The Exciting Universe Of Music Theory
presents

more than you ever wanted to know about...

Scale 2505: "Mydimic"

Scale 2505: Mydimic, 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

41161837294116105072918310504116183
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
Mydimic

Analysis

Cardinality6 (hexatonic)
Pitch Class Set{0,3,6,7,8,11}
Forte Number6-Z44
Rotational Symmetrynone
Reflection Axesnone
Palindromicno
Chiralityyes
enantiomorph: 627
Hemitonia3 (trihemitonic)
Cohemitonia1 (uncohemitonic)
Imperfections3
Modes5
Prime?no
prime: 615
Deep Scaleno
Interval Vector313431
Interval Spectrump3m4n3sd3t
Distribution Spectra<1> = {1,3}
<2> = {2,4,6}
<3> = {5,7}
<4> = {6,8,10}
<5> = {9,11}
Spectra Variation2.333
Maximally Evenno
Maximal Area Setno
Interior Area2.25
Myhill Propertyno
Balancedno
Ridge Tonesnone
ProprietyImproper
Heliotonicno

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 TriadsG♯{8,0,3}231.5
B{11,3,6}231.5
Minor Triadscm{0,3,7}321.17
g♯m{8,11,3}231.5
Augmented TriadsD♯+{3,7,11}321.17
Diminished Triads{0,3,6}231.5
Parsimonious Voice Leading Between Common Triads of Scale 2505. Created by Ian Ring ©2019 cm cm c°->cm B B c°->B D#+ D#+ cm->D#+ G# G# cm->G# g#m g#m D#+->g#m D#+->B g#m->G#

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 Verticescm, D♯+
Peripheral Verticesc°, g♯m, G♯, B

Modes

Modes are the rotational transformation of this scale. Scale 2505 can be rotated to make 5 other scales. The 1st mode is itself.

2nd mode:
Scale 825
Scale 825: Thyptimic, Ian Ring Music TheoryThyptimic
3rd mode:
Scale 615
Scale 615: Phrothimic, Ian Ring Music TheoryPhrothimicThis is the prime mode
4th mode:
Scale 2355
Scale 2355: Raga Lalita, Ian Ring Music TheoryRaga Lalita
5th mode:
Scale 3225
Scale 3225: Ionalimic, Ian Ring Music TheoryIonalimic
6th mode:
Scale 915
Scale 915: Raga Kalagada, Ian Ring Music TheoryRaga Kalagada

Prime

The prime form of this scale is Scale 615

Scale 615Scale 615: Phrothimic, Ian Ring Music TheoryPhrothimic

Complement

The hexatonic modal family [2505, 825, 615, 2355, 3225, 915] (Forte: 6-Z44) is the complement of the hexatonic modal family [411, 867, 1587, 2253, 2481, 2841] (Forte: 6-Z19)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 2505 is 627

Scale 627Scale 627: Mogimic, Ian Ring Music TheoryMogimic

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 2505 is chiral, and its enantiomorph is scale 627

Scale 627Scale 627: Mogimic, Ian Ring Music TheoryMogimic

Transformations:

T0 2505  T0I 627
T1 915  T1I 1254
T2 1830  T2I 2508
T3 3660  T3I 921
T4 3225  T4I 1842
T5 2355  T5I 3684
T6 615  T6I 3273
T7 1230  T7I 2451
T8 2460  T8I 807
T9 825  T9I 1614
T10 1650  T10I 3228
T11 3300  T11I 2361

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 2507Scale 2507: Todi That, Ian Ring Music TheoryTodi That
Scale 2509Scale 2509: Double Harmonic Minor, Ian Ring Music TheoryDouble Harmonic Minor
Scale 2497Scale 2497, Ian Ring Music Theory
Scale 2501Scale 2501: Ralimic, Ian Ring Music TheoryRalimic
Scale 2513Scale 2513: Aerycrimic, Ian Ring Music TheoryAerycrimic
Scale 2521Scale 2521: Mela Dhatuvardhani, Ian Ring Music TheoryMela Dhatuvardhani
Scale 2537Scale 2537: Laptian, Ian Ring Music TheoryLaptian
Scale 2441Scale 2441: Kyritonic, Ian Ring Music TheoryKyritonic
Scale 2473Scale 2473: Raga Takka, Ian Ring Music TheoryRaga Takka
Scale 2377Scale 2377: Bartók Gamma Chord, Ian Ring Music TheoryBartók Gamma Chord
Scale 2249Scale 2249: Raga Multani, Ian Ring Music TheoryRaga Multani
Scale 2761Scale 2761: Dagimic, Ian Ring Music TheoryDagimic
Scale 3017Scale 3017: Gacrian, Ian Ring Music TheoryGacrian
Scale 3529Scale 3529: Stalian, Ian Ring Music TheoryStalian
Scale 457Scale 457: Staptitonic, Ian Ring Music TheoryStaptitonic
Scale 1481Scale 1481: Zagimic, Ian Ring Music TheoryZagimic

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. Special thanks to Richard Repp for helping with technical accuracy.