2351Scale 2351: Gynian, Ian Ring Music TheoryGynian
Scale 2359Scale 2359: Gadian, Ian Ring Music TheoryGadian
Scale 2311Scale 2311: Raga Kumarapriya, Ian Ring Music TheoryRaga Kumarapriya
Scale 2327Scale 2327: Epalimic, Ian Ring Music TheoryEpalimic
Scale 2375Scale 2375: Aeolaptimic, Ian Ring Music TheoryAeolaptimic
Scale 2407Scale 2407: Zylian, Ian Ring Music TheoryZylian
Scale 2471Scale 2471: Mela Ganamurti, Ian Ring Music TheoryMela Ganamurti
Scale 2087Scale 2087: Muhian, Ian Ring Music TheoryMuhian
Scale 2215Scale 2215: Ranimic, Ian Ring Music TheoryRanimic
Scale 2599Scale 2599: Malimic, Ian Ring Music TheoryMalimic
Scale 2855Scale 2855: Epocrain, Ian Ring Music TheoryEpocrain
Scale 3367Scale 3367: Moptian, Ian Ring Music TheoryMoptian
Scale 295Scale 295: Gyritonic, Ian Ring Music TheoryGyritonic
Scale 1319Scale 1319: Phronimic, Ian Ring Music TheoryPhronimic

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.