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Scale 923: "Ultraphrygian"

Scale 923: Ultraphrygian, 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

41161837294116105072918310504116183
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
Ultraphrygian
Zeitler
Ionodian

Analysis

Cardinality7 (heptatonic)
Pitch Class Set{0,1,3,4,7,8,9}
Forte Number7-22
Rotational Symmetrynone
Reflection Axes2
Palindromicno
Chiralityno
Hemitonia4 (multihemitonic)
Cohemitonia1 (uncohemitonic)
Imperfections3
Modes6
Prime?no
prime: 871
Deep Scaleno
Interval Vector424542
Interval Spectrump4m5n4s2d4t2
Distribution Spectra<1> = {1,2,3}
<2> = {2,3,4}
<3> = {4,5,6}
<4> = {6,7,8}
<5> = {8,9,10}
<6> = {9,10,11}
Spectra Variation1.714
Maximally Evenno
Maximal Area Setno
Interior Area2.433
Myhill Propertyno
Balancedyes
Ridge Tones[4]
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}331.67
G♯{8,0,3}331.67
A{9,1,4}242
Minor Triadscm{0,3,7}242
c♯m{1,4,8}331.67
am{9,0,4}331.67
Augmented TriadsC+{0,4,8}421.33
Diminished Triadsc♯°{1,4,7}242
{9,0,3}242
Parsimonious Voice Leading Between Common Triads of Scale 923. Created by Ian Ring ©2019 cm cm C C cm->C G# G# cm->G# C+ C+ C->C+ c#° c#° C->c#° c#m c#m C+->c#m C+->G# am am C+->am c#°->c#m A A c#m->A G#->a° a°->am 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.

Diameter4
Radius2
Self-Centeredno
Central VerticesC+
Peripheral Verticescm, c♯°, a°, A

Modes

Modes are the rotational transformation of this scale. Scale 923 can be rotated to make 6 other scales. The 1st mode is itself.

2nd mode:
Scale 2509
Scale 2509: Double Harmonic Minor, Ian Ring Music TheoryDouble Harmonic Minor
3rd mode:
Scale 1651
Scale 1651: Asian, Ian Ring Music TheoryAsian
4th mode:
Scale 2873
Scale 2873: Ionian Augmented Sharp 2, Ian Ring Music TheoryIonian Augmented Sharp 2
5th mode:
Scale 871
Scale 871: Locrian Double-flat 3 Double-flat 7, Ian Ring Music TheoryLocrian Double-flat 3 Double-flat 7This is the prime mode
6th mode:
Scale 2483
Scale 2483: Double Harmonic, Ian Ring Music TheoryDouble Harmonic
7th mode:
Scale 3289
Scale 3289: Lydian Sharp 2 Sharp 6, Ian Ring Music TheoryLydian Sharp 2 Sharp 6

Prime

The prime form of this scale is Scale 871

Scale 871Scale 871: Locrian Double-flat 3 Double-flat 7, Ian Ring Music TheoryLocrian Double-flat 3 Double-flat 7

Complement

The heptatonic modal family [923, 2509, 1651, 2873, 871, 2483, 3289] (Forte: 7-22) is the complement of the pentatonic modal family [403, 611, 793, 2249, 2353] (Forte: 5-22)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 923 is 2873

Scale 2873Scale 2873: Ionian Augmented Sharp 2, Ian Ring Music TheoryIonian Augmented Sharp 2

Transformations:

T0 923  T0I 2873
T1 1846  T1I 1651
T2 3692  T2I 3302
T3 3289  T3I 2509
T4 2483  T4I 923
T5 871  T5I 1846
T6 1742  T6I 3692
T7 3484  T7I 3289
T8 2873  T8I 2483
T9 1651  T9I 871
T10 3302  T10I 1742
T11 2509  T11I 3484

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 921Scale 921: Bogimic, Ian Ring Music TheoryBogimic
Scale 925Scale 925: Chromatic Hypodorian, Ian Ring Music TheoryChromatic Hypodorian
Scale 927Scale 927: Gaptyllic, Ian Ring Music TheoryGaptyllic
Scale 915Scale 915: Raga Kalagada, Ian Ring Music TheoryRaga Kalagada
Scale 919Scale 919: Chromatic Phrygian Inverse, Ian Ring Music TheoryChromatic Phrygian Inverse
Scale 907Scale 907: Tholimic, Ian Ring Music TheoryTholimic
Scale 939Scale 939: Mela Senavati, Ian Ring Music TheoryMela Senavati
Scale 955Scale 955: Ionogyllic, Ian Ring Music TheoryIonogyllic
Scale 987Scale 987: Aeraptyllic, Ian Ring Music TheoryAeraptyllic
Scale 795Scale 795: Aeologimic, Ian Ring Music TheoryAeologimic
Scale 859Scale 859: Ultralocrian, Ian Ring Music TheoryUltralocrian
Scale 667Scale 667: Rodimic, Ian Ring Music TheoryRodimic
Scale 411Scale 411: Lygimic, Ian Ring Music TheoryLygimic
Scale 1435Scale 1435: Makam Huzzam, Ian Ring Music TheoryMakam Huzzam
Scale 1947Scale 1947: Byptyllic, Ian Ring Music TheoryByptyllic
Scale 2971Scale 2971: Aeolynyllic, Ian Ring Music TheoryAeolynyllic

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.