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Scale 919: "Chromatic Phrygian Inverse"

Scale 919: Chromatic Phrygian Inverse, 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

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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 Chromatic
Chromatic Phrygian Inverse
Zeitler
Gathain

Analysis

Cardinality7 (heptatonic)
Pitch Class Set{0,1,2,4,7,8,9}
Forte Number7-20
Rotational Symmetrynone
Reflection Axesnone
Palindromicno
Chiralityyes
enantiomorph: 3385
Hemitonia4 (multihemitonic)
Cohemitonia2 (dicohemitonic)
Imperfections2
Modes6
Prime?no
prime: 743
Deep Scaleno
Interval Vector433452
Interval Spectrump5m4n3s3d4t2
Distribution Spectra<1> = {1,2,3}
<2> = {2,3,4,5}
<3> = {4,5,6}
<4> = {6,7,8}
<5> = {7,8,9,10}
<6> = {9,10,11}
Spectra Variation2
Maximally Evenno
Maximal Area Setno
Interior Area2.433
Myhill Propertyno
Balancedno
Ridge Tonesnone
ProprietyImproper
Heliotonicyes

Harmonic Chords

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 TriadsC{0,4,7}231.5
A{9,1,4}231.5
Minor Triadsc♯m{1,4,8}321.17
am{9,0,4}231.5
Augmented TriadsC+{0,4,8}321.17
Diminished Triadsc♯°{1,4,7}231.5
Parsimonious Voice Leading Between Common Triads of Scale 919. Created by Ian Ring ©2019 C C C+ C+ C->C+ c#° c#° C->c#° c#m c#m C+->c#m am am C+->am c#°->c#m A A c#m->A am->A

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+, c♯m
Peripheral VerticesC, c♯°, am, A

Modes

Modes are the rotational transformation of this scale. Scale 919 can be rotated to make 6 other scales. The 1st mode is itself.

2nd mode:
Scale 2507
Scale 2507: Todi That, Ian Ring Music TheoryTodi That
3rd mode:
Scale 3301
Scale 3301: Chromatic Mixolydian Inverse, Ian Ring Music TheoryChromatic Mixolydian Inverse
4th mode:
Scale 1849
Scale 1849: Chromatic Hypodorian Inverse, Ian Ring Music TheoryChromatic Hypodorian Inverse
5th mode:
Scale 743
Scale 743: Chromatic Hypophrygian Inverse, Ian Ring Music TheoryChromatic Hypophrygian InverseThis is the prime mode
6th mode:
Scale 2419
Scale 2419: Raga Lalita, Ian Ring Music TheoryRaga Lalita
7th mode:
Scale 3257
Scale 3257: Mela Calanata, Ian Ring Music TheoryMela Calanata

Prime

The prime form of this scale is Scale 743

Scale 743Scale 743: Chromatic Hypophrygian Inverse, Ian Ring Music TheoryChromatic Hypophrygian Inverse

Complement

The heptatonic modal family [919, 2507, 3301, 1849, 743, 2419, 3257] (Forte: 7-20) is the complement of the pentatonic modal family [355, 395, 1585, 2225, 2245] (Forte: 5-20)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 919 is 3385

Scale 3385Scale 3385: Chromatic Phrygian, Ian Ring Music TheoryChromatic Phrygian

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 919 is chiral, and its enantiomorph is scale 3385

Scale 3385Scale 3385: Chromatic Phrygian, Ian Ring Music TheoryChromatic Phrygian

Transformations:

T0 919  T0I 3385
T1 1838  T1I 2675
T2 3676  T2I 1255
T3 3257  T3I 2510
T4 2419  T4I 925
T5 743  T5I 1850
T6 1486  T6I 3700
T7 2972  T7I 3305
T8 1849  T8I 2515
T9 3698  T9I 935
T10 3301  T10I 1870
T11 2507  T11I 3740

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 917Scale 917: Dygimic, Ian Ring Music TheoryDygimic
Scale 915Scale 915: Raga Kalagada, Ian Ring Music TheoryRaga Kalagada
Scale 923Scale 923: Ultraphrygian, Ian Ring Music TheoryUltraphrygian
Scale 927Scale 927: Gaptyllic, Ian Ring Music TheoryGaptyllic
Scale 903Scale 903, Ian Ring Music Theory
Scale 911Scale 911: Radian, Ian Ring Music TheoryRadian
Scale 935Scale 935: Chromatic Dorian, Ian Ring Music TheoryChromatic Dorian
Scale 951Scale 951: Thogyllic, Ian Ring Music TheoryThogyllic
Scale 983Scale 983: Thocryllic, Ian Ring Music TheoryThocryllic
Scale 791Scale 791: Aeoloptimic, Ian Ring Music TheoryAeoloptimic
Scale 855Scale 855: Porian, Ian Ring Music TheoryPorian
Scale 663Scale 663: Phrynimic, Ian Ring Music TheoryPhrynimic
Scale 407Scale 407: Zylimic, Ian Ring Music TheoryZylimic
Scale 1431Scale 1431: Phragian, Ian Ring Music TheoryPhragian
Scale 1943Scale 1943, Ian Ring Music Theory
Scale 2967Scale 2967: Madyllic, Ian Ring Music TheoryMadyllic

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.