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Cardinality | 6 (hexatonic) |
---|---|
Pitch Class Set | {0,5,7,8,9,11} |
Forte Number | 6-Z10 |
Rotational Symmetry | none |
Reflection Axes | none |
Palindromic | no |
Chirality | yes enantiomorph: 187 |
Hemitonia | 3 (trihemitonic) |
Cohemitonia | 1 (uncohemitonic) |
Imperfections | 4 |
Modes | 5 |
Prime? | no prime: 187 |
Deep Scale | no |
Interval Vector | 333321 |
Interval Spectrum | p2m3n3s3d3t |
Distribution Spectra | <1> = {1,2,5} <2> = {2,3,6,7} <3> = {4,8} <4> = {5,6,9,10} <5> = {7,10,11} |
Spectra Variation | 3.667 |
Maximally Even | no |
Maximal Area Set | no |
Interior Area | 1.866 |
Myhill Property | no |
Balanced | no |
Ridge Tones | none |
Propriety | Improper |
Heliotonic | no |
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 Type | Triad* | Pitch Classes | Degree | Eccentricity | Closeness Centrality |
---|---|---|---|---|---|
Major Triads | F | {5,9,0} | 1 | 2 | 1 |
Minor Triads | fm | {5,8,0} | 2 | 1 | 0.67 |
Diminished Triads | f° | {5,8,11} | 1 | 2 | 1 |
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.
Diameter | 2 |
---|---|
Radius | 1 |
Self-Centered | no |
Central Vertices | fm |
Peripheral Vertices | f°, F |
Modes are the rotational transformation of this scale. Scale 2977 can be rotated to make 5 other scales. The 1st mode is itself.
The prime form of this scale is Scale 187
Scale 187 | ![]() |
The hexatonic modal family [2977, 221, 1079, 2587, 3341, 1859] (Forte: 6-Z10) is the complement of the hexatonic modal family [317, 977, 1103, 2599, 3347, 3721] (Forte: 6-Z39)
The inverse of a scale is a reflection using the root as its axis. The inverse of 2977 is 187
Scale 187 | ![]() |
Only scales that are chiral will have an enantiomorph. Scale 2977 is chiral, and its enantiomorph is scale 187
Scale 187 | ![]() |
T0 | 2977 | T0I | 187 | |||||
T1 | 1859 | T1I | 374 | |||||
T2 | 3718 | T2I | 748 | |||||
T3 | 3341 | T3I | 1496 | |||||
T4 | 2587 | T4I | 2992 | |||||
T5 | 1079 | T5I | 1889 | |||||
T6 | 2158 | T6I | 3778 | |||||
T7 | 221 | T7I | 3461 | |||||
T8 | 442 | T8I | 2827 | |||||
T9 | 884 | T9I | 1559 | |||||
T10 | 1768 | T10I | 3118 | |||||
T11 | 3536 | T11I | 2141 |
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 2979 | ![]() | Gyptian | ||
Scale 2981 | ![]() | Ionolian | ||
Scale 2985 | ![]() | Epacrian | ||
Scale 2993 | ![]() | Stythian | ||
Scale 2945 | ![]() | |||
Scale 2961 | ![]() | Bygimic | ||
Scale 3009 | ![]() | |||
Scale 3041 | ![]() | |||
Scale 2849 | ![]() | |||
Scale 2913 | ![]() | |||
Scale 2721 | ![]() | Raga Puruhutika | ||
Scale 2465 | ![]() | Raga Devaranjani | ||
Scale 3489 | ![]() | |||
Scale 4001 | ![]() | |||
Scale 929 | ![]() | |||
Scale 1953 | ![]() |
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.