The Exciting Universe Of Music Theory

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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 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).

Cardinality | 7 (heptatonic) |
---|---|

Pitch Class Set | {0,1,3,4,7,8,9} |

Forte Number | 7-22 |

Rotational Symmetry | none |

Reflection Axes | 2 |

Palindromic | no |

Chirality | no |

Hemitonia | 4 (multihemitonic) |

Cohemitonia | 1 (uncohemitonic) |

Imperfections | 3 |

Modes | 6 |

Prime? | no prime: 871 |

Deep Scale | no |

Interval Vector | 424542 |

Interval Spectrum | p^{4}m^{5}n^{4}s^{2}d^{4}t^{2} |

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 Variation | 1.714 |

Maximally Even | no |

Maximal Area Set | no |

Interior Area | 2.433 |

Myhill Property | no |

Balanced | yes |

Ridge Tones | [4] |

Propriety | Improper |

Heliotonic | yes |

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 | C | {0,4,7} | 3 | 3 | 1.67 |

G♯ | {8,0,3} | 3 | 3 | 1.67 | |

A | {9,1,4} | 2 | 4 | 2 | |

Minor Triads | cm | {0,3,7} | 2 | 4 | 2 |

c♯m | {1,4,8} | 3 | 3 | 1.67 | |

am | {9,0,4} | 3 | 3 | 1.67 | |

Augmented Triads | C+ | {0,4,8} | 4 | 2 | 1.33 |

Diminished Triads | c♯° | {1,4,7} | 2 | 4 | 2 |

a° | {9,0,3} | 2 | 4 | 2 |

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 | 4 |
---|---|

Radius | 2 |

Self-Centered | no |

Central Vertices | C+ |

Peripheral Vertices | cm, c♯°, a°, A |

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 | Double Harmonic Minor | ||||

3rd mode: Scale 1651 | Asian | ||||

4th mode: Scale 2873 | Ionian Augmented Sharp 2 | ||||

5th mode: Scale 871 | Locrian Double-flat 3 Double-flat 7 | This is the prime mode | |||

6th mode: Scale 2483 | Double Harmonic | ||||

7th mode: Scale 3289 | Lydian Sharp 2 Sharp 6 |

The prime form of this scale is Scale 871

Scale 871 | Locrian Double-flat 3 Double-flat 7 |

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)

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

Scale 2873 | Ionian Augmented Sharp 2 |

T_{0} | 923 | T_{0}I | 2873 | |||||

T_{1} | 1846 | T_{1}I | 1651 | |||||

T_{2} | 3692 | T_{2}I | 3302 | |||||

T_{3} | 3289 | T_{3}I | 2509 | |||||

T_{4} | 2483 | T_{4}I | 923 | |||||

T_{5} | 871 | T_{5}I | 1846 | |||||

T_{6} | 1742 | T_{6}I | 3692 | |||||

T_{7} | 3484 | T_{7}I | 3289 | |||||

T_{8} | 2873 | T_{8}I | 2483 | |||||

T_{9} | 1651 | T_{9}I | 871 | |||||

T_{10} | 3302 | T_{10}I | 1742 | |||||

T_{11} | 2509 | T_{11}I | 3484 |

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 921 | Bogimic | |||

Scale 925 | Chromatic Hypodorian | |||

Scale 927 | Gaptyllic | |||

Scale 915 | Raga Kalagada | |||

Scale 919 | Chromatic Phrygian Inverse | |||

Scale 907 | Tholimic | |||

Scale 939 | Mela Senavati | |||

Scale 955 | Ionogyllic | |||

Scale 987 | Aeraptyllic | |||

Scale 795 | Aeologimic | |||

Scale 859 | Ultralocrian | |||

Scale 667 | Rodimic | |||

Scale 411 | Lygimic | |||

Scale 1435 | Makam Huzzam | |||

Scale 1947 | Byptyllic | |||

Scale 2971 | Aeolynyllic |

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.