The Exciting Universe Of Music Theory
presents

more than you ever wanted to know about...

Scale 93

Scale 93, 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).

Analysis

Cardinality

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

5 (pentatonic)

Pitch Class Set

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

{0,2,3,4,6}

Forte Number

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

5-8

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.

[3]

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.

no

Hemitonia

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

2 (dihemitonic)

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.

5

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.

4

Prime Form

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

yes

Deep Scale

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

no

Interval Formula

Defines the scale as the sequence of intervals between one tone and the next.

[2, 1, 1, 2, 6]

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.

<2, 3, 2, 2, 0, 1>

Interval Spectrum

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

m2n2s3d2t

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

Spectra Variation

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

4.4

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.

1.366

Polygon Perimeter

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

5.035

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.

[6]

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

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
Diminished Triads{0,3,6}000

The following pitch classes are not present in any of the common triads: {2,4}

Since there is only one common triad in this scale, there are no opportunities for parsimonious voice leading between triads.

Modes

Modes are the rotational transformation of this scale. Scale 93 can be rotated to make 4 other scales. The 1st mode is itself.

2nd mode:
Scale 1047
Scale 1047, Ian Ring Music Theory
3rd mode:
Scale 2571
Scale 2571, Ian Ring Music Theory
4th mode:
Scale 3333
Scale 3333, Ian Ring Music Theory
5th mode:
Scale 1857
Scale 1857, Ian Ring Music Theory

Prime

This is the prime form of this scale.

Complement

The pentatonic modal family [93, 1047, 2571, 3333, 1857] (Forte: 5-8) is the complement of the heptatonic modal family [381, 1119, 2001, 2607, 3351, 3723, 3909] (Forte: 7-8)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 93 is 1857

Scale 1857Scale 1857, Ian Ring Music Theory

Transformations:

T0 93  T0I 1857
T1 186  T1I 3714
T2 372  T2I 3333
T3 744  T3I 2571
T4 1488  T4I 1047
T5 2976  T5I 2094
T6 1857  T6I 93
T7 3714  T7I 186
T8 3333  T8I 372
T9 2571  T9I 744
T10 1047  T10I 1488
T11 2094  T11I 2976

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 95Scale 95, Ian Ring Music Theory
Scale 89Scale 89, Ian Ring Music Theory
Scale 91Scale 91, Ian Ring Music Theory
Scale 85Scale 85, Ian Ring Music Theory
Scale 77Scale 77, Ian Ring Music Theory
Scale 109Scale 109, Ian Ring Music Theory
Scale 125Scale 125, Ian Ring Music Theory
Scale 29Scale 29, Ian Ring Music Theory
Scale 61Scale 61, Ian Ring Music Theory
Scale 157Scale 157, Ian Ring Music Theory
Scale 221Scale 221, Ian Ring Music Theory
Scale 349Scale 349: Borimic, Ian Ring Music TheoryBorimic
Scale 605Scale 605: Dycrimic, Ian Ring Music TheoryDycrimic
Scale 1117Scale 1117: Raptimic, Ian Ring Music TheoryRaptimic
Scale 2141Scale 2141, Ian Ring Music Theory

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. 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.