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Scale 2669: "Jeths' Mode"

Scale 2669: Jeths' Mode, Ian Ring Music Theory

This scale is named after Dutch composer Willem Jeths. It is essentially a Diminished Scale omitting the augmented 5th. Strangely, there is no documentation of why this scale was named for Willem, but at some point it wandered onto a list of scales and has been canonized by repetition.


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

Named After Composers
Jeths' Mode
Dozenal
Qurian
Zeitler
Gamian

Analysis

Cardinality

Cardinality is the count of how many pitches are in the scale.

7 (heptatonic)

Pitch Class Set

The tones in this scale, expressed as numbers from 0 to 11

{0,2,3,5,6,9,11}

Forte Number

A code assigned by theorist Allen Forte, for this pitch class set and all of its transpositional (rotation) and inversional (reflection) transformations.

7-31

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: 1739

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.

0 (ancohemitonic)

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.

6

Prime Form

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

no
prime: 731

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.

[2, 1, 2, 1, 3, 2, 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, 3, 6, 3, 3, 3>

Interval Spectrum

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

p3m3n6s3d3t3

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

Spectra Variation

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

1.714

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.

2.549

Polygon Perimeter

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

5.967

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.

(4, 27, 84)

Tertian Harmonic Chords

Tertian chords are made from alternating members of the scale, ie built from "stacked thirds". Not all scales lend themselves well to tertian harmony.

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 TriadsD{2,6,9}431.6
F{5,9,0}331.8
B{11,3,6}331.8
Minor Triadsdm{2,5,9}331.7
bm{11,2,6}331.7
Diminished Triads{0,3,6}232
d♯°{3,6,9}231.9
f♯°{6,9,0}231.9
{9,0,3}232
{11,2,5}232
Parsimonious Voice Leading Between Common Triads of Scale 2669. Created by Ian Ring ©2019 c°->a° B B c°->B dm dm D D dm->D F F dm->F dm->b° d#° d#° D->d#° f#° f#° D->f#° bm bm D->bm d#°->B F->f#° F->a° b°->bm bm->B

view full size

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 2669 can be rotated to make 6 other scales. The 1st mode is itself.

2nd mode:
Scale 1691
Scale 1691: Kathian, Ian Ring Music TheoryKathian
3rd mode:
Scale 2893
Scale 2893: Lylian, Ian Ring Music TheoryLylian
4th mode:
Scale 1747
Scale 1747: Mela Ramapriya, Ian Ring Music TheoryMela Ramapriya
5th mode:
Scale 2921
Scale 2921: Pogian, Ian Ring Music TheoryPogian
6th mode:
Scale 877
Scale 877: Moravian Pistalkova, Ian Ring Music TheoryMoravian Pistalkova
7th mode:
Scale 1243
Scale 1243: Epylian, Ian Ring Music TheoryEpylian

Prime

The prime form of this scale is Scale 731

Scale 731Scale 731: Alternating Heptamode, Ian Ring Music TheoryAlternating Heptamode

Complement

The heptatonic modal family [2669, 1691, 2893, 1747, 2921, 877, 1243] (Forte: 7-31) is the complement of the pentatonic modal family [587, 601, 713, 1609, 2341] (Forte: 5-31)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 2669 is 1739

Scale 1739Scale 1739: Mela Sadvidhamargini, Ian Ring Music TheoryMela Sadvidhamargini

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 2669 is chiral, and its enantiomorph is scale 1739

Scale 1739Scale 1739: Mela Sadvidhamargini, Ian Ring Music TheoryMela Sadvidhamargini

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> 2669       T0I <11,0> 1739
T1 <1,1> 1243      T1I <11,1> 3478
T2 <1,2> 2486      T2I <11,2> 2861
T3 <1,3> 877      T3I <11,3> 1627
T4 <1,4> 1754      T4I <11,4> 3254
T5 <1,5> 3508      T5I <11,5> 2413
T6 <1,6> 2921      T6I <11,6> 731
T7 <1,7> 1747      T7I <11,7> 1462
T8 <1,8> 3494      T8I <11,8> 2924
T9 <1,9> 2893      T9I <11,9> 1753
T10 <1,10> 1691      T10I <11,10> 3506
T11 <1,11> 3382      T11I <11,11> 2917
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 1739      T0MI <7,0> 2669
T1M <5,1> 3478      T1MI <7,1> 1243
T2M <5,2> 2861      T2MI <7,2> 2486
T3M <5,3> 1627      T3MI <7,3> 877
T4M <5,4> 3254      T4MI <7,4> 1754
T5M <5,5> 2413      T5MI <7,5> 3508
T6M <5,6> 731      T6MI <7,6> 2921
T7M <5,7> 1462      T7MI <7,7> 1747
T8M <5,8> 2924      T8MI <7,8> 3494
T9M <5,9> 1753      T9MI <7,9> 2893
T10M <5,10> 3506      T10MI <7,10> 1691
T11M <5,11> 2917      T11MI <7,11> 3382

The transformations that map this set to itself are: T0, T0MI

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 2671Scale 2671: Aerolyllic, Ian Ring Music TheoryAerolyllic
Scale 2665Scale 2665: Aeradimic, Ian Ring Music TheoryAeradimic
Scale 2667Scale 2667: Byrian, Ian Ring Music TheoryByrian
Scale 2661Scale 2661: Stydimic, Ian Ring Music TheoryStydimic
Scale 2677Scale 2677: Thodian, Ian Ring Music TheoryThodian
Scale 2685Scale 2685: Ionoryllic, Ian Ring Music TheoryIonoryllic
Scale 2637Scale 2637: Raga Ranjani, Ian Ring Music TheoryRaga Ranjani
Scale 2653Scale 2653: Sygian, Ian Ring Music TheorySygian
Scale 2605Scale 2605: Rylimic, Ian Ring Music TheoryRylimic
Scale 2733Scale 2733: Melodic Minor Ascending, Ian Ring Music TheoryMelodic Minor Ascending
Scale 2797Scale 2797: Stalyllic, Ian Ring Music TheoryStalyllic
Scale 2925Scale 2925: Diminished, Ian Ring Music TheoryDiminished
Scale 2157Scale 2157: Nexian, Ian Ring Music TheoryNexian
Scale 2413Scale 2413: Locrian Natural 2, Ian Ring Music TheoryLocrian Natural 2
Scale 3181Scale 3181: Rolian, Ian Ring Music TheoryRolian
Scale 3693Scale 3693: Stadyllic, Ian Ring Music TheoryStadyllic
Scale 621Scale 621: Pyramid Hexatonic, Ian Ring Music TheoryPyramid Hexatonic
Scale 1645Scale 1645: Dorian Flat 5, Ian Ring Music TheoryDorian Flat 5

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.