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Cardinality | 6 (hexatonic) |
---|---|
Pitch Class Set | {0,1,3,5,6,9} |
Forte Number | 6-Z28 |
Rotational Symmetry | none |
Reflection Axes | 3 |
Palindromic | no |
Chirality | no |
Hemitonia | 2 (dihemitonic) |
Cohemitonia | 0 (ancohemitonic) |
Imperfections | 4 |
Modes | 5 |
Prime? | yes |
Deep Scale | no |
Interval Vector | 224322 |
Interval Spectrum | p2m3n4s2d2t2 |
Distribution Spectra | <1> = {1,2,3} <2> = {3,4,6} <3> = {5,6,7} <4> = {6,8,9} <5> = {9,10,11} |
Spectra Variation | 2 |
Maximally Even | no |
Maximal Area Set | no |
Interior Area | 2.366 |
Myhill Property | no |
Balanced | no |
Ridge Tones | [6] |
Propriety | Improper |
Heliotonic | no |
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 |
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 |
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 |
This is the prime form of this scale.
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)
The inverse of a scale is a reflection using the root as its axis. The inverse of 619 is 2761
Scale 2761 | ![]() | Dagimic |
T0 | 619 | T0I | 2761 | |||||
T1 | 1238 | T1I | 1427 | |||||
T2 | 2476 | T2I | 2854 | |||||
T3 | 857 | T3I | 1613 | |||||
T4 | 1714 | T4I | 3226 | |||||
T5 | 3428 | T5I | 2357 | |||||
T6 | 2761 | T6I | 619 | |||||
T7 | 1427 | T7I | 1238 | |||||
T8 | 2854 | T8I | 2476 | |||||
T9 | 1613 | T9I | 857 | |||||
T10 | 3226 | T10I | 1714 | |||||
T11 | 2357 | T11I | 3428 |
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 | ![]() | Phrothimic | ||
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 | ![]() | |||
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. The software used to generate this analysis is an open source project at GitHub. Scale notation generated by VexFlow, graph visualization by Graphviz, and MIDI playback by MIDI.js. 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.