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Scale 925: "Chromatic Hypodorian"

Scale 925: Chromatic Hypodorian, 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 Chromatic
Chromatic Hypodorian
Jazz and Blues
Relative Blues Scale
Carnatic Raga
Raga Dvigandharabushini
Zeitler
Mythian

Analysis

Cardinality

Cardinality is the count of how many pitches are in the scale.

7 (heptatonic)

Pitch Class Set

The tones in this scale, expressed as numbers from 0 to 11

{0,2,3,4,7,8,9}

Forte Number

A code assigned by theorist Alan Forte, for this pitch class set and all of its transpositional (rotation) and inversional (reflection) transformations.

7-20

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: 1849

Hemitonia

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

4 (multihemitonic)

Cohemitonia

A cohemitone is an instance of two adjacent hemitones. Cohemitonia describes how many such cohemitones exist.

2 (dicohemitonic)

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.

2

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.

6

Prime Form

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

no
prime: 743

Deep Scale

A deep scale is one where the interval vector has 6 different digits.

no

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.

[4, 3, 3, 4, 5, 2]

Interval Spectrum

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

p5m4n3s3d4t2

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

Spectra Variation

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

2

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.

2.433

Polygon Perimeter

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

5.899

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

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
G♯{8,0,3}321.17
Minor Triadscm{0,3,7}231.5
am{9,0,4}231.5
Augmented TriadsC+{0,4,8}321.17
Diminished Triads{9,0,3}231.5

The following pitch classes are not present in any of the common triads: {2}

Parsimonious Voice Leading Between Common Triads of Scale 925. Created by Ian Ring ©2019 cm cm C C cm->C G# G# cm->G# C+ C+ C->C+ C+->G# am am C+->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+, G♯
Peripheral Verticescm, C, a°, am

Modes

Modes are the rotational transformation of this scale. Scale 925 can be rotated to make 6 other scales. The 1st mode is itself.

2nd mode:
Scale 1255
Scale 1255: Chromatic Mixolydian, Ian Ring Music TheoryChromatic Mixolydian
3rd mode:
Scale 2675
Scale 2675: Chromatic Lydian, Ian Ring Music TheoryChromatic Lydian
4th mode:
Scale 3385
Scale 3385: Chromatic Phrygian, Ian Ring Music TheoryChromatic Phrygian
5th mode:
Scale 935
Scale 935: Chromatic Dorian, Ian Ring Music TheoryChromatic Dorian
6th mode:
Scale 2515
Scale 2515: Chromatic Hypolydian, Ian Ring Music TheoryChromatic Hypolydian
7th mode:
Scale 3305
Scale 3305: Chromatic Hypophrygian, Ian Ring Music TheoryChromatic Hypophrygian

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 [925, 1255, 2675, 3385, 935, 2515, 3305] (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 925 is 1849

Scale 1849Scale 1849: Chromatic Hypodorian Inverse, Ian Ring Music TheoryChromatic Hypodorian Inverse

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 925 is chiral, and its enantiomorph is scale 1849

Scale 1849Scale 1849: Chromatic Hypodorian Inverse, Ian Ring Music TheoryChromatic Hypodorian Inverse

Transformations:

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

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 927Scale 927: Gaptyllic, Ian Ring Music TheoryGaptyllic
Scale 921Scale 921: Bogimic, Ian Ring Music TheoryBogimic
Scale 923Scale 923: Ultraphrygian, Ian Ring Music TheoryUltraphrygian
Scale 917Scale 917: Dygimic, Ian Ring Music TheoryDygimic
Scale 909Scale 909: Katarimic, Ian Ring Music TheoryKatarimic
Scale 941Scale 941: Mela Jhankaradhvani, Ian Ring Music TheoryMela Jhankaradhvani
Scale 957Scale 957: Phronyllic, Ian Ring Music TheoryPhronyllic
Scale 989Scale 989: Phrolyllic, Ian Ring Music TheoryPhrolyllic
Scale 797Scale 797: Katocrimic, Ian Ring Music TheoryKatocrimic
Scale 861Scale 861: Rylian, Ian Ring Music TheoryRylian
Scale 669Scale 669: Gycrimic, Ian Ring Music TheoryGycrimic
Scale 413Scale 413: Ganimic, Ian Ring Music TheoryGanimic
Scale 1437Scale 1437: Sabach ascending, Ian Ring Music TheorySabach ascending
Scale 1949Scale 1949: Mathyllic, Ian Ring Music TheoryMathyllic
Scale 2973Scale 2973: Panyllic, Ian Ring Music TheoryPanyllic

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.