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Scale 3289: "Lydian Sharp 2 Sharp 6"

Scale 3289: Lydian Sharp 2 Sharp 6, 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

Western Altered
Lydian Sharp 2 Sharp 6
Carnatic Mela
Mela Rasikapriya
Carnatic Raga
Raga Rasamanjari
Unknown / Unsorted
Hamsagiri
Zeitler
Loptian

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

{0,3,4,6,7,10,11}

Forte Number

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

7-22

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.

[5]

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.

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.

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.

6

Prime Form

Describes if this scale is in prime form, using the Rahn/Ring formula.

no
prime: 871

Deep Scale

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

no

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, 2, 4, 5, 4, 2]

Interval Spectrum

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

p4m5n4s2d4t2

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}
<3> = {4,5,6}
<4> = {6,7,8}
<5> = {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.

1.714

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.

2.433

Polygon Perimeter

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

5.899

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.

yes

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.

[10]

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

Harmonic Chords

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 TriadsC{0,4,7}242
D♯{3,7,10}331.67
B{11,3,6}331.67
Minor Triadscm{0,3,7}331.67
d♯m{3,6,10}242
em{4,7,11}331.67
Augmented TriadsD♯+{3,7,11}421.33
Diminished Triads{0,3,6}242
{4,7,10}242
Parsimonious Voice Leading Between Common Triads of Scale 3289. Created by Ian Ring ©2019 cm cm c°->cm B B c°->B C C cm->C D#+ D#+ cm->D#+ em em C->em d#m d#m D# D# d#m->D# d#m->B D#->D#+ D#->e° D#+->em D#+->B e°->em

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 VerticesD♯+
Peripheral Verticesc°, C, d♯m, e°

Modes

Modes are the rotational transformation of this scale. Scale 3289 can be rotated to make 6 other scales. The 1st mode is itself.

2nd mode:
Scale 923
Scale 923: Ultraphrygian, Ian Ring Music TheoryUltraphrygian
3rd mode:
Scale 2509
Scale 2509: Double Harmonic Minor, Ian Ring Music TheoryDouble Harmonic Minor
4th mode:
Scale 1651
Scale 1651: Asian, Ian Ring Music TheoryAsian
5th mode:
Scale 2873
Scale 2873: Ionian Augmented Sharp 2, Ian Ring Music TheoryIonian Augmented Sharp 2
6th mode:
Scale 871
Scale 871: Locrian Double-flat 3 Double-flat 7, Ian Ring Music TheoryLocrian Double-flat 3 Double-flat 7This is the prime mode
7th mode:
Scale 2483
Scale 2483: Double Harmonic, Ian Ring Music TheoryDouble Harmonic

Prime

The prime form of this scale is Scale 871

Scale 871Scale 871: Locrian Double-flat 3 Double-flat 7, Ian Ring Music TheoryLocrian Double-flat 3 Double-flat 7

Complement

The heptatonic modal family [3289, 923, 2509, 1651, 2873, 871, 2483] (Forte: 7-22) is the complement of the pentatonic modal family [403, 611, 793, 2249, 2353] (Forte: 5-22)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 3289 is 871

Scale 871Scale 871: Locrian Double-flat 3 Double-flat 7, Ian Ring Music TheoryLocrian Double-flat 3 Double-flat 7

Transformations:

T0 3289  T0I 871
T1 2483  T1I 1742
T2 871  T2I 3484
T3 1742  T3I 2873
T4 3484  T4I 1651
T5 2873  T5I 3302
T6 1651  T6I 2509
T7 3302  T7I 923
T8 2509  T8I 1846
T9 923  T9I 3692
T10 1846  T10I 3289
T11 3692  T11I 2483

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 3291Scale 3291: Lygyllic, Ian Ring Music TheoryLygyllic
Scale 3293Scale 3293: Saryllic, Ian Ring Music TheorySaryllic
Scale 3281Scale 3281: Raga Vijayavasanta, Ian Ring Music TheoryRaga Vijayavasanta
Scale 3285Scale 3285: Mela Citrambari, Ian Ring Music TheoryMela Citrambari
Scale 3273Scale 3273: Raga Jivantini, Ian Ring Music TheoryRaga Jivantini
Scale 3305Scale 3305: Chromatic Hypophrygian, Ian Ring Music TheoryChromatic Hypophrygian
Scale 3321Scale 3321: Epagyllic, Ian Ring Music TheoryEpagyllic
Scale 3225Scale 3225: Ionalimic, Ian Ring Music TheoryIonalimic
Scale 3257Scale 3257: Mela Calanata, Ian Ring Music TheoryMela Calanata
Scale 3161Scale 3161: Kodimic, Ian Ring Music TheoryKodimic
Scale 3417Scale 3417: Golian, Ian Ring Music TheoryGolian
Scale 3545Scale 3545: Thyptyllic, Ian Ring Music TheoryThyptyllic
Scale 3801Scale 3801: Maptyllic, Ian Ring Music TheoryMaptyllic
Scale 2265Scale 2265: Raga Rasamanjari, Ian Ring Music TheoryRaga Rasamanjari
Scale 2777Scale 2777: Aeolian Harmonic, Ian Ring Music TheoryAeolian Harmonic
Scale 1241Scale 1241: Pygimic, Ian Ring Music TheoryPygimic

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.