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Scale 469: "Katyrimic"

Scale 469: Katyrimic, 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
Katyrimic
Dozenal
Cuvian

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

{0,2,4,6,7,8}

Forte Number

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

6-22

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.

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: 1393

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.

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: 343

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

Interval Spectrum

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

p2m4ns4d2t2

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

(10, 23, 64)

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}110.5
Augmented TriadsC+{0,4,8}110.5

The following pitch classes are not present in any of the common triads: {2,6}

Parsimonious Voice Leading Between Common Triads of Scale 469. Created by Ian Ring ©2019 C C C+ C+ C->C+

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.

Diameter1
Radius1
Self-Centeredyes

Modes

Modes are the rotational transformation of this scale. Scale 469 can be rotated to make 5 other scales. The 1st mode is itself.

2nd mode:
Scale 1141
Scale 1141: Rynimic, Ian Ring Music TheoryRynimic
3rd mode:
Scale 1309
Scale 1309: Pogimic, Ian Ring Music TheoryPogimic
4th mode:
Scale 1351
Scale 1351: Aeraptimic, Ian Ring Music TheoryAeraptimic
5th mode:
Scale 2723
Scale 2723: Raga Jivantika, Ian Ring Music TheoryRaga Jivantika
6th mode:
Scale 3409
Scale 3409: Katanimic, Ian Ring Music TheoryKatanimic

Prime

The prime form of this scale is Scale 343

Scale 343Scale 343: Ionorimic, Ian Ring Music TheoryIonorimic

Complement

The hexatonic modal family [469, 1141, 1309, 1351, 2723, 3409] (Forte: 6-22) is the complement of the hexatonic modal family [343, 1393, 1477, 1813, 2219, 3157] (Forte: 6-22)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 469 is 1393

Scale 1393Scale 1393: Mycrimic, Ian Ring Music TheoryMycrimic

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 469 is chiral, and its enantiomorph is scale 1393

Scale 1393Scale 1393: Mycrimic, Ian Ring Music TheoryMycrimic

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> 469       T0I <11,0> 1393
T1 <1,1> 938      T1I <11,1> 2786
T2 <1,2> 1876      T2I <11,2> 1477
T3 <1,3> 3752      T3I <11,3> 2954
T4 <1,4> 3409      T4I <11,4> 1813
T5 <1,5> 2723      T5I <11,5> 3626
T6 <1,6> 1351      T6I <11,6> 3157
T7 <1,7> 2702      T7I <11,7> 2219
T8 <1,8> 1309      T8I <11,8> 343
T9 <1,9> 2618      T9I <11,9> 686
T10 <1,10> 1141      T10I <11,10> 1372
T11 <1,11> 2282      T11I <11,11> 2744
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 3409      T0MI <7,0> 343
T1M <5,1> 2723      T1MI <7,1> 686
T2M <5,2> 1351      T2MI <7,2> 1372
T3M <5,3> 2702      T3MI <7,3> 2744
T4M <5,4> 1309      T4MI <7,4> 1393
T5M <5,5> 2618      T5MI <7,5> 2786
T6M <5,6> 1141      T6MI <7,6> 1477
T7M <5,7> 2282      T7MI <7,7> 2954
T8M <5,8> 469       T8MI <7,8> 1813
T9M <5,9> 938      T9MI <7,9> 3626
T10M <5,10> 1876      T10MI <7,10> 3157
T11M <5,11> 3752      T11MI <7,11> 2219

The transformations that map this set to itself are: T0, T8M

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 471Scale 471: Dodian, Ian Ring Music TheoryDodian
Scale 465Scale 465: Zoditonic, Ian Ring Music TheoryZoditonic
Scale 467Scale 467: Raga Dhavalangam, Ian Ring Music TheoryRaga Dhavalangam
Scale 473Scale 473: Aeralimic, Ian Ring Music TheoryAeralimic
Scale 477Scale 477: Stacrian, Ian Ring Music TheoryStacrian
Scale 453Scale 453: Raditonic, Ian Ring Music TheoryRaditonic
Scale 461Scale 461: Raga Syamalam, Ian Ring Music TheoryRaga Syamalam
Scale 485Scale 485: Stoptimic, Ian Ring Music TheoryStoptimic
Scale 501Scale 501: Katylian, Ian Ring Music TheoryKatylian
Scale 405Scale 405: Raga Bhupeshwari, Ian Ring Music TheoryRaga Bhupeshwari
Scale 437Scale 437: Ronimic, Ian Ring Music TheoryRonimic
Scale 341Scale 341: Bothitonic, Ian Ring Music TheoryBothitonic
Scale 213Scale 213: Bitian, Ian Ring Music TheoryBitian
Scale 725Scale 725: Raga Yamuna Kalyani, Ian Ring Music TheoryRaga Yamuna Kalyani
Scale 981Scale 981: Mela Kantamani, Ian Ring Music TheoryMela Kantamani
Scale 1493Scale 1493: Lydian Minor, Ian Ring Music TheoryLydian Minor
Scale 2517Scale 2517: Harmonic Lydian, Ian Ring Music TheoryHarmonic Lydian

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.