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Scale 3657: "Epynimic"

Scale 3657: Epynimic, 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
Epynimic
Dozenal
Wutian

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

{0,3,6,9,10,11}

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-Z42

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.

[4.5]

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.

3 (trihemitonic)

Cohemitonia

A cohemitone is an instance of two adjacent hemitones. Cohemitonia describes how many such cohemitones exist.

2 (dicohemitonic)

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 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.

5

Prime Form

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

no
prime: 591

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.

[3, 3, 3, 1, 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.

<3, 2, 4, 2, 2, 2>

Interval Spectrum

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

p2m2n4s2d3t2

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

Spectra Variation

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

3

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.

2.25

Polygon Perimeter

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

5.796

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.

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.

[9]

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.

(28, 10, 55)

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 TriadsB{11,3,6}231.5
Minor Triadsd♯m{3,6,10}231.5
Diminished Triads{0,3,6}231.5
d♯°{3,6,9}231.5
f♯°{6,9,0}231.5
{9,0,3}231.5
Parsimonious Voice Leading Between Common Triads of Scale 3657. Created by Ian Ring ©2019 c°->a° B B c°->B d#° d#° d#m d#m d#°->d#m f#° f#° d#°->f#° d#m->B f#°->a°

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.

Diameter3
Radius3
Self-Centeredyes

Modes

Modes are the rotational transformation of this scale. Scale 3657 can be rotated to make 5 other scales. The 1st mode is itself.

2nd mode:
Scale 969
Scale 969: Ionogimic, Ian Ring Music TheoryIonogimic
3rd mode:
Scale 633
Scale 633: Kydimic, Ian Ring Music TheoryKydimic
4th mode:
Scale 591
Scale 591: Gaptimic, Ian Ring Music TheoryGaptimicThis is the prime mode
5th mode:
Scale 2343
Scale 2343: Tharimic, Ian Ring Music TheoryTharimic
6th mode:
Scale 3219
Scale 3219: Ionaphimic, Ian Ring Music TheoryIonaphimic

Prime

The prime form of this scale is Scale 591

Scale 591Scale 591: Gaptimic, Ian Ring Music TheoryGaptimic

Complement

The hexatonic modal family [3657, 969, 633, 591, 2343, 3219] (Forte: 6-Z42) is the complement of the hexatonic modal family [219, 1563, 1731, 2157, 2829, 2913] (Forte: 6-Z13)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 3657 is 591

Scale 591Scale 591: Gaptimic, Ian Ring Music TheoryGaptimic

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> 3657       T0I <11,0> 591
T1 <1,1> 3219      T1I <11,1> 1182
T2 <1,2> 2343      T2I <11,2> 2364
T3 <1,3> 591      T3I <11,3> 633
T4 <1,4> 1182      T4I <11,4> 1266
T5 <1,5> 2364      T5I <11,5> 2532
T6 <1,6> 633      T6I <11,6> 969
T7 <1,7> 1266      T7I <11,7> 1938
T8 <1,8> 2532      T8I <11,8> 3876
T9 <1,9> 969      T9I <11,9> 3657
T10 <1,10> 1938      T10I <11,10> 3219
T11 <1,11> 3876      T11I <11,11> 2343
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 717      T0MI <7,0> 1641
T1M <5,1> 1434      T1MI <7,1> 3282
T2M <5,2> 2868      T2MI <7,2> 2469
T3M <5,3> 1641      T3MI <7,3> 843
T4M <5,4> 3282      T4MI <7,4> 1686
T5M <5,5> 2469      T5MI <7,5> 3372
T6M <5,6> 843      T6MI <7,6> 2649
T7M <5,7> 1686      T7MI <7,7> 1203
T8M <5,8> 3372      T8MI <7,8> 2406
T9M <5,9> 2649      T9MI <7,9> 717
T10M <5,10> 1203      T10MI <7,10> 1434
T11M <5,11> 2406      T11MI <7,11> 2868

The transformations that map this set to itself are: T0, T9I

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 3659Scale 3659: Polian, Ian Ring Music TheoryPolian
Scale 3661Scale 3661: Mixodorian, Ian Ring Music TheoryMixodorian
Scale 3649Scale 3649: Wupian, Ian Ring Music TheoryWupian
Scale 3653Scale 3653: Sathimic, Ian Ring Music TheorySathimic
Scale 3665Scale 3665: Stalimic, Ian Ring Music TheoryStalimic
Scale 3673Scale 3673: Ranian, Ian Ring Music TheoryRanian
Scale 3689Scale 3689: Katocrian, Ian Ring Music TheoryKatocrian
Scale 3593Scale 3593: Wigian, Ian Ring Music TheoryWigian
Scale 3625Scale 3625: Podimic, Ian Ring Music TheoryPodimic
Scale 3721Scale 3721: Phragimic, Ian Ring Music TheoryPhragimic
Scale 3785Scale 3785: Epagian, Ian Ring Music TheoryEpagian
Scale 3913Scale 3913: Bonian, Ian Ring Music TheoryBonian
Scale 3145Scale 3145: Stolitonic, Ian Ring Music TheoryStolitonic
Scale 3401Scale 3401: Palimic, Ian Ring Music TheoryPalimic
Scale 2633Scale 2633: Bartók Beta Chord, Ian Ring Music TheoryBartók Beta Chord
Scale 1609Scale 1609: Thyritonic, Ian Ring Music TheoryThyritonic

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.