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Scale 2883

Scale 2883, 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).

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

{0,1,6,8,9,11}

Forte Number

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

6-Z11

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: 2139

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.

1 (uncohemitonic)

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.

3

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: 183

Deep Scale

A deep scale is one where the interval vector has 6 different digits.

no

Interval Formula

Defines the scale as the sequence of intervals between one tone and the next.

[1, 5, 2, 1, 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, 3, 2, 3, 1>

Interval Spectrum

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

p3m2n3s3d3t

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> = {1,2,5}
<2> = {2,3,6,7}
<3> = {4,5,7,8}
<4> = {5,6,9,10}
<5> = {7,10,11}

Spectra Variation

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

3.667

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.

1.866

Polygon Perimeter

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

5.485

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

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
Minor Triadsf♯m{6,9,1}110.5
Diminished Triadsf♯°{6,9,0}110.5

The following pitch classes are not present in any of the common triads: {8,11}

Parsimonious Voice Leading Between Common Triads of Scale 2883. Created by Ian Ring ©2019 f#° f#° f#m f#m f#°->f#m

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.

Diameter1
Radius1
Self-Centeredyes

Modes

Modes are the rotational transformation of this scale. Scale 2883 can be rotated to make 5 other scales. The 1st mode is itself.

2nd mode:
Scale 3489
Scale 3489, Ian Ring Music Theory
3rd mode:
Scale 237
Scale 237, Ian Ring Music Theory
4th mode:
Scale 1083
Scale 1083, Ian Ring Music Theory
5th mode:
Scale 2589
Scale 2589, Ian Ring Music Theory
6th mode:
Scale 1671
Scale 1671, Ian Ring Music Theory

Prime

The prime form of this scale is Scale 183

Scale 183Scale 183, Ian Ring Music Theory

Complement

The hexatonic modal family [2883, 3489, 237, 1083, 2589, 1671] (Forte: 6-Z11) is the complement of the hexatonic modal family [303, 753, 1929, 2199, 3147, 3621] (Forte: 6-Z40)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 2883 is 2139

Scale 2139Scale 2139, Ian Ring Music Theory

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 2883 is chiral, and its enantiomorph is scale 2139

Scale 2139Scale 2139, Ian Ring Music Theory

Transformations:

T0 2883  T0I 2139
T1 1671  T1I 183
T2 3342  T2I 366
T3 2589  T3I 732
T4 1083  T4I 1464
T5 2166  T5I 2928
T6 237  T6I 1761
T7 474  T7I 3522
T8 948  T8I 2949
T9 1896  T9I 1803
T10 3792  T10I 3606
T11 3489  T11I 3117

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 2881Scale 2881, Ian Ring Music Theory
Scale 2885Scale 2885: Byrimic, Ian Ring Music TheoryByrimic
Scale 2887Scale 2887: Gaptian, Ian Ring Music TheoryGaptian
Scale 2891Scale 2891: Phrogian, Ian Ring Music TheoryPhrogian
Scale 2899Scale 2899: Kagian, Ian Ring Music TheoryKagian
Scale 2915Scale 2915: Aeolydian, Ian Ring Music TheoryAeolydian
Scale 2819Scale 2819, Ian Ring Music Theory
Scale 2851Scale 2851: Katoptimic, Ian Ring Music TheoryKatoptimic
Scale 2947Scale 2947, Ian Ring Music Theory
Scale 3011Scale 3011, Ian Ring Music Theory
Scale 2627Scale 2627, Ian Ring Music Theory
Scale 2755Scale 2755, Ian Ring Music Theory
Scale 2371Scale 2371, Ian Ring Music Theory
Scale 3395Scale 3395, Ian Ring Music Theory
Scale 3907Scale 3907, Ian Ring Music Theory
Scale 835Scale 835, Ian Ring Music Theory
Scale 1859Scale 1859, Ian Ring Music Theory

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. 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.