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Scale 2899: "Kagian"

Scale 2899: Kagian, 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

Zeitler
Kagian
Dozenal
SEFian

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

 {0,1,4,6,8,9,11}

Forte Number

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

 7-27

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: 2395

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.

 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 Starr/Rahn algorithm.

 no
prime: 695

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, an indicator of maximum hierarchization.

 no

Interval Structure

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

 [1, 3, 2, 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, 4, 4, 4, 5, 1>

Proportional Saturation Vector

First described by Michael Buchler (2001), this is a vector showing the prominence of intervals relative to the maximum and minimum possible for the scale's cardinality. A saturation of 0 means the interval is present minimally, a saturation of 1 means it is the maximum possible.

<0.25, 0.5, 0.5, 0.333, 0.75, 0>

Interval Spectrum

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

 p5m4n4s4d3t

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> = {4,5,6,7}
<4> = {5,6,7,8}
<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.

 2.286

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 Distribution Spectra have 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.

(9, 35, 98)

Coherence Quotient

The Coherence Quotient is a score between 0 and 1, indicating the proportion of coherence failures (ambiguity or contradiction) in the scale, against the maximum possible for a cardinality. A high coherence quotient indicates a less complex scale, whereas a quotient of 0 indicates a maximally complex scale.

0.686

Sameness Quotient

The Sameness Quotient is a score between 0 and 1, indicating the proportion of differences in the heteromorphic profile, against the maximum possible for a cardinality. A higher quotient indicates a less complex scale, whereas a quotient of 0 indicates a scale with maximum complexity.

0.222

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.

Generator

This scale has no generator.

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 TriadsE{4,8,11}142.14
A{9,1,4}331.43
Minor Triadsc♯m{1,4,8}231.57
f♯m{6,9,1}241.86
am{9,0,4}321.29
Augmented TriadsC+{0,4,8}331.43
Diminished Triadsf♯°{6,9,0}231.71
Parsimonious Voice Leading Between Common Triads of Scale 2899. Created by Ian Ring ©2019 C+ C+ c#m c#m C+->c#m E E C+->E am am C+->am A A c#m->A f#° f#° f#m f#m f#°->f#m f#°->am f#m->A am->A

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.

Diameter4
Radius2
Self-Centeredno
Central Verticesam
Peripheral VerticesE, f♯m

Modes

Modes are the rotational transformation of this scale. Scale 2899 can be rotated to make 6 other scales. The 1st mode is itself.

2nd mode:
Scale 3497		Scale 3497: Phrolian, Ian Ring Music TheoryPhrolian
3rd mode:
Scale 949		Scale 949: Mela Mararanjani, Ian Ring Music TheoryMela Mararanjani
4th mode:
Scale 1261		Scale 1261: Modified Blues, Ian Ring Music TheoryModified Blues
5th mode:
Scale 1339		Scale 1339: Kycrian, Ian Ring Music TheoryKycrian
6th mode:
Scale 2717		Scale 2717: Epygian, Ian Ring Music TheoryEpygian
7th mode:
Scale 1703		Scale 1703: Mela Vanaspati, Ian Ring Music TheoryMela Vanaspati

Prime

The prime form of this scale is Scale 695

Scale 695Scale 695: Sarian, Ian Ring Music TheorySarian

Complement

The heptatonic modal family [2899, 3497, 949, 1261, 1339, 2717, 1703] (Forte: 7-27) is the complement of the pentatonic modal family [299, 689, 1417, 1573, 2197] (Forte: 5-27)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 2899 is 2395

Scale 2395Scale 2395: Zoptian, Ian Ring Music TheoryZoptian

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 2899 is chiral, and its enantiomorph is scale 2395

Scale 2395Scale 2395: Zoptian, Ian Ring Music TheoryZoptian

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> 2899       T0I <11,0> 2395
T1 <1,1> 1703      T1I <11,1> 695
T2 <1,2> 3406      T2I <11,2> 1390
T3 <1,3> 2717      T3I <11,3> 2780
T4 <1,4> 1339      T4I <11,4> 1465
T5 <1,5> 2678      T5I <11,5> 2930
T6 <1,6> 1261      T6I <11,6> 1765
T7 <1,7> 2522      T7I <11,7> 3530
T8 <1,8> 949      T8I <11,8> 2965
T9 <1,9> 1898      T9I <11,9> 1835
T10 <1,10> 3796      T10I <11,10> 3670
T11 <1,11> 3497      T11I <11,11> 3245
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 1009      T0MI <7,0> 505
T1M <5,1> 2018      T1MI <7,1> 1010
T2M <5,2> 4036      T2MI <7,2> 2020
T3M <5,3> 3977      T3MI <7,3> 4040
T4M <5,4> 3859      T4MI <7,4> 3985
T5M <5,5> 3623      T5MI <7,5> 3875
T6M <5,6> 3151      T6MI <7,6> 3655
T7M <5,7> 2207      T7MI <7,7> 3215
T8M <5,8> 319      T8MI <7,8> 2335
T9M <5,9> 638      T9MI <7,9> 575
T10M <5,10> 1276      T10MI <7,10> 1150
T11M <5,11> 2552      T11MI <7,11> 2300

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 2897Scale 2897: Rycrimic, Ian Ring Music TheoryRycrimic
Scale 2901Scale 2901: Lydian Augmented, Ian Ring Music TheoryLydian Augmented
Scale 2903Scale 2903: Spanish Octamode 10th Rotation, Ian Ring Music TheorySpanish Octamode 10th Rotation
Scale 2907Scale 2907: Magen Abot 2, Ian Ring Music TheoryMagen Abot 2
Scale 2883Scale 2883: SAVian, Ian Ring Music TheorySAVian
Scale 2891Scale 2891: Phrogian, Ian Ring Music TheoryPhrogian
Scale 2915Scale 2915: Aeolydian, Ian Ring Music TheoryAeolydian
Scale 2931Scale 2931: Zathyllic, Ian Ring Music TheoryZathyllic
Scale 2835Scale 2835: Ionygimic, Ian Ring Music TheoryIonygimic
Scale 2867Scale 2867: Major Romani, Ian Ring Music TheoryMajor Romani
Scale 2963Scale 2963: Bygian, Ian Ring Music TheoryBygian
Scale 3027Scale 3027: Rythyllic, Ian Ring Music TheoryRythyllic
Scale 2643Scale 2643: Raga Hamsanandi, Ian Ring Music TheoryRaga Hamsanandi
Scale 2771Scale 2771: Marva That, Ian Ring Music TheoryMarva That
Scale 2387Scale 2387: Paptimic, Ian Ring Music TheoryPaptimic
Scale 3411Scale 3411: Enigmatic, Ian Ring Music TheoryEnigmatic
Scale 3923Scale 3923: Stoptyllic, Ian Ring Music TheoryStoptyllic
Scale 851Scale 851: Raga Hejjajji, Ian Ring Music TheoryRaga Hejjajji
Scale 1875Scale 1875: Persichetti Scale, Ian Ring Music TheoryPersichetti Scale

This scale analysis was created by Ian Ring, Canadian Composer of works for Piano, and total music theory nerd. Scale notation generated by VexFlow and Lilypond, graph visualization by Graphviz, audio by TiMIDIty and FFMPEG. 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.