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Scale 3549: "Messiaen Mode 3 Inverse"

Scale 3549: Messiaen Mode 3 Inverse, 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

Messiaen
Messiaen Mode 3 Inverse
Third Mode Of Limited Transposition
Named After Composers
Tcherepnin Nonatonic Mode 2
Zeitler
Phronygic
Dozenal
Wefian

Analysis

Cardinality

Cardinality is the count of how many pitches are in the scale.

9 (enneatonic)

Pitch Class Set

The tones in this scale, expressed as numbers from 0 to 11

{0,2,3,4,6,7,8,10,11}

Forte Number

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

9-12

Rotational Symmetry

Some scales have rotational symmetry, sometimes known as "limited transposition". If there are any rotational symmetries, these are the intervals of periodicity.

[4, 8]

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.

[1, 3, 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.

6 (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.

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.

2

Prime Form

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

no
prime: 1911

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.

no

Interval Structure

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

[2, 1, 1, 2, 1, 1, 2, 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.

<6, 6, 6, 9, 6, 3>

Interval Spectrum

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

p6m9n6s6d6t3

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

Spectra Variation

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

0.667

Maximally Even

A scale is maximally even if the tones are optimally spaced apart from each other.

yes

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.

yes

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.

2.799

Polygon Perimeter

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

6.106

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.

[2,6,10]

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".

Proper

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.

(0, 27, 108)

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}352.56
D♯{3,7,10}442.11
E{4,8,11}352.56
G{7,11,2}442.11
G♯{8,0,3}352.56
B{11,3,6}442.11
Minor Triadscm{0,3,7}442.11
d♯m{3,6,10}352.56
em{4,7,11}442.11
gm{7,10,2}352.56
g♯m{8,11,3}442.11
bm{11,2,6}352.56
Augmented TriadsC+{0,4,8}363
D+{2,6,10}363
D♯+{3,7,11}631.67
Diminished Triads{0,3,6}242.56
{4,7,10}242.56
g♯°{8,11,2}242.56
Parsimonious Voice Leading Between Common Triads of Scale 3549. Created by Ian Ring ©2019 cm cm c°->cm B B c°->B C C cm->C D#+ D#+ cm->D#+ G# G# cm->G# C+ C+ C->C+ em em C->em E E C+->E C+->G# D+ D+ d#m d#m D+->d#m gm gm D+->gm bm bm D+->bm D# D# d#m->D# d#m->B D#->D#+ D#->e° D#->gm D#+->em Parsimonious Voice Leading Between Common Triads of Scale 3549. Created by Ian Ring ©2019 G D#+->G g#m g#m D#+->g#m D#+->B e°->em em->E E->g#m gm->G g#° g#° G->g#° G->bm g#°->g#m g#m->G# bm->B

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.

Diameter6
Radius3
Self-Centeredno
Central VerticesD♯+
Peripheral VerticesC+, D+

Modes

Modes are the rotational transformation of this scale. Scale 3549 can be rotated to make 2 other scales. The 1st mode is itself.

2nd mode:
Scale 1911
Scale 1911: Messiaen Mode 3, Ian Ring Music TheoryMessiaen Mode 3This is the prime mode
3rd mode:
Scale 3003
Scale 3003: Genus Chromaticum, Ian Ring Music TheoryGenus Chromaticum

Prime

The prime form of this scale is Scale 1911

Scale 1911Scale 1911: Messiaen Mode 3, Ian Ring Music TheoryMessiaen Mode 3

Complement

The enneatonic modal family [3549, 1911, 3003] (Forte: 9-12) is the complement of the tritonic modal family [273] (Forte: 3-12)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 3549 is 1911

Scale 1911Scale 1911: Messiaen Mode 3, Ian Ring Music TheoryMessiaen Mode 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

Abbrev Operation Result Abbrev Operation Result
T0 <1,0> 3549       T0I <11,0> 1911
T1 <1,1> 3003      T1I <11,1> 3822
T2 <1,2> 1911      T2I <11,2> 3549
T3 <1,3> 3822      T3I <11,3> 3003
T4 <1,4> 3549       T4I <11,4> 1911
T5 <1,5> 3003      T5I <11,5> 3822
T6 <1,6> 1911      T6I <11,6> 3549
T7 <1,7> 3822      T7I <11,7> 3003
T8 <1,8> 3549       T8I <11,8> 1911
T9 <1,9> 3003      T9I <11,9> 3822
T10 <1,10> 1911      T10I <11,10> 3549
T11 <1,11> 3822      T11I <11,11> 3003
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 3549       T0MI <7,0> 1911
T1M <5,1> 3003      T1MI <7,1> 3822
T2M <5,2> 1911      T2MI <7,2> 3549
T3M <5,3> 3822      T3MI <7,3> 3003
T4M <5,4> 3549       T4MI <7,4> 1911
T5M <5,5> 3003      T5MI <7,5> 3822
T6M <5,6> 1911      T6MI <7,6> 3549
T7M <5,7> 3822      T7MI <7,7> 3003
T8M <5,8> 3549       T8MI <7,8> 1911
T9M <5,9> 3003      T9MI <7,9> 3822
T10M <5,10> 1911      T10MI <7,10> 3549
T11M <5,11> 3822      T11MI <7,11> 3003

The transformations that map this set to itself are: T0, T4, T8, T2I, T6I, T10I, T0M, T4M, T8M, T2MI, T6MI, T10MI

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 3551Scale 3551: Sagyllian, Ian Ring Music TheorySagyllian
Scale 3545Scale 3545: Thyptyllic, Ian Ring Music TheoryThyptyllic
Scale 3547Scale 3547: Sadygic, Ian Ring Music TheorySadygic
Scale 3541Scale 3541: Racryllic, Ian Ring Music TheoryRacryllic
Scale 3533Scale 3533: Thadyllic, Ian Ring Music TheoryThadyllic
Scale 3565Scale 3565: Aeolorygic, Ian Ring Music TheoryAeolorygic
Scale 3581Scale 3581: Epocryllian, Ian Ring Music TheoryEpocryllian
Scale 3485Scale 3485: Sabach, Ian Ring Music TheorySabach
Scale 3517Scale 3517: Epocrygic, Ian Ring Music TheoryEpocrygic
Scale 3421Scale 3421: Aerothyllic, Ian Ring Music TheoryAerothyllic
Scale 3293Scale 3293: Saryllic, Ian Ring Music TheorySaryllic
Scale 3805Scale 3805: Moptygic, Ian Ring Music TheoryMoptygic
Scale 4061Scale 4061: Staptyllian, Ian Ring Music TheoryStaptyllian
Scale 2525Scale 2525: Aeolaryllic, Ian Ring Music TheoryAeolaryllic
Scale 3037Scale 3037: Nine Tone Scale, Ian Ring Music TheoryNine Tone Scale
Scale 1501Scale 1501: Stygyllic, Ian Ring Music TheoryStygyllic

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. 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.