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Scale 619: "Double-Phrygian Hexatonic"

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

Western Modern: Double-Phrygian Hexatonic; Hexatonic Double Phrygian

Zeitler: Parimic

Dozenal: Dujian

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	{0,1,3,5,6,9}
Forte Number A code assigned by theorist Allen Forte, for this pitch class set and all of its transpositional (rotation) and inversional (reflection) transformations.	6-Z28
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.	[3]
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.	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, 2, 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.	<2, 2, 4, 3, 2, 2>
Interval Spectrum The same as the Interval Vector, but expressed in a syntax used by Howard Hanson.	p²m³n⁴s²d²t²
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> = {3,4,6} <3> = {5,6,7} <4> = {6,8,9} <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
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.	[6]
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.	(4, 13, 58)

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 Type	Triad^*	Pitch Classes	Degree	Eccentricity	Closeness Centrality
Major Triads	F	{5,9,0}	3	3	1.43
Minor Triads	f♯m	{6,9,1}	3	3	1.43
Augmented Triads	C♯+	{1,5,9}	2	3	1.57
Diminished Triads	c°	{0,3,6}	2	3	1.71
	d♯°	{3,6,9}	2	3	1.57
	f♯°	{6,9,0}	2	3	1.57
	a°	{9,0,3}	2	3	1.57

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
Radius	3
Self-Centered	yes

Triad Polychords

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}
Augmented: {1, 5, 9}

Modes

Modes are the rotational transformation of this scale. Scale 619 can be rotated to make 5 other scales. The 1st mode is itself.

2nd mode: Scale 2357				Raga Sarasanana
3rd mode: Scale 1613				Thylimic
4th mode: Scale 1427				Lolimic
5th mode: Scale 2761				Dagimic
6th mode: Scale 857				Aeolydimic

Prime

This is the prime form of this scale.

Complement

The hexatonic modal family [619, 2357, 1613, 1427, 2761, 857] (Forte: 6-Z28) is the complement of the hexatonic modal family [667, 869, 1241, 1619, 2381, 2857] (Forte: 6-Z49)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 619 is 2761

Scale 2761

Dagimic

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>	619	T₀I	<11,0>	2761
T₁	<1,1>	1238	T₁I	<11,1>	1427
T₂	<1,2>	2476	T₂I	<11,2>	2854
T₃	<1,3>	857	T₃I	<11,3>	1613
T₄	<1,4>	1714	T₄I	<11,4>	3226
T₅	<1,5>	3428	T₅I	<11,5>	2357
T₆	<1,6>	2761	T₆I	<11,6>	619
T₇	<1,7>	1427	T₇I	<11,7>	1238
T₈	<1,8>	2854	T₈I	<11,8>	2476
T₉	<1,9>	1613	T₉I	<11,9>	857
T₁₀	<1,10>	3226	T₁₀I	<11,10>	1714
T₁₁	<1,11>	2357	T₁₁I	<11,11>	3428
Abbrev	Operation	Result	Abbrev	Operation	Result
T₀M	<5,0>	619	T₀MI	<7,0>	2761
T₁M	<5,1>	1238	T₁MI	<7,1>	1427
T₂M	<5,2>	2476	T₂MI	<7,2>	2854
T₃M	<5,3>	857	T₃MI	<7,3>	1613
T₄M	<5,4>	1714	T₄MI	<7,4>	3226
T₅M	<5,5>	3428	T₅MI	<7,5>	2357
T₆M	<5,6>	2761	T₆MI	<7,6>	619
T₇M	<5,7>	1427	T₇MI	<7,7>	1238
T₈M	<5,8>	2854	T₈MI	<7,8>	2476
T₉M	<5,9>	1613	T₉MI	<7,9>	857
T₁₀M	<5,10>	3226	T₁₀MI	<7,10>	1714
T₁₁M	<5,11>	2357	T₁₁MI	<7,11>	3428

The transformations that map this set to itself are: T₀, T₆I, T₀M, T₆MI

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 617				Katycritonic
Scale 621				Pyramid Hexatonic
Scale 623				Sycrian
Scale 611				Anchihoye
Scale 615				Schoenberg Hexachord
Scale 627				Mogimic
Scale 635				Epolian
Scale 587				Pathitonic
Scale 603				Aeolygimic
Scale 555				Aeolycritonic
Scale 683				Stogimic
Scale 747				Lynian
Scale 875				Locrian Double-flat 7
Scale 107				Ansian
Scale 363				Soptimic
Scale 1131				Honchoshi Plagal Form
Scale 1643				Locrian Natural 6
Scale 2667				Byrian

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.