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Scale 2853: "Baptimic"

Scale 2853: Baptimic, 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
Baptimic

Analysis

Cardinality6 (hexatonic)
Pitch Class Set{0,2,5,8,9,11}
Forte Number6-27
Rotational Symmetrynone
Reflection Axesnone
Palindromicno
Chiralityyes
enantiomorph: 1179
Hemitonia2 (dihemitonic)
Cohemitonia0 (ancohemitonic)
Imperfections4
Modes5
Prime?no
prime: 603
Deep Scaleno
Interval Vector225222
Interval Spectrump2m2n5s2d2t2
Distribution Spectra<1> = {1,2,3}
<2> = {3,4,5,6}
<3> = {4,5,6,7,8}
<4> = {6,7,8,9}
<5> = {9,10,11}
Spectra Variation2.333
Maximally Evenno
Maximal Area Setno
Interior Area2.366
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 TriadsF{5,9,0}231.57
Minor Triadsdm{2,5,9}331.43
fm{5,8,0}331.43
Diminished Triads{2,5,8}231.57
{5,8,11}231.57
g♯°{8,11,2}231.71
{11,2,5}231.57
Parsimonious Voice Leading Between Common Triads of Scale 2853. Created by Ian Ring ©2019 dm dm d°->dm fm fm d°->fm F F dm->F dm->b° f°->fm g#° g#° f°->g#° fm->F g#°->b°

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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 2853 can be rotated to make 5 other scales. The 1st mode is itself.

2nd mode:
Scale 1737
Scale 1737: Raga Madhukauns, Ian Ring Music TheoryRaga Madhukauns
3rd mode:
Scale 729
Scale 729: Stygimic, Ian Ring Music TheoryStygimic
4th mode:
Scale 603
Scale 603: Aeolygimic, Ian Ring Music TheoryAeolygimicThis is the prime mode
5th mode:
Scale 2349
Scale 2349: Raga Ghantana, Ian Ring Music TheoryRaga Ghantana
6th mode:
Scale 1611
Scale 1611: Dacrimic, Ian Ring Music TheoryDacrimic

Prime

The prime form of this scale is Scale 603

Scale 603Scale 603: Aeolygimic, Ian Ring Music TheoryAeolygimic

Complement

The hexatonic modal family [2853, 1737, 729, 603, 2349, 1611] (Forte: 6-27) is the complement of the hexatonic modal family [603, 729, 1611, 1737, 2349, 2853] (Forte: 6-27)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 2853 is 1179

Scale 1179Scale 1179: Sonimic, Ian Ring Music TheorySonimic

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 2853 is chiral, and its enantiomorph is scale 1179

Scale 1179Scale 1179: Sonimic, Ian Ring Music TheorySonimic

Transformations:

T0 2853  T0I 1179
T1 1611  T1I 2358
T2 3222  T2I 621
T3 2349  T3I 1242
T4 603  T4I 2484
T5 1206  T5I 873
T6 2412  T6I 1746
T7 729  T7I 3492
T8 1458  T8I 2889
T9 2916  T9I 1683
T10 1737  T10I 3366
T11 3474  T11I 2637

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 2855Scale 2855: Epocrain, Ian Ring Music TheoryEpocrain
Scale 2849Scale 2849, Ian Ring Music Theory
Scale 2851Scale 2851: Katoptimic, Ian Ring Music TheoryKatoptimic
Scale 2857Scale 2857: Stythimic, Ian Ring Music TheoryStythimic
Scale 2861Scale 2861: Katothian, Ian Ring Music TheoryKatothian
Scale 2869Scale 2869: Major Augmented, Ian Ring Music TheoryMajor Augmented
Scale 2821Scale 2821, Ian Ring Music Theory
Scale 2837Scale 2837: Aelothimic, Ian Ring Music TheoryAelothimic
Scale 2885Scale 2885: Byrimic, Ian Ring Music TheoryByrimic
Scale 2917Scale 2917: Nohkan Flute Scale, Ian Ring Music TheoryNohkan Flute Scale
Scale 2981Scale 2981: Ionolian, Ian Ring Music TheoryIonolian
Scale 2597Scale 2597: Raga Rasranjani, Ian Ring Music TheoryRaga Rasranjani
Scale 2725Scale 2725: Raga Nagagandhari, Ian Ring Music TheoryRaga Nagagandhari
Scale 2341Scale 2341: Raga Priyadharshini, Ian Ring Music TheoryRaga Priyadharshini
Scale 3365Scale 3365: Katolimic, Ian Ring Music TheoryKatolimic
Scale 3877Scale 3877: Thanian, Ian Ring Music TheoryThanian
Scale 805Scale 805: Rothitonic, Ian Ring Music TheoryRothitonic
Scale 1829Scale 1829: Pathimic, Ian Ring Music TheoryPathimic

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.