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Scale 825: "Thyptimic"

Scale 825: Thyptimic, 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
Thyptimic
Dozenal
Fewian

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

{0,3,4,5,8,9}

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-Z44

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: 921

Hemitonia

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

3 (trihemitonic)

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.

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.

5

Prime Form

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

no
prime: 615

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.

[3, 1, 1, 3, 1, 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.

<3, 1, 3, 4, 3, 1>

Interval Spectrum

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

p3m4n3sd3t

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> = {1,3}
<2> = {2,4,6}
<3> = {5,7}
<4> = {6,8,10}
<5> = {9,11}

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.

2.25

Polygon Perimeter

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

5.796

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.

(12, 1, 45)

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 TriadsF{5,9,0}231.5
G♯{8,0,3}231.5
Minor Triadsfm{5,8,0}231.5
am{9,0,4}321.17
Augmented TriadsC+{0,4,8}321.17
Diminished Triads{9,0,3}231.5
Parsimonious Voice Leading Between Common Triads of Scale 825. Created by Ian Ring ©2019 C+ C+ fm fm C+->fm G# G# C+->G# am am C+->am F F fm->F F->am G#->a° a°->am

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.

Diameter3
Radius2
Self-Centeredno
Central VerticesC+, am
Peripheral Verticesfm, F, G♯, a°

Modes

Modes are the rotational transformation of this scale. Scale 825 can be rotated to make 5 other scales. The 1st mode is itself.

2nd mode:
Scale 615
Scale 615: Schoenberg Hexachord, Ian Ring Music TheorySchoenberg HexachordThis is the prime mode
3rd mode:
Scale 2355
Scale 2355: Raga Lalita, Ian Ring Music TheoryRaga Lalita
4th mode:
Scale 3225
Scale 3225: Ionalimic, Ian Ring Music TheoryIonalimic
5th mode:
Scale 915
Scale 915: Raga Kalagada, Ian Ring Music TheoryRaga Kalagada
6th mode:
Scale 2505
Scale 2505: Mydimic, Ian Ring Music TheoryMydimic

Prime

The prime form of this scale is Scale 615

Scale 615Scale 615: Schoenberg Hexachord, Ian Ring Music TheorySchoenberg Hexachord

Complement

The hexatonic modal family [825, 615, 2355, 3225, 915, 2505] (Forte: 6-Z44) is the complement of the hexatonic modal family [411, 867, 1587, 2253, 2481, 2841] (Forte: 6-Z19)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 825 is 921

Scale 921Scale 921: Bogimic, Ian Ring Music TheoryBogimic

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 825 is chiral, and its enantiomorph is scale 921

Scale 921Scale 921: Bogimic, Ian Ring Music TheoryBogimic

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> 825       T0I <11,0> 921
T1 <1,1> 1650      T1I <11,1> 1842
T2 <1,2> 3300      T2I <11,2> 3684
T3 <1,3> 2505      T3I <11,3> 3273
T4 <1,4> 915      T4I <11,4> 2451
T5 <1,5> 1830      T5I <11,5> 807
T6 <1,6> 3660      T6I <11,6> 1614
T7 <1,7> 3225      T7I <11,7> 3228
T8 <1,8> 2355      T8I <11,8> 2361
T9 <1,9> 615      T9I <11,9> 627
T10 <1,10> 1230      T10I <11,10> 1254
T11 <1,11> 2460      T11I <11,11> 2508
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 795      T0MI <7,0> 2841
T1M <5,1> 1590      T1MI <7,1> 1587
T2M <5,2> 3180      T2MI <7,2> 3174
T3M <5,3> 2265      T3MI <7,3> 2253
T4M <5,4> 435      T4MI <7,4> 411
T5M <5,5> 870      T5MI <7,5> 822
T6M <5,6> 1740      T6MI <7,6> 1644
T7M <5,7> 3480      T7MI <7,7> 3288
T8M <5,8> 2865      T8MI <7,8> 2481
T9M <5,9> 1635      T9MI <7,9> 867
T10M <5,10> 3270      T10MI <7,10> 1734
T11M <5,11> 2445      T11MI <7,11> 3468

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 827Scale 827: Mixolocrian, Ian Ring Music TheoryMixolocrian
Scale 829Scale 829: Lygian, Ian Ring Music TheoryLygian
Scale 817Scale 817: Zothitonic, Ian Ring Music TheoryZothitonic
Scale 821Scale 821: Aeranimic, Ian Ring Music TheoryAeranimic
Scale 809Scale 809: Dogitonic, Ian Ring Music TheoryDogitonic
Scale 793Scale 793: Mocritonic, Ian Ring Music TheoryMocritonic
Scale 857Scale 857: Aeolydimic, Ian Ring Music TheoryAeolydimic
Scale 889Scale 889: Borian, Ian Ring Music TheoryBorian
Scale 953Scale 953: Mela Yagapriya, Ian Ring Music TheoryMela Yagapriya
Scale 569Scale 569: Mothitonic, Ian Ring Music TheoryMothitonic
Scale 697Scale 697: Lagimic, Ian Ring Music TheoryLagimic
Scale 313Scale 313: Goritonic, Ian Ring Music TheoryGoritonic
Scale 1337Scale 1337: Epogimic, Ian Ring Music TheoryEpogimic
Scale 1849Scale 1849: Chromatic Hypodorian Inverse, Ian Ring Music TheoryChromatic Hypodorian Inverse
Scale 2873Scale 2873: Ionian Augmented Sharp 2, Ian Ring Music TheoryIonian Augmented Sharp 2

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.