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Scale 613: "Phralitonic"

Scale 613: Phralitonic, 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
Phralitonic
Dozenal
Dofian

Analysis

Cardinality

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

5 (pentatonic)

Pitch Class Set

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

{0,2,5,6,9}

Forte Number

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

5-32

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: 1225

Hemitonia

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

1 (unhemitonic)

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.

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.

4

Prime Form

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

no
prime: 595

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, 3, 1, 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.

<1, 1, 3, 2, 2, 1>

Interval Spectrum

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

p2m2n3sdt

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

Spectra Variation

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

1.6

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.

2.183

Polygon Perimeter

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

5.76

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".

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, 1, 30)

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 TriadsD{2,6,9}221
F{5,9,0}221
Minor Triadsdm{2,5,9}221
Diminished Triadsf♯°{6,9,0}221
Parsimonious Voice Leading Between Common Triads of Scale 613. Created by Ian Ring ©2019 dm dm D D dm->D F F dm->F f#° f#° D->f#° F->f#°

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
Radius2
Self-Centeredyes

Modes

Modes are the rotational transformation of this scale. Scale 613 can be rotated to make 4 other scales. The 1st mode is itself.

2nd mode:
Scale 1177
Scale 1177: Garitonic, Ian Ring Music TheoryGaritonic
3rd mode:
Scale 659
Scale 659: Raga Rasika Ranjani, Ian Ring Music TheoryRaga Rasika Ranjani
4th mode:
Scale 2377
Scale 2377: Bartók Gamma Chord, Ian Ring Music TheoryBartók Gamma Chord
5th mode:
Scale 809
Scale 809: Dogitonic, Ian Ring Music TheoryDogitonic

Prime

The prime form of this scale is Scale 595

Scale 595Scale 595: Sogitonic, Ian Ring Music TheorySogitonic

Complement

The pentatonic modal family [613, 1177, 659, 2377, 809] (Forte: 5-32) is the complement of the heptatonic modal family [859, 1459, 1643, 1741, 2477, 2777, 2869] (Forte: 7-32)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 613 is 1225

Scale 1225Scale 1225: Raga Samudhra Priya, Ian Ring Music TheoryRaga Samudhra Priya

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 613 is chiral, and its enantiomorph is scale 1225

Scale 1225Scale 1225: Raga Samudhra Priya, Ian Ring Music TheoryRaga Samudhra Priya

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> 613       T0I <11,0> 1225
T1 <1,1> 1226      T1I <11,1> 2450
T2 <1,2> 2452      T2I <11,2> 805
T3 <1,3> 809      T3I <11,3> 1610
T4 <1,4> 1618      T4I <11,4> 3220
T5 <1,5> 3236      T5I <11,5> 2345
T6 <1,6> 2377      T6I <11,6> 595
T7 <1,7> 659      T7I <11,7> 1190
T8 <1,8> 1318      T8I <11,8> 2380
T9 <1,9> 2636      T9I <11,9> 665
T10 <1,10> 1177      T10I <11,10> 1330
T11 <1,11> 2354      T11I <11,11> 2660
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 1603      T0MI <7,0> 2125
T1M <5,1> 3206      T1MI <7,1> 155
T2M <5,2> 2317      T2MI <7,2> 310
T3M <5,3> 539      T3MI <7,3> 620
T4M <5,4> 1078      T4MI <7,4> 1240
T5M <5,5> 2156      T5MI <7,5> 2480
T6M <5,6> 217      T6MI <7,6> 865
T7M <5,7> 434      T7MI <7,7> 1730
T8M <5,8> 868      T8MI <7,8> 3460
T9M <5,9> 1736      T9MI <7,9> 2825
T10M <5,10> 3472      T10MI <7,10> 1555
T11M <5,11> 2849      T11MI <7,11> 3110

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 615Scale 615: Schoenberg Hexachord, Ian Ring Music TheorySchoenberg Hexachord
Scale 609Scale 609: Docian, Ian Ring Music TheoryDocian
Scale 611Scale 611: Anchihoye, Ian Ring Music TheoryAnchihoye
Scale 617Scale 617: Katycritonic, Ian Ring Music TheoryKatycritonic
Scale 621Scale 621: Pyramid Hexatonic, Ian Ring Music TheoryPyramid Hexatonic
Scale 629Scale 629: Aeronimic, Ian Ring Music TheoryAeronimic
Scale 581Scale 581: Eporic 2, Ian Ring Music TheoryEporic 2
Scale 597Scale 597: Kung, Ian Ring Music TheoryKung
Scale 549Scale 549: Raga Bhavani, Ian Ring Music TheoryRaga Bhavani
Scale 677Scale 677: Scottish Pentatonic, Ian Ring Music TheoryScottish Pentatonic
Scale 741Scale 741: Gathimic, Ian Ring Music TheoryGathimic
Scale 869Scale 869: Kothimic, Ian Ring Music TheoryKothimic
Scale 101Scale 101: Apoian, Ian Ring Music TheoryApoian
Scale 357Scale 357: Banitonic, Ian Ring Music TheoryBanitonic
Scale 1125Scale 1125: Ionaritonic, Ian Ring Music TheoryIonaritonic
Scale 1637Scale 1637: Syptimic, Ian Ring Music TheorySyptimic
Scale 2661Scale 2661: Stydimic, Ian Ring Music TheoryStydimic

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.