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Scale 839: "Ionathimic"

Scale 839: Ionathimic, 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
Ionathimic
Dozenal
Fefian

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

{0,1,2,6,8,9}

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-Z43

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: 3161

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: 359

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, 1, 4, 2, 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, 2, 2, 3, 3, 2>

Interval Spectrum

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

p3m3n2s2d3t2

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

Spectra Variation

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

2.667

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.

2.116

Polygon Perimeter

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

5.699

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.

(10, 17, 64)

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}121
Minor Triadsf♯m{6,9,1}210.67
Diminished Triadsf♯°{6,9,0}121

The following pitch classes are not present in any of the common triads: {8}

Parsimonious Voice Leading Between Common Triads of Scale 839. Created by Ian Ring ©2019 D D f#m f#m D->f#m f#° f#° f#°->f#m

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
Radius1
Self-Centeredno
Central Verticesf♯m
Peripheral VerticesD, f♯°

Modes

Modes are the rotational transformation of this scale. Scale 839 can be rotated to make 5 other scales. The 1st mode is itself.

2nd mode:
Scale 2467
Scale 2467: Raga Padi, Ian Ring Music TheoryRaga Padi
3rd mode:
Scale 3281
Scale 3281: Raga Vijayavasanta, Ian Ring Music TheoryRaga Vijayavasanta
4th mode:
Scale 461
Scale 461: Raga Syamalam, Ian Ring Music TheoryRaga Syamalam
5th mode:
Scale 1139
Scale 1139: Aerygimic, Ian Ring Music TheoryAerygimic
6th mode:
Scale 2617
Scale 2617: Pylimic, Ian Ring Music TheoryPylimic

Prime

The prime form of this scale is Scale 359

Scale 359Scale 359: Bothimic, Ian Ring Music TheoryBothimic

Complement

The hexatonic modal family [839, 2467, 3281, 461, 1139, 2617] (Forte: 6-Z43) is the complement of the hexatonic modal family [407, 739, 1817, 2251, 2417, 3173] (Forte: 6-Z17)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 839 is 3161

Scale 3161Scale 3161: Kodimic, Ian Ring Music TheoryKodimic

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 839 is chiral, and its enantiomorph is scale 3161

Scale 3161Scale 3161: Kodimic, Ian Ring Music TheoryKodimic

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> 839       T0I <11,0> 3161
T1 <1,1> 1678      T1I <11,1> 2227
T2 <1,2> 3356      T2I <11,2> 359
T3 <1,3> 2617      T3I <11,3> 718
T4 <1,4> 1139      T4I <11,4> 1436
T5 <1,5> 2278      T5I <11,5> 2872
T6 <1,6> 461      T6I <11,6> 1649
T7 <1,7> 922      T7I <11,7> 3298
T8 <1,8> 1844      T8I <11,8> 2501
T9 <1,9> 3688      T9I <11,9> 907
T10 <1,10> 3281      T10I <11,10> 1814
T11 <1,11> 2467      T11I <11,11> 3628
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 1649      T0MI <7,0> 461
T1M <5,1> 3298      T1MI <7,1> 922
T2M <5,2> 2501      T2MI <7,2> 1844
T3M <5,3> 907      T3MI <7,3> 3688
T4M <5,4> 1814      T4MI <7,4> 3281
T5M <5,5> 3628      T5MI <7,5> 2467
T6M <5,6> 3161      T6MI <7,6> 839
T7M <5,7> 2227      T7MI <7,7> 1678
T8M <5,8> 359      T8MI <7,8> 3356
T9M <5,9> 718      T9MI <7,9> 2617
T10M <5,10> 1436      T10MI <7,10> 1139
T11M <5,11> 2872      T11MI <7,11> 2278

The transformations that map this set to itself are: T0, 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 837Scale 837: Epaditonic, Ian Ring Music TheoryEpaditonic
Scale 835Scale 835: Fecian, Ian Ring Music TheoryFecian
Scale 843Scale 843: Molimic, Ian Ring Music TheoryMolimic
Scale 847Scale 847: Ganian, Ian Ring Music TheoryGanian
Scale 855Scale 855: Porian, Ian Ring Music TheoryPorian
Scale 871Scale 871: Locrian Double-flat 3 Double-flat 7, Ian Ring Music TheoryLocrian Double-flat 3 Double-flat 7
Scale 775Scale 775: Raga Putrika, Ian Ring Music TheoryRaga Putrika
Scale 807Scale 807: Raga Suddha Mukhari, Ian Ring Music TheoryRaga Suddha Mukhari
Scale 903Scale 903: Fosian, Ian Ring Music TheoryFosian
Scale 967Scale 967: Mela Salaga, Ian Ring Music TheoryMela Salaga
Scale 583Scale 583: Aeritonic, Ian Ring Music TheoryAeritonic
Scale 711Scale 711: Raga Chandrajyoti, Ian Ring Music TheoryRaga Chandrajyoti
Scale 327Scale 327: Syptitonic, Ian Ring Music TheorySyptitonic
Scale 1351Scale 1351: Aeraptimic, Ian Ring Music TheoryAeraptimic
Scale 1863Scale 1863: Pycrian, Ian Ring Music TheoryPycrian
Scale 2887Scale 2887: Gaptian, Ian Ring Music TheoryGaptian

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.