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Scale 373: "Epagimic"

Scale 373: Epagimic, 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
Epagimic
Dozenal
Inkian

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

{0,2,4,5,6,8}

Forte Number

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

6-21

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.

none

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.

yes
enantiomorph: 1489

Hemitonia

A hemitone is two tones separated by a semitone interval. Hemitonia describes how many such hemitones exist.

2 (dihemitonic)

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.

5

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: 349

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, 2, 1, 1, 2, 4]

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.

<2, 4, 2, 4, 1, 2>

Interval Spectrum

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

pm4n2s4d2t2

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

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.

2.232

Polygon Perimeter

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

5.767

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.

none

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.

(18, 20, 61)

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
Minor Triadsfm{5,8,0}210.67
Augmented TriadsC+{0,4,8}121
Diminished Triads{2,5,8}121

The following pitch classes are not present in any of the common triads: {6}

Parsimonious Voice Leading Between Common Triads of Scale 373. Created by Ian Ring ©2019 C+ C+ fm fm C+->fm d°->fm

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 Verticesfm
Peripheral VerticesC+, d°

Modes

Modes are the rotational transformation of this scale. Scale 373 can be rotated to make 5 other scales. The 1st mode is itself.

2nd mode:
Scale 1117
Scale 1117: Raptimic, Ian Ring Music TheoryRaptimic
3rd mode:
Scale 1303
Scale 1303: Epolimic, Ian Ring Music TheoryEpolimic
4th mode:
Scale 2699
Scale 2699: Sythimic, Ian Ring Music TheorySythimic
5th mode:
Scale 3397
Scale 3397: Sydimic, Ian Ring Music TheorySydimic
6th mode:
Scale 1873
Scale 1873: Dathimic, Ian Ring Music TheoryDathimic

Prime

The prime form of this scale is Scale 349

Scale 349Scale 349: Borimic, Ian Ring Music TheoryBorimic

Complement

The hexatonic modal family [373, 1117, 1303, 2699, 3397, 1873] (Forte: 6-21) is the complement of the hexatonic modal family [349, 1111, 1489, 1861, 2603, 3349] (Forte: 6-21)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 373 is 1489

Scale 1489Scale 1489: Raga Jyoti, Ian Ring Music TheoryRaga Jyoti

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 373 is chiral, and its enantiomorph is scale 1489

Scale 1489Scale 1489: Raga Jyoti, Ian Ring Music TheoryRaga Jyoti

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> 373       T0I <11,0> 1489
T1 <1,1> 746      T1I <11,1> 2978
T2 <1,2> 1492      T2I <11,2> 1861
T3 <1,3> 2984      T3I <11,3> 3722
T4 <1,4> 1873      T4I <11,4> 3349
T5 <1,5> 3746      T5I <11,5> 2603
T6 <1,6> 3397      T6I <11,6> 1111
T7 <1,7> 2699      T7I <11,7> 2222
T8 <1,8> 1303      T8I <11,8> 349
T9 <1,9> 2606      T9I <11,9> 698
T10 <1,10> 1117      T10I <11,10> 1396
T11 <1,11> 2234      T11I <11,11> 2792
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 1363      T0MI <7,0> 2389
T1M <5,1> 2726      T1MI <7,1> 683
T2M <5,2> 1357      T2MI <7,2> 1366
T3M <5,3> 2714      T3MI <7,3> 2732
T4M <5,4> 1333      T4MI <7,4> 1369
T5M <5,5> 2666      T5MI <7,5> 2738
T6M <5,6> 1237      T6MI <7,6> 1381
T7M <5,7> 2474      T7MI <7,7> 2762
T8M <5,8> 853      T8MI <7,8> 1429
T9M <5,9> 1706      T9MI <7,9> 2858
T10M <5,10> 3412      T10MI <7,10> 1621
T11M <5,11> 2729      T11MI <7,11> 3242

The transformations that map this set to itself are: T0

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 375Scale 375: Sodian, Ian Ring Music TheorySodian
Scale 369Scale 369: Laditonic, Ian Ring Music TheoryLaditonic
Scale 371Scale 371: Rythimic, Ian Ring Music TheoryRythimic
Scale 377Scale 377: Kathimic, Ian Ring Music TheoryKathimic
Scale 381Scale 381: Kogian, Ian Ring Music TheoryKogian
Scale 357Scale 357: Banitonic, Ian Ring Music TheoryBanitonic
Scale 365Scale 365: Marimic, Ian Ring Music TheoryMarimic
Scale 341Scale 341: Bothitonic, Ian Ring Music TheoryBothitonic
Scale 309Scale 309: Palitonic, Ian Ring Music TheoryPalitonic
Scale 437Scale 437: Ronimic, Ian Ring Music TheoryRonimic
Scale 501Scale 501: Katylian, Ian Ring Music TheoryKatylian
Scale 117Scale 117: Anbian, Ian Ring Music TheoryAnbian
Scale 245Scale 245: Raga Dipak, Ian Ring Music TheoryRaga Dipak
Scale 629Scale 629: Aeronimic, Ian Ring Music TheoryAeronimic
Scale 885Scale 885: Sathian, Ian Ring Music TheorySathian
Scale 1397Scale 1397: Major Locrian, Ian Ring Music TheoryMajor Locrian
Scale 2421Scale 2421: Malian, Ian Ring Music TheoryMalian

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.