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Scale 3143: "Polimic"

Scale 3143: Polimic, 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
Polimic
Dozenal
TOYian

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

 {0,1,2,6,10,11}

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-Z37

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.

 [0]

Palindromicity

A palindromic scale has the same pattern of intervals both ascending and descending.

 yes

Chirality

A chiral scale can not be transformed into its inverse by rotation. If a scale is chiral, then it has an enantiomorph.

 no

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.

 3 (tricohemitonic)

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.

 4

Modes

Modes are the rotational transformations of this scale. This number includes the scale itself, so the number is usually the same as its cardinality; unless there are rotational symmetries then there are fewer modes.

 6

Prime Form

Describes if this scale is in prime form, using the Starr/Rahn algorithm.

 no
prime: 287

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, 1, 4, 4, 1, 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, 2, 3, 2, 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.

<0.8, 0.5, 0.4, 0.25, 0.4, 0.333>

Interval Spectrum

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

 p2m3n2s3d4t

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

Spectra Variation

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

 4

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.

5.535

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.

 [0]

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.

(41, 4, 50)

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.

0.308

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.

0.333

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 TriadsF♯{6,10,1}121
Minor Triadsbm{11,2,6}121
Augmented TriadsD+{2,6,10}210.67

The following pitch classes are not present in any of the common triads: {0}

Parsimonious Voice Leading Between Common Triads of Scale 3143. Created by Ian Ring ©2019 D+ D+ F# F# D+->F# bm bm D+->bm

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.

Diameter2
Radius1
Self-Centeredno
Central VerticesD+
Peripheral VerticesF♯, bm

Modes

Modes are the rotational transformation of this scale. Scale 3143 can be rotated to make 5 other scales. The 1st mode is itself.

2nd mode:
Scale 3619		Scale 3619: Thanimic, Ian Ring Music TheoryThanimic
3rd mode:
Scale 3857		Scale 3857: Ponimic, Ian Ring Music TheoryPonimic
4th mode:
Scale 497		Scale 497: Kadimic, Ian Ring Music TheoryKadimic
5th mode:
Scale 287		Scale 287: Gynimic, Ian Ring Music TheoryGynimicThis is the prime mode
6th mode:
Scale 2191		Scale 2191: Thydimic, Ian Ring Music TheoryThydimic

Prime

The prime form of this scale is Scale 287

Scale 287Scale 287: Gynimic, Ian Ring Music TheoryGynimic

Complement

The hexatonic modal family [3143, 3619, 3857, 497, 287, 2191] (Forte: 6-Z37) is the complement of the hexatonic modal family [119, 1799, 2107, 2947, 3101, 3521] (Forte: 6-Z4)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 3143 is itself, because it is a palindromic scale!

Scale 3143Scale 3143: Polimic, Ian Ring Music TheoryPolimic

Hierarchizability

Based on the work of Niels Verosky, hierarchizability is the measure of repeated patterns with "place-finding" remainder bits, applied recursively to the binary representation of a scale. For a full explanation, read Niels' paper, Hierarchizability as a Predictor of Scale Candidacy. The variable k is the maximum number of remainders allowed at each level of recursion, for them to count as an increment of hierarchizability. A high hierarchizability score is a good indicator of scale candidacy, ie a measure of usefulness for producing pleasing music. There is a strong correlation between scales with maximal hierarchizability and scales that are in popular use in a variety of world musical traditions.

kHierarchizabilityBreakdown PatternDiagram
111110001000113143k = 1h = 1
211110001000113143k = 2h = 1
311110001000113143k = 3h = 1
4311(1[0][0][0])(1[0][0][0])113143k = 4h = 3
5311(1[0][0][0])(1[0][0][0])113143k = 5h = 3

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. A note about the multipliers: multiplying by 1 changes nothing, multiplying by 11 produces the same result as inversion. 5 is the only non-degenerate multiplier, with the multiplier 7 producing the inverse of 5.

Abbrev Operation Result Abbrev Operation Result
T0 <1,0> 3143       T0I <11,0> 3143
T1 <1,1> 2191      T1I <11,1> 2191
T2 <1,2> 287      T2I <11,2> 287
T3 <1,3> 574      T3I <11,3> 574
T4 <1,4> 1148      T4I <11,4> 1148
T5 <1,5> 2296      T5I <11,5> 2296
T6 <1,6> 497      T6I <11,6> 497
T7 <1,7> 994      T7I <11,7> 994
T8 <1,8> 1988      T8I <11,8> 1988
T9 <1,9> 3976      T9I <11,9> 3976
T10 <1,10> 3857      T10I <11,10> 3857
T11 <1,11> 3619      T11I <11,11> 3619
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 1253      T0MI <7,0> 1253
T1M <5,1> 2506      T1MI <7,1> 2506
T2M <5,2> 917      T2MI <7,2> 917
T3M <5,3> 1834      T3MI <7,3> 1834
T4M <5,4> 3668      T4MI <7,4> 3668
T5M <5,5> 3241      T5MI <7,5> 3241
T6M <5,6> 2387      T6MI <7,6> 2387
T7M <5,7> 679      T7MI <7,7> 679
T8M <5,8> 1358      T8MI <7,8> 1358
T9M <5,9> 2716      T9MI <7,9> 2716
T10M <5,10> 1337      T10MI <7,10> 1337
T11M <5,11> 2674      T11MI <7,11> 2674

The transformations that map this set to itself are: T0, T0I

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 3141Scale 3141: Kanitonic, Ian Ring Music TheoryKanitonic
Scale 3139Scale 3139: TOWian, Ian Ring Music TheoryTOWian
Scale 3147Scale 3147: Ryrimic, Ian Ring Music TheoryRyrimic
Scale 3151Scale 3151: Pacrian, Ian Ring Music TheoryPacrian
Scale 3159Scale 3159: Stocrian, Ian Ring Music TheoryStocrian
Scale 3175Scale 3175: Eponian, Ian Ring Music TheoryEponian
Scale 3079Scale 3079: Pentatonic Chromatic 3, Ian Ring Music TheoryPentatonic Chromatic 3
Scale 3111Scale 3111: TIFian, Ian Ring Music TheoryTIFian
Scale 3207Scale 3207: UCOian, Ian Ring Music TheoryUCOian
Scale 3271Scale 3271: Mela Raghupriya, Ian Ring Music TheoryMela Raghupriya
Scale 3399Scale 3399: Zonian, Ian Ring Music TheoryZonian
Scale 3655Scale 3655: Mathian, Ian Ring Music TheoryMathian
Scale 2119Scale 2119: MUBian, Ian Ring Music TheoryMUBian
Scale 2631Scale 2631: Macrimic, Ian Ring Music TheoryMacrimic
Scale 1095Scale 1095: Phrythitonic, Ian Ring Music TheoryPhrythitonic

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.