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Scale 2675: "Chromatic Lydian"

Scale 2675: Chromatic Lydian, 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

Western Chromatic
Chromatic Lydian
Carnatic
Raga Lalit
Bhankar
Zeitler
Gogian
Dozenal
Quvian

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

{0,1,4,5,6,9,11}

Forte Number

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

7-20

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: 2507

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.

6

Prime Form

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

no
prime: 743

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, 3, 1, 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.

<4, 3, 3, 4, 5, 2>

Interval Spectrum

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

p5m4n3s3d4t2

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

Spectra Variation

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

2

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.

2.433

Polygon Perimeter

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

5.899

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.

(10, 26, 90)

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 TriadsF{5,9,0}321.17
A{9,1,4}231.5
Minor Triadsf♯m{6,9,1}231.5
am{9,0,4}231.5
Augmented TriadsC♯+{1,5,9}321.17
Diminished Triadsf♯°{6,9,0}231.5

The following pitch classes are not present in any of the common triads: {11}

Parsimonious Voice Leading Between Common Triads of Scale 2675. Created by Ian Ring ©2019 C#+ C#+ F F C#+->F f#m f#m C#+->f#m A A C#+->A f#° f#° F->f#° am am F->am f#°->f#m am->A

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 VerticesC♯+, F
Peripheral Verticesf♯°, f♯m, am, A

Modes

Modes are the rotational transformation of this scale. Scale 2675 can be rotated to make 6 other scales. The 1st mode is itself.

2nd mode:
Scale 3385
Scale 3385: Chromatic Phrygian, Ian Ring Music TheoryChromatic Phrygian
3rd mode:
Scale 935
Scale 935: Chromatic Dorian, Ian Ring Music TheoryChromatic Dorian
4th mode:
Scale 2515
Scale 2515: Chromatic Hypolydian, Ian Ring Music TheoryChromatic Hypolydian
5th mode:
Scale 3305
Scale 3305: Chromatic Hypophrygian, Ian Ring Music TheoryChromatic Hypophrygian
6th mode:
Scale 925
Scale 925: Chromatic Hypodorian, Ian Ring Music TheoryChromatic Hypodorian
7th mode:
Scale 1255
Scale 1255: Chromatic Mixolydian, Ian Ring Music TheoryChromatic Mixolydian

Prime

The prime form of this scale is Scale 743

Scale 743Scale 743: Chromatic Hypophrygian Inverse, Ian Ring Music TheoryChromatic Hypophrygian Inverse

Complement

The heptatonic modal family [2675, 3385, 935, 2515, 3305, 925, 1255] (Forte: 7-20) is the complement of the pentatonic modal family [355, 395, 1585, 2225, 2245] (Forte: 5-20)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 2675 is 2507

Scale 2507Scale 2507: Todi That, Ian Ring Music TheoryTodi That

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 2675 is chiral, and its enantiomorph is scale 2507

Scale 2507Scale 2507: Todi That, Ian Ring Music TheoryTodi That

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> 2675       T0I <11,0> 2507
T1 <1,1> 1255      T1I <11,1> 919
T2 <1,2> 2510      T2I <11,2> 1838
T3 <1,3> 925      T3I <11,3> 3676
T4 <1,4> 1850      T4I <11,4> 3257
T5 <1,5> 3700      T5I <11,5> 2419
T6 <1,6> 3305      T6I <11,6> 743
T7 <1,7> 2515      T7I <11,7> 1486
T8 <1,8> 935      T8I <11,8> 2972
T9 <1,9> 1870      T9I <11,9> 1849
T10 <1,10> 3740      T10I <11,10> 3698
T11 <1,11> 3385      T11I <11,11> 3301
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 995      T0MI <7,0> 2297
T1M <5,1> 1990      T1MI <7,1> 499
T2M <5,2> 3980      T2MI <7,2> 998
T3M <5,3> 3865      T3MI <7,3> 1996
T4M <5,4> 3635      T4MI <7,4> 3992
T5M <5,5> 3175      T5MI <7,5> 3889
T6M <5,6> 2255      T6MI <7,6> 3683
T7M <5,7> 415      T7MI <7,7> 3271
T8M <5,8> 830      T8MI <7,8> 2447
T9M <5,9> 1660      T9MI <7,9> 799
T10M <5,10> 3320      T10MI <7,10> 1598
T11M <5,11> 2545      T11MI <7,11> 3196

The transformations that map this set to itself are: T0

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 2673Scale 2673: Mythimic, Ian Ring Music TheoryMythimic
Scale 2677Scale 2677: Thodian, Ian Ring Music TheoryThodian
Scale 2679Scale 2679: Rathyllic, Ian Ring Music TheoryRathyllic
Scale 2683Scale 2683: Thodyllic, Ian Ring Music TheoryThodyllic
Scale 2659Scale 2659: Katynimic, Ian Ring Music TheoryKatynimic
Scale 2667Scale 2667: Byrian, Ian Ring Music TheoryByrian
Scale 2643Scale 2643: Raga Hamsanandi, Ian Ring Music TheoryRaga Hamsanandi
Scale 2611Scale 2611: Raga Vasanta, Ian Ring Music TheoryRaga Vasanta
Scale 2739Scale 2739: Mela Suryakanta, Ian Ring Music TheoryMela Suryakanta
Scale 2803Scale 2803: Raga Bhatiyar, Ian Ring Music TheoryRaga Bhatiyar
Scale 2931Scale 2931: Zathyllic, Ian Ring Music TheoryZathyllic
Scale 2163Scale 2163: Nebian, Ian Ring Music TheoryNebian
Scale 2419Scale 2419: Raga Lalita, Ian Ring Music TheoryRaga Lalita
Scale 3187Scale 3187: Koptian, Ian Ring Music TheoryKoptian
Scale 3699Scale 3699: Galyllic, Ian Ring Music TheoryGalyllic
Scale 627Scale 627: Mogimic, Ian Ring Music TheoryMogimic
Scale 1651Scale 1651: Asian, Ian Ring Music TheoryAsian

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.