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# Scale 603: "Aeolygimic" ### 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).

Zeitler
Aeolygimic
Dozenal
Doyian

## 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

{0,1,3,4,6,9}

#### Forte Number

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

6-27

#### 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: 2889

#### 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.

0 (ancohemitonic)

#### 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.

yes

#### 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.

[1, 2, 1, 2, 3, 3]

#### 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, 2, 5, 2, 2, 2>

#### Interval Spectrum

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

p2m2n5s2d2t2

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

#### Spectra Variation

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

2.333

#### 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.

2.366

#### Polygon Perimeter

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

5.864

#### 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.

(6, 21, 62)

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

am{9,0,4}331.43
d♯°{3,6,9}231.57
f♯°{6,9,0}231.57
{9,0,3}231.57

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.

Diameter 3 3 yes

Also known as Bi-Triadic Hexatonics (a term coined by mDecks), and related to Generic Modality Compression (a method for guitar by Mick Goodrick and Tim Miller), these are two common triads that when combined use all the tones in this scale.

There is 1 way that this hexatonic scale can be split into two common triads.

 Diminished: {0, 3, 6}Major: {9, 1, 4}

## Modes

Modes are the rotational transformation of this scale. Scale 603 can be rotated to make 5 other scales. The 1st mode is itself.

 2nd mode:Scale 2349 Raga Ghantana 3rd mode:Scale 1611 Dacrimic 4th mode:Scale 2853 Baptimic 5th mode:Scale 1737 Raga Madhukauns 6th mode:Scale 729 Stygimic

## Prime

This is the prime form of this scale.

## Complement

The hexatonic modal family [603, 2349, 1611, 2853, 1737, 729] (Forte: 6-27) is the complement of the hexatonic modal family [603, 729, 1611, 1737, 2349, 2853] (Forte: 6-27)

## Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 603 is 2889

 Scale 2889 Thoptimic

## Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 603 is chiral, and its enantiomorph is scale 2889

 Scale 2889 Thoptimic

## 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> 603       T0I <11,0> 2889
T1 <1,1> 1206      T1I <11,1> 1683
T2 <1,2> 2412      T2I <11,2> 3366
T3 <1,3> 729      T3I <11,3> 2637
T4 <1,4> 1458      T4I <11,4> 1179
T5 <1,5> 2916      T5I <11,5> 2358
T6 <1,6> 1737      T6I <11,6> 621
T7 <1,7> 3474      T7I <11,7> 1242
T8 <1,8> 2853      T8I <11,8> 2484
T9 <1,9> 1611      T9I <11,9> 873
T10 <1,10> 3222      T10I <11,10> 1746
T11 <1,11> 2349      T11I <11,11> 3492
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 873      T0MI <7,0> 729
T1M <5,1> 1746      T1MI <7,1> 1458
T2M <5,2> 3492      T2MI <7,2> 2916
T3M <5,3> 2889      T3MI <7,3> 1737
T4M <5,4> 1683      T4MI <7,4> 3474
T5M <5,5> 3366      T5MI <7,5> 2853
T6M <5,6> 2637      T6MI <7,6> 1611
T7M <5,7> 1179      T7MI <7,7> 3222
T8M <5,8> 2358      T8MI <7,8> 2349
T9M <5,9> 621      T9MI <7,9> 603
T10M <5,10> 1242      T10MI <7,10> 1206
T11M <5,11> 2484      T11MI <7,11> 2412

The transformations that map this set to itself are: T0, T9MI

## 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 601 Bycritonic Scale 605 Dycrimic Scale 607 Kadian Scale 595 Sogitonic Scale 599 Thyrimic Scale 587 Pathitonic Scale 619 Double-Phrygian Hexatonic Scale 635 Epolian Scale 539 Delian Scale 571 Kynimic Scale 667 Rodimic Scale 731 Alternating Heptamode Scale 859 Ultralocrian Scale 91 Anoian Scale 347 Barimic Scale 1115 Superlocrian Hexamirror Scale 1627 Zyptian Scale 2651 Panian

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.