Scales
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v2bpttnvyh29/03/2025, 10:33 Um estudo de escalas musicais por Ian Ring
The Exciting Universe Of Music Theory
presents
A Study of Scales
Where we discuss every possible combination of notes
PREFACE. This essay was written in 2009. Since then, a few errata have been corrected and I embedded the youtube videos, but there have been no
substantial additions. I think it still holds up fairly well, but if I were to rewrite it today, I would change some things. My main regret is using the
criteria of maximum interval size throughout, since it skews some of the scale metrics and obscures symmetries and patterns we can find in the whole
set of pitch class sets.
This essay barely scratches the surface of the rich theoretical work around scale properties. If you are itching for a more comprehensive tome, you're
in luck: I'm writing a BOOK.
Assumptions
This exploration of scales is based in a musical universe founded on two assumptions:
Octave Equivalence
We assume that for the purpose of defining a scale, a pitch is functionally equivalent to another pitch separated by an octave. So it
follows that if you're playing a scale in one octave, if you continue the pattern into the next octave you will play pitches with the
same name.
12 tone equal temperament
We're using the 12 tones of an equally-tempered tuning system, as you'd find on a piano. Equal temperament asserts that the
perceptual (or functional) relationship between two pitches is the same as the relationship between two other pitches with the same
chromatic interval distance. Other tuning systems have the notion of scales, but they're not being considered in this study.
Representing a scale
When I began piano lessons as a child, I learned that a scale was made up of whole- and half-steps. The scale was essentially a stack of
intervals piled up, that happened to add up to an octave. While this view of the scale is useful for understanding diatonic melodies, it's
not a convenient paradigm for analysis. Instead, we should regard a scale as being a set of 12 possibilities, and each one is either on or
off.
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29/03/2025, 10:33 Um estudo de escalas musicais por Ian Ring
All About Scale Numbers
Here is the major scale, in lights.
What we have in the 12-tone system is a binary "word" made of 12 bits. We can assign one bit to each degree of the chromatic scale,
and use the power of binary arithmetic and logic to do some pretty awesome analysis with them. When represented as bits it reads from
right to left - the lowest bit is the root, and each bit going from right to left ascends by one semitone.
The total number of possible combinations of on and off bits is called the "power set". The number of sets in a power set of size n is
(2^n). Using a word of 12 bits, the power set (2^12) is equal to 4096. The fun thing about binary power sets is that we can produce
every possible combination, by merely invoking the integers from 0 (no tones) to 4095 (all 12 tones).
This means that every possible combination of tones in the 12-tone set can be represented by a number between 0 and 4095. We don't
need to remember the fancy names like "phrygian", we can just call it scale number 1451. Convenient!
decimal binary
0 000000000000 no notes in the scale
1 000000000001 just the root tone
1365 010101010101 whole tone scale
2741 101010110101 major scale
4095 111111111111 chromatic scale
An important concept here is that any set of tones can be represented by a number. This number is not "ordinal" -
it's not merely describing the position of the set in an indexed scheme; it's also not "cardinal" because it's not
describing an amount of something. This is a nominal number because the number *is* the scale. You can do
binary arithmetic with it, and you are adding and subtracting scales with no need to convert the scale into some
other representation.
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Because scales are cyclical - they repeat and continue beyond a single octave - it is intuitive to represent them in "bracelet" notation.
This visual representation is useful because it helps conceptualize modes and rotation (which we'll get into further below).
Here is the major scale, represented as a bracelet. Black beads are on bits, white beads are off bits.
2741
If you imagine the bracelet with clock numbers, the topmost bead - at 12 o'clock - is the root, or 1st degree of the scale. Beware that in
some of the math, this is the "0" position, as if we're counting semitones above the root. To play a scale ascending, start from the top and
move around it clockwise. To play the scale descending, start at 12 o'clock and go around counterclockwise.
Interval Pattern
Another popular way of representing a scale is by its interval pattern. When I was learning the major scale, I was taught to say aloud:
"tone, tone, semitone, tone, tone, tone, semitone". Many music theorists like to represent a scale this way because it's accurate and easy
to understand: "TTSTTTS". Having a scale's interval pattern has merit as an intermediary step can make some kinds of analysis simpler.
Expressed numerically - which is more convenient for computation - the major scale is [2,2,1,2,2,2,1] .
Pitch Class Sets
Yet another way to represent a scale is as a "pitch class set", where the tones are assigned numbers 0 to 11 (sometimes using "T" and "E"
for 10 and 11), and the set enumerates the ones present in the scale. A pitch class set for the major scale is notated like this:
{0,2,4,5,7,9,11} . The "scales" we'll study here are a subset of Pitch Classes (ie those that have a root, and obey Zeitler's
Rules1) and we can use many of the same mathematical tricks to manipulate them.
What is a scale?
Or more importantly, what is *not* a scale?
Now that we have the superset of all possible sets of tones, we can whittle it down to exclude ones that we don't consider to be a
legitimate "scale". We can do this with just two rules.
A scale starts on the root tone.
This means any set of notes that doesn't have that first bit turned on is not eligible to be called a scale. This cuts our power set in
exactly half, leaving 2048 sets.
In binary, it's easy to see that the first bit is on or off. In decimal, you can easily tell this by whether the number is odd or even. All
even numbers have the first bit off; therefore all scales are represented by an odd number.
We could have cut some corners in our discussion of scales by omitting the root tone (always assumed to be on) to work with 11
bits instead of 12, but there are compelling reasons for keeping the 12-bit number for our scales, such as simplifying the analysis
of symmetry, simplifying the calculation of modes, and performing analysis of sonorities that do not include the root, where an
even number is appropriate.
scales remaining: 2048
A scale does not have any leaps greater than n semitones.
For the purposes of this exercise we are saying n = 4, a.k.a. a major third. Any collection of tones that has an interval greater than
a major third is not considered a "scale". This configuration is consistent with Zeitler's constant used to generate his
comprehensive list of scales.
scales remaining: 1490
Now that we've whittled our set of tones to only the ones we'd call a "scale", let's count how many there are with each number of tones.
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29/03/2025, 10:33 Um estudo de escalas musicais por Ian Ring
number of tones how many scales
1 0
2 0
3 1
4 31
5 155
6 336
7 413
8 322
9 165
10 55
11 11
12 1
Scales
600 Scales
Number of scales
400
200
0
1 2 3 4 5 6 7 8 9 10 11 12
Number of tones
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29/03/2025, 10:33 Um estudo de escalas musicais por Ian Ring
Modes
What is a mode?
There is a lot of confusion about what is a "mode", chiefly because the word is used slightly differently in various contexts.
When we say "C major", the word "major" refers to a specific pattern of whole- and half-steps. The "C" tells us to begin that pattern on
the root tone of "C".
Modes are created when you use the same patterns of whole- and half-steps, but you begin on a different step. For instance, the "D
Dorian" mode uses all the same notes as C major (the white keys on a piano), but it begins with D. Compared with the Major (also
known as "Ionian" mode), the Dorian sounds different, because relative to the root note D, it has a minor third and a minor seventh.
The best way to understand modes is to think of a toy piano where the black keys are just painted on - all you have are the white keys: C
D E F G A B. Can you play a song that sounds like it's in a minor key? You can't play a song in C minor, because that would require
three flats. So instead you play the song with A as the root (A B C D E F G). That scale is a mode of the major scale, called the Aeolian
Mode.
When you play that minor scale, you're not playing "C minor", you're playing the relative minor of C, which is "A minor". Modes are
relatives of each other if they have the same pattern of steps, starting on different steps.
To compute a mode of the current scale, we "rotate" all the notes down one semitone. Then if the rotated notes have an on bit in the root,
then it is a mode of the original scale. It's as if you take the bracelet diagram that we've been using throughout this study, and twist it
like a dial so that a different note is at the top, in the root position.
101010110101 = 2741 - major scale, "ionian" mode
110101011010 = 3418 - rotated down 1 semitone - not a scale
011010101101 = 1709 - rotated down 2 semitones - "dorian"
101101010110 = 2902 - rotated down 3 semitones - not a scale
010110101011 = 1451 - rotated down 4 semitones - "phrygian"
101011010101 = 2773 - rotated down 5 semitones - "lydian"
110101101010 = 3434 - rotated down 6 semitones - not a scale
011010110101 = 1717 - rotated down 7 semitones - "mixolydian"
101101011010 = 2906 - rotated down 8 semitones - not a scale
010110101101 = 1453 - rotated down 9 semitones - "aeolian"
101011010110 = 2774 - rotated down 10 semitones - not a scale
010101101011 = 1387 - rotated down 11 semitones - "locrian"
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When we do this to every scale, we see modal relationships between scales, and we also discover symmetries when a scale is a mode of
itself on another degree.
Prime Form
Explaining Prime Form
Often when discussing the properties of a scale, those properties (like interval distribution or evenness) are the same for all related
scales, ie a scale, all its the modes, its inverse, and the modes of its inverse. In order to simplify things, it is useful to declare that one of
those is the "prime form", so when doing analysis we discard all of them except one.
It's important to emphasize - because this point is sometimes missed - that the interval distribution in a scale is the same for all the
scale's modes produced by rotation, but also for the scale's inverse produced by reflection. The prime form of a scale is chosen to
represent the entire group of scales with equivalent interval patterns. In this study, prime scales are marked with a star .
In discussing Prime Form of a scale, we are undeniably treading into the topic of Pitch Class Sets, a more generalized study involving
every possible combination of tones, regardless of the rules that make it a scale.
Forte vs Rahn
There are two dominant strategies for declaring the Prime Form of a set of tones; one was defined by Allen Forte2, and another similar
one (with only subtle differences) described later by John Rahn3. While I have deep admiration for Forte's theoretical work, I prefer the
Rahn prime formula, for the simple reason that the Rahn primes are the easier to calculate.
The calculation of the Prime Form according to Forte requires some inelegant cyclomatic complexity. Rahn's algorithm is slightly easier
to do manually, and is simply the one with the lowest value when expressed in bits, as we have done in this study. This connection
between Rahn's prime forms and the bit representation of a scale was proven in 2017 by brute force calculation of every possible scale
and prime form according to all three algorithms.
In a necessarily succinct overview of this topic, I'll demonstrate the differences between Forte's algorithm and Rahn's. The prime form
for pitch class sets is identical except for 6 sets. Both algorithms look at the distance between the first and last tones of the set,
preferring the one with the smaller interval. In the case of a tie, this is where Forte and Rahn differ: Forte begins at the start of the set
working toward the end, whereas Rahn starts at the end working toward the beginning.
Here are the six sets where Forte and Rahn disagree on which one is prime.
Forte Rahn
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29/03/2025, 10:33 Um estudo de escalas musicais por Ian Ring
395 355
{0,1,3,7,8} {0,1,5,6,8}
811 691
{0,1,3,5,8,9} {0,1,4,5,7,9}
843 717
{0,1,3,6,8,9} {0,2,3,6,7,9}
919 743
{0,1,2,4,7,8,9} {0,1,2,5,6,7,9}
815 755
{0,1,2,3,5,8,9} {0,1,4,5,6,7,9}
1719 1467
{0,1,2,4,5,7,9,10} {0,1,3,4,5,7,8,10}
A complete list of all modal families
Scales
60 Scales
Number of modal
40
families
20
0
1 2 3 4 5 6 7 8 9 10 11 12
Number of tones
Modal families with 3 tones
Forte Class Name Prime and its rotations Inverse and its rotations
3-12 273 Augmented Triad
Modal families with 4 tones
Forte Class Name Prime and its rotations Inverse and its rotations
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29/03/2025, 10:33 Um estudo de escalas musicais por Ian Ring
4-19 275 Dalic 281 Lanic
305 Gonic 401 Epogic
785 Aeoloric 547 Pyrric
2185 Dygic 2321 Zyphic
4-20 291 Raga Lavangi
393 Lothic
561 Phratic
2193 Major Seventh
4-24 277 Mixolyric
337 Kmhmu 4 Tone Type 2
1093 Lydic
1297 Aeolic
4-27 293 Raga Haripriya 329 Lonic
593 Saric 553 Phradic
649 Byptic 581 Bolic
1097 Aeraphic 1169 Raga Mahathi
4-26 297 Karen 4 Tone Type 3
549 Lahuzu 4 Tone Type 4
657 Lahuzu 4 Tone Type 3
1161 Bi Yu
4-25 325 Messiaen Truncated Mode 6
1105 Messiaen Truncated Mode 6 Inverse
4-28 585 Diminished Seventh
Modal families with 5 tones
Forte Class Name Prime and its rotations Inverse and its rotations
5-13 279 Poditonic 285 Zaritonic
369 Laditonic 465 Zoditonic
1809 Ranitonic 1095 Phrythitonic
2187 Ionothitonic 2595 Rolitonic
3141 Kanitonic 3345 Zylitonic
5-Z38 295 Gyritonic 457 Staptitonic
625 Ionyptitonic 569 Mothitonic
905 Bylitonic 583 Aeritonic
2195 Zalitonic 2339 Raga Kshanika
3145 Stolitonic 3217 Molitonic
5-Z37 313 Goritonic
551 Aeoloditonic
913 Aeolyritonic
2323 Doptitonic
3209 Aeraphitonic
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29/03/2025, 10:33 Um estudo de escalas musicais por Ian Ring
5-15 327 Syptitonic
453 Raditonic
1137 Stonitonic
2211 Raga Gauri
3153 Zathitonic
5-Z17 283 Aerylitonic
433 Raga Zilaf
1571 Lagitonic
2189 Zagitonic
2833 Dolitonic
5-27 299 Raga Chitthakarshini 425 Raga Kokil Pancham
689 Raga Nagasvaravali 565 Aeolyphritonic
1417 Raga Shailaja 1165 Gycritonic
1573 Raga Guhamanohari 1315 Pyritonic
2197 Raga Hamsadhvani 2705 Raga Mamata
5-26 309 Palitonic 345 Gylitonic
849 Aerynitonic 555 Aeolycritonic
1101 Stothitonic 1425 Ryphitonic
1299 Aerophitonic 1605 Zanitonic
2697 Katagitonic 2325 Pynitonic
5-29 331 Raga Chhaya Todi 421 Han-kumoi
709 Raga Shri Kalyan 653 Dorian Pentatonic
1201 Mixolydian Pentatonic 1129 Raga Jayakauns
1577 Raga Chandrakauns 1187 Kokin-joshi
2213 Raga Desh 2641 Raga Hindol
5-31 587 Pathitonic 589 Ionalitonic
601 Bycritonic 617 Katycritonic
713 Thoptitonic 841 Phrothitonic
1609 Thyritonic 1171 Raga Manaranjani I
2341 Raga Priyadharshini 2633 Bartók Beta Chord
5-25 301 Raga Audav Tukhari 361 Bocritonic
721 Raga Dhavalashri 557 Raga Abhogi
1099 Dyritonic 1163 Raga Rukmangi
1673 Thocritonic 1681 Raga Valaji
2597 Raga Rasranjani 2629 Raga Shubravarni
5-20 355 African Pentatonic 4 397 Aeolian Pentatonic
395 Phrygian Pentatonic 419 Hon-kumoi-joshi
1585 Raga Khamaji Durga 1123 Iwato
2225 Ionian Pentatonic 2257 Lydian Pentatonic
2245 Raga Vaijayanti 2609 Raga Bhinna Shadja
5-28 333 Bogitonic 357 Banitonic
837 Epaditonic 651 Golitonic
1107 Mogitonic 1113 Locrian Pentatonic 2
1233 Ionoditonic 1617 Phronitonic
2601 Marga Hindolam 2373 Dyptitonic
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29/03/2025, 10:33 Um estudo de escalas musicais por Ian Ring
5-21 307 Raga Megharanjani 409 Laritonic
787 Aeolapritonic 563 Thacritonic
817 Zothitonic 803 Loritonic
2201 Ionagitonic 2329 Styditonic
2441 Kyritonic 2449 Zacritonic
5-30 339 Zaptitonic 405 Raga Bhupeshwari
789 Zogitonic 675 Altered Pentatonic
1221 Epyritonic 1125 Ionaritonic
1329 Epygitonic 1305 Dynitonic
2217 Kagitonic 2385 Karen 5tone Type 2
5-32 595 Sogitonic 613 Phralitonic
665 Raga Mohanangi 659 Raga Rasika Ranjani
805 Rothitonic 809 Dogitonic
1225 Raga Samudhra Priya 1177 Garitonic
2345 Gothitonic 2377 Bartók Gamma Chord
5-22 403 Raga Reva
611 Anchihoye
793 Mocritonic
2249 Raga Multani
2353 Raga Girija
5-33 341 Bothitonic
1109 Kataditonic
1301 Koditonic
1349 Tholitonic
1361 Ngapauk auk Pyan
5-34 597 Kung
681 Minor Added Sixth Pentatonic
1173 Dominant Pentatonic
1317 Chaio
1353 Raga Harikauns
5-35 661 Major Pentatonic
677 Scottish Pentatonic
1189 Suspended Pentatonic
1193 Minor Pentatonic
1321 Blues Minor
Modal families with 6 tones
Forte Class Name Prime and its rotations Inverse and its rotations
6-Z37 287 Gynimic
497 Kadimic
2191 Thydimic
3143 Polimic
3619 Thanimic
3857 Ponimic
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29/03/2025, 10:33 Um estudo de escalas musicais por Ian Ring
6-Z40 303 Golimic 489 Phrathimic
753 Kytrimic 573 Saptimic
1929 Aeolycrimic 1167 Aerodimic
2199 Dyptimic 2631 Macrimic
3147 Ryrimic 3363 Rogimic
3621 Gylimic 3729 Starimic
6-Z39 317 Korimic 377 Kathimic
977 Kocrimic 559 Lylimic
1103 Lynimic 1937 Galimic
2599 Malimic 2327 Epalimic
3347 Synimic 3211 Epacrimic
3721 Phragimic 3653 Sathimic
6-Z41 335 Zanimic 485 Stoptimic
965 Ionothimic 655 Kataptimic
1265 Pynimic 1145 Zygimic
2215 Ranimic 2375 Aeolaptimic
3155 Ladimic 3235 Pothimic
3625 Podimic 3665 Stalimic
6-Z42 591 Gaptimic
633 Kydimic
969 Ionogimic
2343 Tharimic
3219 Ionaphimic
3657 Epynimic
6-Z38 399 Zynimic
483 Kygimic
2247 Raga Vijayasri
2289 Mocrimic
3171 Zythimic
3633 Daptimic
6-15 311 Stagimic 473 Aeralimic
881 Aerothimic 571 Kynimic
1811 Kyptimic 1607 Epytimic
2203 Dorimic 2333 Stynimic
2953 Ionylimic 2851 Katoptimic
3149 Phrycrimic 3473 Lathimic
6-14 315 Stodimic 441 Thycrimic
945 Raga Saravati 567 Aeoladimic
1575 Zycrimic 1827 Katygimic
2205 Ionocrimic 2331 Dylimic
2835 Ionygimic 2961 Bygimic
3465 Katathimic 3213 Eponimic
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29/03/2025, 10:33 Um estudo de escalas musicais por Ian Ring
6-22 343 Ionorimic 469 Katyrimic
1393 Mycrimic 1141 Rynimic
1477 Raga Jaganmohanam 1309 Pogimic
1813 Katothimic 1351 Aeraptimic
2219 Phrydimic 2723 Raga Jivantika
3157 Zyptimic 3409 Katanimic
6-Z46 599 Thyrimic 629 Aeronimic
697 Lagimic 937 Stothimic
1481 Zagimic 1181 Katagimic
1829 Pathimic 1319 Phronimic
2347 Raga Viyogavarali 2707 Banimic
3221 Bycrimic 3401 Palimic
6-21 349 Borimic 373 Epagimic
1111 Sycrimic 1117 Raptimic
1489 Raga Jyoti 1303 Epolimic
1861 Phrygimic 1873 Dathimic
2603 Gadimic 2699 Sythimic
3349 Aeolocrimic 3397 Sydimic
6-Z17 407 All-Trichord Hexachord 467 Raga Dhavalangam
739 Rorimic 797 Katocrimic
1817 Phrythimic 1223 Phryptimic
2251 Zodimic 2281 Rathimic
2417 Kanimic 2659 Katynimic
3173 Zarimic 3377 Phralimic
6-Z47 663 Phrynimic 669 Gycrimic
741 Gathimic 933 Dadimic
1209 Raga Bhanumanjari 1191 Pyrimic
1833 Ionacrimic 1257 Blues Scale
2379 Raga Gurjari Todi 2643 Raga Hamsanandi
3237 Raga Brindabani Sarang 3369 Mixolimic
6-Z45 605 Dycrimic
745 Kolimic
1175 Epycrimic
1865 Thagimic
2635 Gocrimic
3365 Katolimic
6-16 371 Rythimic 413 Ganimic
791 Aeoloptimic 931 Raga Kalakanthi
1841 Thogimic 1127 Eparimic
2233 Donimic 2513 Aerycrimic
2443 Panimic 2611 Raga Vasanta
3269 Raga Malarani 3353 Phraptimic
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29/03/2025, 10:33 Um estudo de escalas musicais por Ian Ring
6-Z43 359 Bothimic 461 Raga Syamalam
907 Tholimic 839 Ionathimic
1649 Bolimic 1139 Aerygimic
2227 Raga Gaula 2467 Raga Padi
2501 Ralimic 2617 Pylimic
3161 Kodimic 3281 Raga Vijayavasanta
6-Z44 615 Schoenberg Hexachord 627 Mogimic
825 Thyptimic 807 Raga Suddha Mukhari
915 Raga Kalagada 921 Bogimic
2355 Raga Lalita 2361 Docrimic
2505 Mydimic 2451 Raga Bauli
3225 Ionalimic 3273 Raga Jivantini
6-18 423 Sogimic 459 Zaptimic
909 Katarimic 711 Raga Chandrajyoti
1251 Sylimic 1593 Zogimic
2259 Raga Mandari 2277 Kagimic
2673 Mythimic 2403 Lycrimic
3177 Rothimic 3249 Raga Tilang
6-Z48 679 Lanimic
917 Dygimic
1253 Zolimic
1337 Epogimic
2387 Paptimic
3241 Dalimic
6-7 455 Messiaen Mode 5 Rotation 2
2275 Messiaen Mode 5
3185 Messiaen Mode 5 Rotation 1
6-Z24 347 Barimic 437 Ronimic
1457 Raga Kamalamanohari 1133 Stycrimic
1579 Sagimic 1307 Katorimic
1733 Raga Sarasvati 1699 Raga Rasavali
2221 Raga Sindhura Kafi 2701 Hawaiian
2837 Aelothimic 2897 Rycrimic
6-27 603 Aeolygimic 621 Pyramid Hexatonic
729 Stygimic 873 Bagimic
1611 Dacrimic 1179 Sonimic
1737 Raga Madhukauns 1683 Raga Malayamarutam
2349 Raga Ghantana 2637 Raga Ranjani
2853 Baptimic 2889 Thoptimic
6-Z23 365 Marimic
1115 Superlocrian Hexamirror
1675 Raga Salagavarali
1745 Raga Vutari
2605 Rylimic
2885 Byrimic
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29/03/2025, 10:33 Um estudo de escalas musicais por Ian Ring
6-Z19 411 Lygimic 435 Raga Purna Pancama
867 Phrocrimic 795 Aeologimic
1587 Raga Rudra Pancama 1635 Sygimic
2253 Raga Amarasenapriya 2265 Raga Rasamanjari
2481 Raga Paraju 2445 Zadimic
2841 African Pentatonic 3 2865 Solimic
6-Z49 667 Rodimic
869 Kothimic
1241 Pygimic
1619 Prometheus Neapolitan
2381 Takemitsu Linea Mode 1
2857 Stythimic
6-Z25 363 Soptimic 429 Koptimic
1419 Raga Kashyapi 1131 Honchoshi Plagal Form
1581 Raga Bagesri 1443 Raga Phenadyuti
1713 Raga Khamas 1677 Raga Manavi
2229 Raga Nalinakanti 2613 Raga Hamsa Vinodini
2757 Raga Nishadi 2769 Dyrimic
6-Z28 619 Double-Phrygian Hexatonic
857 Aeolydimic
1427 Lolimic
1613 Thylimic
2357 Raga Sarasanana
2761 Dagimic
6-Z26 427 Raga Suddha Simantini
1379 Kycrimic
1421 Raga Trimurti
1589 Raga Rageshri
2261 Raga Caturangini
2737 Raga Hari Nata
6-34 683 Stogimic 853 Epothimic
1369 Boptimic 1237 Salimic
1381 Padimic 1333 Lyptimic
1429 Bythimic 1357 Takemitsu Linea Mode 2
1621 Scriabin's Prometheus 1363 Gygimic
2389 Eskimo Hexatonic 2 2729 Aeragimic
6-33 685 Raga Suddha Bangala 725 Raga Yamuna Kalyani
1195 Raga Gandharavam 1205 Raga Siva Kambhoji
1385 Phracrimic 1325 Phradimic
1445 Raga Navamanohari 1355 Aeolorimic
1685 Zeracrimic 1705 Raga Manohari
2645 Raga Mruganandana 2725 Raga Nagagandhari
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29/03/2025, 10:33 Um estudo de escalas musicais por Ian Ring
6-31 691 Raga Kalavati 821 Aeranimic
811 Radimic 851 Raga Hejjajji
1433 Dynimic 1229 Raga Simharava
1637 Syptimic 1331 Raga Vasantabhairavi
2393 Zathimic 2473 Raga Takka
2453 Raga Latika 2713 Porimic
6-32 693 Arezzo Major Diatonic Hexachord
1197 Minor Hexatonic
1323 Ritsu
1449 Raga Gopikavasantam
1701 Mixolydian Hexatonic
2709 Raga Kumud
6-30 715 T4 Prime Mode 845 Raga Neelangi
1625 Hungarian Major No5 1235 Tritone Scale
2405 T4 First Rotation 2665 Messiaen Mode 2 Truncation 1
6-Z50 723 Ionadimic
813 Larimic
1227 Thacrimic
1689 Lorimic
2409 Zacrimic
2661 Stydimic
6-Z29 717 Raga Vijayanagari
843 Molimic
1203 Pagimic
1641 Bocrimic
2469 Raga Bhinna Pancama
2649 Aeolythimic
6-20 819 Augmented Inverse
2457 Augmented
6-35 1365 Whole Tone
Modal families with 7 tones
Forte Class Name Prime and its rotations Inverse and its rotations
7-3 319 Epodian 505 Sanian
1009 Katyptian 575 Ionydian
2207 Mygian 2335 Epydian
3151 Pacrian 3215 Katydian
3623 Aerocrian 3655 Mathian
3859 Aeolarian 3875 Aeryptian
3977 Kythian 3985 Thadian
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29/03/2025, 10:33 Um estudo de escalas musicais por Ian Ring
7-9 351 Epanian 501 Katylian
1521 Stanian 1149 Bydian
1989 Dydian 1311 Bynian
2223 Konian 2703 Galian
3159 Stocrian 3399 Zonian
3627 Kalian 3747 Myrian
3861 Phroptian 3921 Pythian
7-10 607 Kadian 637 Debussy's Heptatonic
761 Ponian 1001 Badian
1993 Katoptian 1183 Sadian
2351 Gynian 2639 Dothian
3223 Thyphian 3367 Moptian
3659 Polian 3731 Aeryrian
3877 Thanian 3913 Bonian
7-8 381 Kogian
1119 Rarian
2001 Gydian
2607 Aerolian
3351 Crater Scale
3723 Myptian
3909 Rydian
7-6 415 Aeoladian 499 Ionaptian
995 Phrathian 799 Lolian
2255 Dylian 2297 Thylian
2545 Thycrian 2447 Thagian
3175 Eponian 3271 Mela Raghupriya
3635 Katygian 3683 Dycrian
3865 Starian 3889 Parian
7-Z12 671 Stycrian
997 Rycrian
1273 Heptatonic Blues
2383 Katorian
3239 Mela Tanarupi
3667 Kaptian
3881 Morian
7-Z36 367 Aerodian 493 Rygian
1777 Saptian 1147 Epynian
1931 Stogian 1679 Kydian
2231 Macrian 2621 Ionogian
3013 Thynian 2887 Gaptian
3163 Rogian 3491 Tharian
3629 Boptian 3793 Aeopian
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29/03/2025, 10:33 Um estudo de escalas musicais por Ian Ring
7-16 623 Sycrian 635 Epolian
889 Borian 985 Mela Sucaritra
1939 Dathian 1615 Sydian
2359 Gadian 2365 Sythian
3017 Gacrian 2855 Epocrian
3227 Aeolocrian 3475 Kylian
3661 Mixodorian 3785 Epagian
7-11 379 Aeragian 445 Gocrian
1583 Salian 1135 Katolian
1969 Zorian 1955 Sonian
2237 Epothian 2615 Thoptian
2839 Lyptian 3025 Epycrian
3467 Sudhvidhamagini 3355 Bagian
3781 Gyphian 3725 Kyrian
7-14 431 Epyrian 491 Aeolyrian
1507 Zynian 1423 Doptian
1933 Mocrian 1597 Aeolodian
2263 Lycrian 2293 Gorian
2801 Zogian 2759 Mela Pavani
3179 Daptian 3427 Zacrian
3637 Raga Rageshri 3761 Raga Madhuri
7-24 687 Aeolythian 981 Mela Kantamani
1401 Pagian 1269 Katythian
1509 Ragian 1341 Madian
1941 Aeranian 1359 Aerygian
2391 Molian 2727 Mela Manavati
3243 Mela Rupavati 3411 Enigmatic
3669 Mothian 3753 Phraptian
7-23 701 Mixonyphian 757 Ionyptian
1199 Magian 1213 Gyrian
1513 Stathian 1327 Zalian
1957 Pyrian 1961 Soptian
2647 Dadian 2711 Stolian
3371 Aeolylian 3403 Bylian
3733 Gycrian 3749 Raga Sorati
7-Z18 755 Phrythian 829 Lygian
815 Bolian 979 Mela Dhavalambari
1945 Zarian 1231 Logian
2425 Rorian 2537 Laptian
2455 Bothian 2663 Lalian
3275 Mela Divyamani 3379 Verdi's Scala Enigmatica Descending
3685 Kodian 3737 Phrocrian
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29/03/2025, 10:33 Um estudo de escalas musicais por Ian Ring
7-7 463 Zythian 487 Dynian
967 Mela Salaga 911 Radian
2279 Dyrian 2291 Zydian
2531 Danian 2503 Mela Jhalavarali
3187 Koptian 3193 Zathian
3313 Aeolacrian 3299 Syptian
3641 Thocrian 3697 Ionarian
7-19 719 Kanian 847 Ganian
971 Mela Gavambodhi 973 Mela Syamalangi
1657 Ionothian 1267 Katynian
2407 Zylian 2471 Mela Ganamurti
2533 Podian 2681 Aerycrian
3251 Mela Hatakambari 3283 Mela Visvambhari
3673 Ranian 3689 Katocrian
7-13 375 Sodian 477 Stacrian
1815 Godian 1143 Styrian
1905 Katacrian 1863 Pycrian
2235 Bathian 2619 Ionyrian
2955 Thorian 2979 Gyptian
3165 Mylian 3357 Phrodian
3525 Zocrian 3537 Katogian
7-Z17 631 Zygian
953 Mela Yagapriya
1831 Pothian
2363 Kataptian
2963 Bygian
3229 Aeolaptian
3529 Stalian
7-Z38 439 Bythian 475 Aeolygian
1763 Katalian 1595 Dacrian
1819 Pydian 1735 Mela Navanitam
2267 Padian 2285 Aerogian
2929 Aeolathian 2845 Baptian
2957 Thygian 2915 Aeolydian
3181 Rolian 3505 Stygian
7-27 695 Sarian 949 Mela Mararanjani
1465 Mela Ragavardhani 1261 Modified Blues
1765 Lonian 1339 Kycrian
1835 Byptian 1703 Mela Vanaspati
2395 Zoptian 2717 Epygian
2965 Darian 2899 Kagian
3245 Mela Varunapriya 3497 Phrolian
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29/03/2025, 10:33 Um estudo de escalas musicais por Ian Ring
7-25 733 Donian 749 Aeologian
1207 Aeoloptian 1211 Ceiling Scale
1769 Blues Heptatonic II 1687 Phralian
1867 Solian 1897 Ionopian
2651 Panian 2653 Sygian
2981 Ionolian 2891 Phrogian
3373 Lodian 3493 Rathian
7-21 823 Stodian 827 Mixolocrian
883 Ralian 947 Mela Gayakapriya
1843 Ionygian 1639 Aeolothian
2459 Ionocrian 2461 Sagian
2489 Mela Gangeyabhusani 2521 Mela Dhatuvardhani
2969 Tholian 2867 Major Romani
3277 Mela Nitimati 3481 Katathian
7-26 699 Aerothian 885 Sathian
1497 Mela Jyotisvarupini 1245 Lathian
1623 Lothian 1335 Elephant Scale
1893 Ionylian 1875 Persichetti Scale
2397 Stagian 2715 Kynian
2859 Phrycrian 2985 Epacrian
3477 Kyptian 3405 Stynian
7-Z37 443 Kothian
1591 Rodian
1891 Thalian
2269 Pygian
2843 Sorian
2993 Stythian
3469 Monian
7-15 471 Dodian
1479 Mela Jalarnava
1821 Aeradian
2283 Aeolyptian
2787 Zyrian
3189 Aeolonian
3441 Thacrian
7-29 727 Phradian 941 Mela Jhankaradhvani
1483 Mela Bhavapriya 1259 Stadian
1721 Mela Vagadhisvari 1447 Mela Ratnangi
1837 Dalian 1693 Dogian
2411 Aeolorian 2677 Thodian
2789 Zolian 2771 Marva That
3253 Mela Naganandini 3433 Thonian
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29/03/2025, 10:33 Um estudo de escalas musicais por Ian Ring
7-28 747 Lynian 861 Rylian
1431 Phragian 1239 Epaptian
1629 Synian 1491 Namanarayani
1881 Korian 1869 Katyrian
2421 Malian 2667 Byrian
2763 Mela Suvarnangi 2793 Eporian
3429 Marian 3381 Katanian
7-30 855 Porian 939 Mela Senavati
1395 Locrian Dominant 1383 Pynian
1485 Minor Romani 1437 Sabach ascending
1845 Mixolydian Augmented 1653 Minor Romani Inverse
2475 Neapolitan Minor 2517 Harmonic Lydian
2745 Mela Sulini 2739 Mela Suryakanta
3285 Lydian #6 3417 Golian
7-33 1367 Leading Whole-Tone Inverse
1373 Storian
1397 Major Locrian
1493 Lydian Minor
1877 Aeroptian
2731 Neapolitan Major
3413 Leading Whole-tone
7-20 743 Chromatic Hypophrygian Inverse 925 Chromatic Hypodorian
919 Chromatic Phrygian Inverse 935 Chromatic Dorian
1849 Chromatic Hypodorian Inverse 1255 Chromatic Mixolydian
2419 Raga Lalita 2515 Chromatic Hypolydian
2507 Todi That 2675 Chromatic Lydian
3257 Mela Calanata 3305 Chromatic Hypophrygian
3301 Chromatic Mixolydian Inverse 3385 Chromatic Phrygian
7-22 871 Hungarian Romani Minor 4th Mode
923 Ultraphrygian
1651 Asian
2483 Double Harmonic
2509 Double Harmonic Minor
2873 Ionian Augmented Sharp 2
3289 Lydian Sharp 2 Sharp 6
7-31 731 Alternating Heptamode 877 Moravian Pistalkova
1627 Hungarian Major 4th Mode 1243 Epylian
1739 Mela Sadvidhamargini 1691 Kathian
1753 Hungarian Major 1747 Mela Ramapriya
2413 Harmonic Minor Flat 5 2669 Jeths' Mode
2861 Hungarian Major 5th Mode 2893 Lylian
2917 Nohkan Flute Scale 2921 Pogian
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29/03/2025, 10:33 Um estudo de escalas musicais por Ian Ring
7-32 859 Ultralocrian 875 Locrian Double-flat 7
1459 Phrygian Dominant 1435 Phrygian Flat 4
1643 Locrian Natural 6 1645 Dorian Flat 5
1741 Lydian Diminished 1715 Harmonic Minor Inverse
2477 Harmonic Minor 2485 Harmonic Major
2777 Aeolian Harmonic 2765 Lydian Flat 3
2869 Major Augmented 2905 Lydian Augmented Sharp 2
7-34 1371 Superlocrian
1389 Minor Locrian
1461 Major-Minor
1707 Dorian Flat 2
1749 Acoustic
2733 Melodic Minor Ascending
2901 Lydian Augmented
7-35 1387 Locrian
1451 Phrygian
1453 Aeolian
1709 Dorian
1717 Mixolydian
2741 Major
2773 Lydian
Modal families with 8 tones
Forte Class Name Prime and its rotations Inverse and its rotations
8-2 383 Logyllic 509 Ionothyllic
2033 Stolyllic 1151 Mythyllic
2239 Dacryllic 2623 Aerylyllic
3167 Thynyllic 3359 Bonyllic
3631 Gydyllic 3727 Tholyllic
3863 Eparyllic 3911 Katyryllic
3979 Dynyllic 4003 Sadyllic
4037 Ionyllic 4049 Stycryllic
8-3 639 Ionaryllic
1017 Dythyllic
2367 Laryllic
3231 Kataptyllic
3663 Sonyllic
3879 Pathyllic
3987 Loryllic
4041 Zaryllic
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29/03/2025, 10:33 Um estudo de escalas musicais por Ian Ring
8-4 447 Thyphyllic 507 Moryllic
2019 Palyllic 1599 Pocryllic
2271 Poptyllic 2301 Bydyllic
3057 Phroryllic 2847 Phracryllic
3183 Mixonyllic 3471 Gyryllic
3639 Paptyllic 3783 Phrygyllic
3867 Storyllic 3939 Dogyllic
3981 Phrycryllic 4017 Dolyllic
8-11 703 Aerocryllic 1013 Stydyllic
1529 Kataryllic 1277 Zadyllic
2021 Katycryllic 1343 Zalyllic
2399 Zanyllic 2719 Zocryllic
3247 Aeolonyllic 3407 Katocryllic
3671 Aeonyllic 3751 Aerathyllic
3883 Kyryllic 3923 Stoptyllic
3989 Sythyllic 4009 Phranyllic
8-10 765 Mixonyphyllic
1215 Aeolanyllic
2025 Mixolydyllic
2655 Thocryllic
3375 Kygyllic
3735 Ionagyllic
3915 Gogyllic
4005 Phradyllic
8-7 831 Rodyllic
1011 Kycryllic
2463 Ionathyllic
2553 Aeolaptyllic
3279 Pythyllic
3687 Zonyllic
3891 Ryryllic
3993 Ioniptyllic
8-5 479 Kocryllic 503 Thoptyllic
1991 Phryptyllic 1823 Phralyllic
2287 Lodyllic 2299 Phraptyllic
3043 Ionayllic 2959 Dygyllic
3191 Bynyllic 3197 Gylyllic
3569 Aeoladyllic 3527 Ronyllic
3643 Kydyllic 3811 Epogyllic
3869 Bygyllic 3953 Thagyllic
8-13 735 Sylyllic 1005 Radyllic
1785 Tharyllic 1275 Stagyllic
1995 Sideways Scale 1695 Phrodyllic
2415 Lothyllic 2685 Ionoryllic
3045 Raptyllic 2895 Aeragyllic
3255 Daryllic 3495 Banyllic
3675 Monyllic 3795 Epothyllic
3885 Styryllic 3945 Lydyllic
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29/03/2025, 10:33 Um estudo de escalas musicais por Ian Ring
8-12 763 Doryllic 893 Pycryllic
1631 Rynyllic 1247 Mygyllic
2009 Stacryllic 2003 Lolyllic
2429 Kadyllic 2671 Lylyllic
2863 Aerogyllic 3049 Aeronyllic
3479 Rothyllic 3383 Daptyllic
3787 Kagyllic 3739 Ioninyllic
3941 Stathyllic 3917 Epaphyllic
8-Z15 863 Pyryllic 1003 Ionyryllic
1523 Zothyllic 1439 Rolyllic
1997 Raga Cintamani 1661 Gonyllic
2479 Harmonic and Neapolitan Minor Mixed 2549 Rydyllic
2809 Gythyllic 2767 Katydyllic
3287 Phrathyllic 3431 Zyptyllic
3691 Badyllic 3763 Modyllic
3893 Phrocryllic 3929 Aeolothyllic
8-21 1375 Bothyllic
1405 Goryllic
1525 Sodyllic
2005 Gygyllic
2735 Gynyllic
3415 Ionaptyllic
3755 Phryryllic
3925 Thyryllic
8-8 927 Koptyllic
999 Bylyllic
2511 Epyryllic
2547 Raga Ramkali
3303 Soptyllic
3321 Ionycryllic
3699 Aeolylyllic
3897 Locryllic
8-6 495 Bocryllic
1935 Mycryllic
2295 Kogyllic
3015 Laptyllic
3195 Raryllic
3555 Pylyllic
3645 Zycryllic
3825 Pynyllic
8-Z29 751 Epacryllic 989 Phrolyllic
1913 Zagyllic 1271 Kolyllic
1943 Malyllic 1871 Aeolyllic
2423 Thorcryllic 2683 Thodyllic
3019 Mydyllic 2983 Zythyllic
3259 Loptyllic 3389 Socryllic
3557 Thycryllic 3539 Aeoryllic
3677 Katylyllic 3817 Zoryllic
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29/03/2025, 10:33 Um estudo de escalas musicais por Ian Ring
8-14 759 Katalyllic 957 Phronyllic
1839 Zogyllic 1263 Stynyllic
1977 Dagyllic 1959 Katolyllic
2427 Katoryllic 2679 Rathyllic
2967 Madyllic 3027 Rythyllic
3261 Dodyllic 3387 Aeryptyllic
3531 Neveseri 3561 Pothyllic
3813 Aeologyllic 3741 Zydyllic
8-18 879 Aeolocryllic 987 Aeraptyllic
1779 Aerythyllic 1659 Magyllic
1947 Ionoyllic 1743 Epigyllic
2487 Phroptyllic 2541 Algerian
2937 Aeolathyllic 2877 Phrylyllic
3021 Gyptyllic 2919 Molyllic
3291 Kodyllic 3507 Ponyllic
3693 Epaptyllic 3801 Maptyllic
8-22 1391 Aeradyllic 1403 Espla's Scale
1469 Epiryllic 1517 Spanish Octamode 4th Rotation
1781 Lydian/Mixolydian Mixed 1711 Adonai Malakh
1963 Epocryllic 1973 Spanish Octamode 6th Rotation
2743 Staptyllic 2749 Spanish Octamode 1st Rotation
3029 Ionocryllic 2903 Spanish Octamode 10th Rotation
3419 Magen Abot 1 3499 Hamel
3757 Raga Mian Ki Malhar 3797 Spanish Octamode 8th Rotation
8-17 891 Ionilyllic
1647 Polyllic
1971 Aerynyllic
2493 Manyllic
2871 Stanyllic
3033 Doptyllic
3483 Mugham Shüshtär
3789 Eporyllic
8-16 943 Aerygyllic 983 Epygyllic
1511 Styptyllic 1487 Lycryllic
1949 Mathyllic 1853 Phrynyllic
2519 Dathyllic 2539 Half-Diminished Bebop
2803 Raga Bhatiyar 2791 Ionyptyllic
3307 Boptyllic 3317 Lanyllic
3449 Bacryllic 3443 Verdi's Scala Enigmatica
3701 Bagyllic 3769 Aeracryllic
8-23 1455 Quartal Octamode
1515 Phrygian/Locrian Mixed
1725 Minor Bebop
1965 Raga Mukhari
2775 Quartal Octamode 10th Rotation
2805 Ichikotsuchô
3435 Prokofiev
3765 Dominant Bebop
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29/03/2025, 10:33 Um estudo de escalas musicais por Ian Ring
8-9 975 Messiaen Mode 4 Rotation 3
2535 Messiaen Mode 4
3315 Tcherepnin Octatonic Mode 1
3705 Messiaen Mode 4 Rotation 2
8-19 887 Sathyllic 955 Ionogyllic
1847 Thacryllic 1655 Katygyllic
1907 Lynyllic 1895 Salyllic
2491 Layllic 2525 Aeolaryllic
2971 Aeolynyllic 2875 Ganyllic
3001 Lonyllic 2995 Raga Saurashtra
3293 Saryllic 3485 Sabach
3533 Thadyllic 3545 Thyptyllic
8-24 1399 Syryllic
1501 Stygyllic
1879 Mixoryllic
1909 Epicryllic
2747 Stythyllic
2987 Neapolitan Major and Minor Mixed
3421 Aerothyllic
3541 Racryllic
8-20 951 Thogyllic
1767 Dyryllic
1851 Zacryllic
2523 Mirage Scale
2931 Zathyllic
2973 Panyllic
3309 Bycryllic
3513 Dydyllic
8-27 1463 Zaptyllic 1499 Bebop Locrian
1757 Ionyphyllic 1723 JG Octatonic
1771 Stylyllic 1751 Aeolyryllic
1883 Mixopyryllic 1901 Ionidyllic
2779 Shostakovich 2797 Stalyllic
2933 Dalyllic 2909 Mocryllic
2989 Bebop Minor 2923 Baryllic
3437 Gathyllic 3509 Stogyllic
8-26 1467 Spanish Phrygian
1719 Lyryllic
1773 Blues Scale II
1899 Moptyllic
2781 Gycryllic
2907 Magen Abot 2
2997 Major Bebop
3501 Gregorian Nr.4
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29/03/2025, 10:33 Um estudo de escalas musicais por Ian Ring
8-25 1495 Messiaen Mode 6 Rotation 2
1885 Messiaen Mode 6 Rotation 1
2795 Van der Horst Octatonic
3445 Messiaen Mode 6
8-28 1755 Octatonic
2925 Diminished
Modal families with 9 tones
Forte Class Name Prime and its rotations Inverse and its rotations
9-1 511 Chromatic Nonamode
2303 Nonatonic Chromatic 2
3199 Nonatonic Chromatic 3
3647 Nonatonic Chromatic 4
3871 Nonatonic Chromatic 5
3983 Nonatonic Chromatic 6
4039 Nonatonic Chromatic 7
4067 Nonatonic Chromatic 8
4081 Nonatonic Chromatic Descending
9-2 767 Raptygic 1021 Ladygic
2041 Aeolacrygic 1279 Sarygic
2431 Gythygic 2687 Thacrygic
3263 Pyrygic 3391 Aeolynygic
3679 Rycrygic 3743 Thadygic
3887 Phrathygic 3919 Lynygic
3991 Badygic 4007 Doptygic
4043 Phrocrygic 4051 Ionilygic
4069 Starygic 4073 Sathygic
9-3 895 Aeolathygic 1019 Aeranygic
2035 Aerythygic 1663 Lydygic
2495 Aeolocrygic 2557 Dothygic
3065 Zothygic 2879 Stadygic
3295 Phroptygic 3487 Byptygic
3695 Kodygic 3791 Stodygic
3895 Eparygic 3943 Zynygic
3995 Ionygic 4019 Lonygic
4045 Gyptygic 4057 Phrygic
9-6 1407 Tharygic
1533 Katycrygic
2037 Sythygic
2751 Sylygic
3423 Lothygic
3759 Darygic
3927 Monygic
4011 Styrygic
4053 Kyrygic
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29/03/2025, 10:33 Um estudo de escalas musicais por Ian Ring
9-4 959 Katylygic 1015 Ionodygic
2023 Zodygic 1855 Marygic
2527 Phradygic 2555 Bythygic
3059 Madygic 2975 Gaptygic
3311 Mixodygic 3325 Epygic
3577 Loptygic 3535 Aeroptygic
3703 Katalygic 3815 Mylygic
3899 Katorygic 3955 Galygic
3997 Dogygic 4025 Kalygic
9-7 1471 Radygic 1531 Styptygic
1789 Blues Enneatonic II 1727 Sydygic
2027 Boptygic 2029 Kiourdi
2783 Gothygic 2813 Zolygic
3061 Apinygic 2911 Katygic
3439 Lythygic 3503 Zyphygic
3767 Chromatic Bebop 3799 Aeralygic
3931 Aerygic 3947 Ryptygic
4013 Raga Pilu 4021 Raga Pahadi
9-5 991 Aeolygic 1007 Ionycrygic
1999 Zacrygic 1951 Gonygic
2543 Dydygic 2551 Zoptygic
3047 Panygic 3023 Aeracrygic
3319 Tholygic 3323 Phrygygic
3571 Dyrygic 3559 Aerathygic
3707 Rynygic 3709 Locrygic
3833 Dycrygic 3827 Dorygic
3901 Bycrygic 3961 Mixolydygic
9-8 1503 Padygic 1527 Aeolyrygic
1917 Sacrygic 1887 Aerocrygic
2007 Stonygic 2013 Mocrygic
2799 Epilygic 2811 Barygic
3051 Stalygic 2991 Zanygic
3447 Kynygic 3453 Katarygic
3573 Kaptygic 3543 Aeolonygic
3771 Stophygic 3819 Aeolanygic
3933 Ionidygic 3957 Porygic
9-10 1759 Pylygic
1787 Mycrygic
2011 Raphygic
2927 Rodygic
2941 Laptygic
3053 Zycrygic
3511 Epolygic
3803 Epidygic
3949 Koptygic
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9-9 1519 Locrian/Aeolian Mixed
1967 Diatonic Dorian Mixed
1981 Houseini
2807 Zylygic
3031 Epithygic
3451 Garygic
3563 Ionoptygic
3773 Raga Malgunji
3829 Taishikicho
9-11 1775 Lyrygic 1783 Youlan
1915 Thydygic 1903 Diminishing Nonamode Basic
1975 Ionocrygic 1979 Diminishing Nonamode 6th Rotation
2935 Modygic 2939 Diminishing Nonamode 2nd Rotation
3005 Gycrygic 2999 Diminishing Nonamode
3035 Gocrygic 3037 Nine Tone Scale
3515 Moorish Phrygian 3517 Diminishing Nonamode 1st Rotation
3565 Aeolorygic 3547 Diminishing Nonamode 9th Rotation
3805 Moptygic 3821 Diminishing Nonamode 8th Rotation
9-12 1911 Messiaen Mode 3 Rotation 1
3003 Messiaen Mode 3 Rotation 2
3549 Messiaen Mode 3
Modal families with 10 tones
Forte Class Name Prime and its rotations Inverse and its rotations
10-1 1023 Chromatic Decamode
2559 Decatonic Chromatic 2
3327 Decatonic Chromatic 3
3711 Decatonic Chromatic 4
3903 Decatonic Chromatic 5
3999 Decatonic Chromatic 6
4047 Decatonic Chromatic 7
4071 Decatonic Chromatic 8
4083 Decatonic Chromatic 9
4089 Decatonic Chromatic Descending
10-2 1535 Mixodyllian
2045 Katogyllian
2815 Aeradyllian
3455 Ryptyllian
3775 Loptyllian
3935 Kataphyllian
4015 Phradyllian
4055 Dagyllian
4075 Katyllian
4085 Sydyllian
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10-3 1791 Aerygyllian
2043 Lythyllian
2943 Dathyllian
3069 Bacryllian
3519 Raga Sindhi-Bhairavi
3807 Bagyllian
3951 Mathyllian
4023 Styptyllian
4059 Zolyllian
4077 Gothyllian
10-4 1919 Rocryllian
2039 Danyllian
3007 Zyryllian
3067 Goptyllian
3551 Sagyllian
3581 Epocryllian
3823 Epinyllian
3959 Katagyllian
4027 Ragyllian
4061 Staptyllian
10-5 1983 Soryllian
2031 Gadyllian
3039 Godyllian
3063 Solyllian
3567 Epityllian
3579 Zyphyllian
3831 Ionyllian
3837 Minor Pentatonic With Leading Tones
3963 Aeoryllian
4029 Major/Minor Mixed
10-6 2015 Messiaen Mode 7 Rotation 4
3055 Messiaen Mode 7
3575 Messiaen Mode 7 Rotation 1
3835 Messiaen Mode 7 Rotation 2
3965 Messiaen Mode 7 Rotation 3
Modal families with 11 tones
Forte Class Name Prime and its rotations Inverse and its rotations
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11-1 2047 Chromatic Undecamode
3071 Chromatic Undecamode 2
3583 Chromatic Undecamode 3
3839 Chromatic Undecamode 4
3967 Chromatic Undecamode 5
4031 Chromatic Undecamode 6
4063 Chromatic Undecamode 7
4079 Chromatic Undecamode 8
4087 Chromatic Undecamode 9
4091 Chromatic Undecamode 10
4093 Chromatic Undecamode 11
Modal families with 12 tones
Forte Class Name Prime and its rotations Inverse and its rotations
12-1 4095 Chromatic
Symmetry
There are two kinds of symmetry of interest to scale analysis. They are rotational symmetry and reflective symmetry.
Rotational Symmetry
Rotational symmetry is the symmetry that occurs by transposing a scale up or down by an interval, and observing whether the
transposition and the original have an identical pattern of steps.
The set of 12 tones has 5 axes of symmetry. The twelve can be divided by 1, 2, 3, 4, and 6.
Any scale containing this kind of symmetry can reproduce its own tones by transposition, and is also called a "mode of limited
transposition" (Messaien)
Below are all the scales that have rotational symmetry.
axes of symmetry interval of scales
repetition
1,2,3,4,5,6,7,8,9,10,11 semitone
4095
2,4,6,8,10 whole tone
1365
3,6,9 minor thirds
585 1755 2925
4,8 major thirds
273 819 1911 2457 3003 3549
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6 tritones
325 455 715 845 975 1105 1235 1495 1625
1885 2015 2275 2405 2535 2665 2795 3055 3185
3315 3445 3575 3705 3835 3965
number of notes in scale Placement of rotational symmetries
1 2 3 4 5 6 7 8 9 10 11
3 0 0 0 1 0 0 0 1 0 0 0
4 0 0 1 0 0 3 0 0 1 0 0
5 0 0 0 0 0 0 0 0 0 0 0
6 0 1 0 3 0 10 0 3 0 1 0
7 0 0 0 0 0 0 0 0 0 0 0
8 0 0 2 0 0 10 0 0 2 0 0
9 0 0 0 3 0 0 0 3 0 0 0
10 0 0 0 0 0 5 0 0 0 0 0
11 0 0 0 0 0 0 0 0 0 0 0
12 1 1 1 1 1 1 1 1 1 1 1
A curious numeric pattern
You'll notice that in the list of scales exhibiting rotational symmetry, many have a decimal representation that ends
with the digit 5. A closer look shows that the pattern exists for all scales that have symmetry on axes of 6, 4, and 2 -
where all the notes in the scale are in pairs a tritone apart. In the binary schema, each pair of notes that are a tritone
apart add up to a multiple of 10, except for the root pair that adds up to 65. Therefore, all scales with rotational
symmetry on the tritone will end with the digit 5.
1 + 64
= 65
2 + 128
= 130
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4 + 256
= 260
8 + 512
= 520
16 + 1024
= 1040
32 + 2048
= 2080
Messiaen's Modes - and their truncations
The French composer Olivier Messiaen studied scales with rotational symmetry, because they are useful in creating sonorities with an
ambiguous tonic. He famously named seven such modes, and asserted that they are the only ones that may exist; all other symmetrical
scales are truncations of those. We can prove that Messiaen was correct, by putting every symmetrical scale into a chart of their
truncation relationships.
In all of Messiaen's modes, the modes are regarded as identical, which makes sense because the whole point was to create ambiguous
tonality. Therefore when we speak of one of the Messiaenic modes, we're talking about a whole modal family of scales, like this one
which he labeled Mode 7:
3055 2015 3575 3835 3965
Truncation is the process of removing notes from a scale, without affecting its symmetry. The concept is best explained by example.
Let's take the mode which Messiaen called the Second Mode:
1755 2925
That scale is symmetrical along the axis of a 3-semitone interval, i.e. by transposing it up a minor third. When we remove tones to
create a truncation, we must preserve that symmetry, by removing four notes from the scale, like this:
585
In addition to the 3-semitone symmetry, that scale is also symmetrical along the axis of a 6-semitone interval. We can create two
different truncations of 1755 that preserve that symmetry:
1625 715 2405 2665 845 1235
Technically, all of Messiaen's modes are truncated forms of 4095 , the 12-tone scale, which is symmetrical at all intervals.
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Hierarchy of truncations
This diagram illustrates that all symmetrical scales are truncations of the Messaienic modes (labeled "M" plus their number as assigned
by Messaien). M1, M2, M3, and M7 are all truncations of the chromatic scale 4095; M2, M4, and M6 are truncations of M7; M1 and
M5 are truncations of M6. M1 is also a truncation of M3, and M5 is also a truncation of M4. All the other rotationally symmetrical
scales are labeled "T#" and are shown where they belong in the hierarchy of truncations.
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Modal Family Scales is truncation of
4095
Messiaen's Modes of Limited Transposition
M1 *, M3, M6
1365
M2 *, M7
1755 2925
M3 *
3549 3003 1911
M4 M7
975 2535 3315 3705
M5 M6, M4
455 2275 3185
M6 M7
1885 1495 2795 3445
M7 *
3055 2015 3575 3835 3965
Truncations
T1 M2, T5, T4
585
T2 M3
2457 819
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T3 M1, T2
273
T4 M2, M6, M4
1625 715 2405
T5 M2, M6, M4
2665 845 1235
T6 T4, T5, M5, M1
325 1105
In this study we are ignoring sonorities that aren't like a "scale" by disallowing large interval leaps (see the
first section). If we ignore those rules, what other truncated sets exist? (spoiler hint: not very many!)
Does the naming of certain scales by Messiaen seem haphazard? Why did he name M5, which is merely a
truncation of both M6 and M4, which are in turn truncations of M7?
Reflective Symmetry
A scale can be said to have reflective symmetry if it has an axis of reflection. If that axis falls on the root, then the scale will have the
same interval pattern ascending and descending. A reflectively symmetrical scale, symmetrical on the axis of the root tone, is called a
palindromic scale.
Here are all the scales that are palindromic:
273 337 433 497 585 681 745 793 857 953 1017 1093 1189 1253
1301 1365 1461 1525 1613 1709 1773 1821 1885 1981 2045 2211 2275 2323
2387 2483 2547 2635 2731 2795 2843 2907 3003 3067 3143 3239 3303 3351
3415 3511 3575 3663 3759 3823 3871 3935 4031 4095
Chirality
An object is chiral if it is distinguishable from its mirror image, and can't be transformed into its mirror image by rotation. Chirality is
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The concept of chirality is apparent when you consider "handedness" of a shape, such as a glove. A pair of gloves has a left hand and a
right hand, and you can't transform a left glove into a right one by flipping it over or rotating it. The glove, therefore, is a chiral object.
Conversely, a sock can be worn by the right or left foot; the mirror image of a sock would still be the same sock. Therefore a sock is not
a chiral object.
Palindromic scales are achiral. But not all non-palindromic scales are chiral. For example, consider the scales 1105 and 325
(below). One is the mirror image (reflection) of the other. They are not palindromic scales. They are also achiral, because one can
transform into the other by rotation.
The major scale is achiral. If you reflect the major scale, you get the phrygian scale; these two scales are modes (rotations) of each other.
Therefore neither of them are chiral. Similarly, none of the other ecclesiastical major modes are chiral.
What makes chirality interesting? For one thing chirality indicates that a scale does not have any symmetry along any axis. If you
examine all achiral scales, they will all have some axis of reflective symmetry - it's just not necessarily the root tone (which would
make it palindromic).
Some achiral scales, and their axes of symmetry
A chiral object and its mirror image are called enantiomorphs. (source)
Scale Chirality / Enantiomorph
273 Augmented Triad achiral
585 Diminished Seventh achiral
661 Major Pentatonic achiral
859 Ultralocrian 2905 Lydian Augmented Sharp 2
1193 Minor Pentatonic achiral
1257 Blues Scale 741 Gathimic
1365 Whole Tone achiral
1371 Superlocrian achiral
1387 Locrian achiral
1389 Minor Locrian achiral
1397 Major Locrian achiral
1451 Phrygian achiral
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1453 Aeolian achiral
1459 Phrygian Dominant 2485 Harmonic Major
1485 Minor Romani 1653 Minor Romani Inverse
1493 Lydian Minor achiral
1499 Bebop Locrian 2933 Dalyllic
1621 Scriabin's Prometheus 1357 Takemitsu Linea Mode 2
1643 Locrian Natural 6 2765 Lydian Flat 3
1709 Dorian achiral
1717 Mixolydian achiral
1725 Minor Bebop achiral
1741 Lydian Diminished 1645 Dorian Flat 5
1749 Acoustic achiral
1753 Hungarian Major 877 Moravian Pistalkova
1755 Octatonic achiral
2257 Lydian Pentatonic 355 African Pentatonic 4
2275 Messiaen Mode 5 achiral
2457 Augmented achiral
2475 Neapolitan Minor 2739 Mela Suryakanta
2477 Harmonic Minor 1715 Harmonic Minor Inverse
2483 Double Harmonic achiral
2509 Double Harmonic Minor achiral
2535 Messiaen Mode 4 achiral
2731 Neapolitan Major achiral
2733 Melodic Minor Ascending achiral
2741 Major achiral
2773 Lydian achiral
2777 Aeolian Harmonic 875 Locrian Double-flat 7
2869 Major Augmented 1435 Phrygian Flat 4
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2901 Lydian Augmented achiral
2925 Diminished achiral
2989 Bebop Minor 1723 JG Octatonic
2997 Major Bebop achiral
3055 Messiaen Mode 7 achiral
3411 Enigmatic 2391 Molian
3445 Messiaen Mode 6 achiral
3549 Messiaen Mode 3 achiral
3669 Mothian 1359 Aerygian
3765 Dominant Bebop achiral
4095 Chromatic achiral
Reflective symmetry can occur with an axis on other notes of the scale. Are those interesting?
The reflection axis can be on a tone, or between two tones. Is that interesting?
Is there a more optimal or elegant way to find the reflective symmetry axes of a scale?
Are there chiral enantiomorph pairs that are both named scales?
Combined Symmetry
Using similar methods to those above, we can identify all the scales that are both palindromic and have rotational symmetry. Here they
are:
273 585 1365 1885 2275 2795 3003 3575 4095
Balance
We assert a scale is "balanced", if the distribution of tones arranged around a 12-spoke wheel would balance on its centre. This is related
to the well-known problem in mathematics known as the "balanced centrifuge problem".
There are 47 balanced scales. Here they are:
273 325 403 455 585 611 715 793 819 845 871 923 975 1105
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2353 2405 2457
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2483 2509 2535 715 2795 2873 2925 3003 3055 3185 3289 3315 3445 3549
3575 3705 3835 3965 4095
Interval Spectrum / Richness / Interval Vector
Howard Hanson, in the book "Harmonic Materials"4, posits that the character of a sonority is defined by the intervals that are within it.
This definition is also called an "Interval Vector"5 or "Interval Class Vector" in Pitch Class Set theory. Furthermore, in his system an
interval is equivalent to its inverse, i.e. the sonority of a perfect 5th is the same as the perfect 4th. Hanson categorizes all intervals as
being one of six classes, and gives each a letter: p m n s d t, ordered from most consonant (p) to most dissonant (t). When an interval
appears more than once in a sonority, it is superscripted with a number, like p2.
P - the Perfects (5 or 7)
This is the interval of a perfect 5th, or perfect 4th.
M - The Major Third (4 or 8)
This is the interval of a major 3rd, or minor 6th
N - The Minor Third (3 or 9)
This is the interval of a minor 3rd, or a major 6th
S - the second (2 or 10)
This is the interval of a major 2nd, or minor 7th
D - the Diminished (1 or 11)
Intervals of a minor 2nd, or a major 7th
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T - the Tritone (6 semitones)
For example, in Hanson's analysis, a C major triad has the sonority pmn, because it contains one perfect 5th between the C and G (p), a
major third between C and E (m), and a minor third between the E and G (n). Interesting to note that a minor triad of A-C-E is also a
pmn sonority, just with the arrangement of the minor and major intervals swapped. The diminished seventh chord 585 has the
sonority n4t2 because it contains four different minor thirds, and two tritones.
We can count the appearances of an interval using a method called "cyclic autocorrelation6". To find out how many of interval X appear
in a scale, we rotate a copy of the scale by X degrees, and then count the number of positions where an "on" bit appears in both the
original and copy.
All members of the same modal family will have the same interval spectrum, because the spectrum doesn't care about rotation, and
modes are merely rotations of each other. And there will be many examples of different families that have the same interval spectrum -
for example, 281 and 275 both have the spectrum "pm3nd", but they are not modes of each other.
Below is a table of some of the named scales, and their interval spectrum. You'll notice that modal families will all have the same
spectrum; hence every named mode of the diatonic scale (lydian, dorian, phrygian etc.) has the same spectrum of p6m3n4s5d2t
Scale Spectrum (Hanson) Vector (modern)
273 Augmented Triad m3 000300
585 Diminished Seventh n 4 t2 004002
661 Major Pentatonic p4mn2s3 032140
859 Ultralocrian p 4 m 4 n 5 s 3 d 3 t2 335442
1193 Minor Pentatonic p4mn2s3 032140
1257 Blues Scale p 4m2n 3s3d 2t 233241
1365 Whole Tone m 6 s 6 t3 060603
1371 Superlocrian p 4 m 4 n 4 s 5 d 2 t2 254442
1387 Locrian p 6m3n 4s5d 2t 254361
1389 Minor Locrian p 4 m 4 n 4 s 5 d 2 t2 254442
1397 Major Locrian p 2 m 6 n 2 s 6 d 2 t3 262623
1451 Phrygian p 6m3n 4s5d 2t 254361
1453 Aeolian p 6m3n 4s5d 2t 254361
1459 Phrygian Dominant p 4 m 4 n 5 s 3 d 3 t2 335442
1485 Minor Romani p 4 m 5 n 3 s 4 d 3 t2 343542
1493 Lydian Minor p 2 m 6 n 2 s 6 d 2 t3 262623
1499 Bebop Locrian p 5 m 5 n 6 s 5 d 4 t3 456553
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1621 Scriabin's Prometheus p2m4n2s4dt2 142422
1643 Locrian Natural 6 p 4 m 4 n 5 s 3 d 3 t2 335442
1709 Dorian p 6m3n 4s5d 2t 254361
1717 Mixolydian p 6m3n 4s5d 2t 254361
1725 Minor Bebop p 7 m 4 n 5 s 6 d 4 t2 465472
1741 Lydian Diminished p 4 m 4 n 5 s 3 d 3 t2 335442
1749 Acoustic p 4 m 4 n 4 s 5 d 2 t2 254442
1753 Hungarian Major p 3 m 3 n 6 s 3 d 3 t3 336333
1755 Octatonic p 4 m 4 n 8 s 4 d 4 t4 448444
2257 Lydian Pentatonic p3m2nsd2t 211231
2275 Messiaen Mode 5 p 4 m 2 s 2 d 4 t3 420243
2457 Augmented p 3m6n 3d 3 303630
2475 Neapolitan Minor p 4 m 5 n 3 s 4 d 3 t2 343542
2477 Harmonic Minor p 4 m 4 n 5 s 3 d 3 t2 335442
2483 Double Harmonic p 4 m 5 n 4 s 2 d 4 t2 424542
2509 Double Harmonic Minor p 4 m 5 n 4 s 2 d 4 t2 424542
2535 Messiaen Mode 4 p 6 m 4 n 4 s 4 d 6 t4 644464
2731 Neapolitan Major p 2 m 6 n 2 s 6 d 2 t3 262623
2733 Melodic Minor Ascending p 4 m 4 n 4 s 5 d 2 t2 254442
2741 Major p 6m3n 4s5d 2t 254361
2773 Lydian p 6m3n 4s5d 2t 254361
2777 Aeolian Harmonic p 4 m 4 n 5 s 3 d 3 t2 335442
2869 Major Augmented p 4 m 4 n 5 s 3 d 3 t2 335442
2901 Lydian Augmented p 4 m 4 n 4 s 5 d 2 t2 254442
2925 Diminished p 4 m 4 n 8 s 4 d 4 t4 448444
2989 Bebop Minor p 5 m 5 n 6 s 5 d 4 t3 456553
2997 Major Bebop p 6 m 5 n 6 s 5 d 4 t2 456562
3055 Messiaen Mode 7 p 8 m 8 n 8 s 8 d 8 t5 888885
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3411 Enigmatic p 4 m 4 n 3 s 5 d 3 t2 353442
3445 Messiaen Mode 6 p 4 m 6 n 4 s 6 d 4 t4 464644
3549 Messiaen Mode 3 p 6 m 9 n 6 s 6 d 6 t3 666963
3669 Mothian p 4 m 4 n 3 s 5 d 3 t2 353442
3765 Dominant Bebop p 7 m 4 n 5 s 6 d 4 t2 465472
4095 Chromatic p12m12n12s12d12t6 12121212126
Is there an optimal or elegant way to find all scales with a given spectrum?
What patterns appear in interval distribution?
Which are the most common, and least common spectra?
Deep Scales
A "deep" scale is one for which the interval vector consists of unique values. There are only two Prime Deep Scales, and all their
rotations and reflections will also be Deep. One of them is the major diatonic collection, and the other is the major scale with the leading
tone omitted. Here they are:
693 1387
Evenness
Another interesting property of a scale is whether the notes are evenly spaced, or clumped together. The theory of musical scale
evenness owes to "Diatonic Set Theory", the work of Richard Krantz and Jack Douhett7. In their paper, they explain how you can
determine the "evenness" of a scale, first by establishing the intervals between each note and every other.
Um conceito crucial para entender na Teoria dos Conjuntos Diatônicos é a distinção
entre um intervalo genérico e um intervalo específico . Um intervalo específico é o
número de semitons entre dois tons; por exemplo, entre um C e um E, esse é um
intervalo específico de 4 semitons. O intervalo genérico é o número de passos de
escala entre dois tons de uma escala; por exemplo, na escala de C maior, a distância
entre C e E é 2.
Para medir a uniformidade da escala, o primeiro passo é construir os espectros de
Generic interval is 2, Specific interval is 5
distribuição . Os espectros mostram os intervalos específicos distintos entre as notas,
para cada intervalo genérico da escala. Cada espectro é notado assim:
<intervalo genérico> = { intervalo específico, intervalo específico, ...}
O número entre colchetes angulares é o intervalo genérico , ou seja, estamos pedindo "por notas que estão a esta quantidade de passos
de distância na escala". Os números entre colchetes são os intervalos específicos que encontramos presentes para esses passos, ou seja,
"entre esses passos, encontramos notas que estão a esta quantidade de semitons de distância".
É melhor explicado com um exemplo. Abaixo está o diagrama da pulseira de escala e os espectros de distribuição para a Escala 1449:
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Escala Notas Espectros de distribuição
<1> = {1,2,3}
<2> = {3,4,5}
1449 <3> = {5,7}
<4> = {7,8,9}
<5> = {9,10,11}
Na linha 1, o primeiro espectro, <1> indica que estamos olhando para notas que estão a um passo de escala de distância uma da outra.
Temos notas que estão a um semitom de distância (por exemplo, Sol e Sol#), dois semitons (Ré# e Fá) e três semitons (Có e Ré#).
Duplicatas dessas são ignoradas; queremos apenas saber quais intervalos estão presentes, não quantos deles existem.
Na linha 2, o segundo espectro, <2> indica que estamos olhando para notas que estão a dois passos de escala de distância uma da outra.
Vemos pares que estão a três semitons de distância (por exemplo, F e G#), quatro semitons (D# e G) e cinco semitons (C e F).
Quando há mais de um intervalo específico, a largura do espectro é a diferença entre o maior e o menor valor. Por exemplo, para o
espectro <3> acima, os intervalos específicos são {5,7} e, portanto, sua largura é 2, que é 7 menos 5.
A variação do espectro é a soma de todas essas larguras, dividida pelo número de tons.
Uma vez que os espectros de distribuição são construídos, nós os analisamos para descobrir propriedades interessantes da escala. Por
exemplo,
Se todos os espectros tiverem apenas um intervalo específico, então a escala terá distribuição exatamente igual
Se os espectros tiverem dois intervalos com uma diferença não maior que um, então a escala será maximamente uniforme - ela será
distribuída tão uniformemente quanto possível, sem espaço para melhorias.
Se os espectros tiverem larguras maiores que 1, então eles não são maximamente uniformes.
Se houver exatamente dois intervalos específicos em todos os espectros, então diz-se que a escala tem a propriedade de Myhill .
Em última análise, a medida da uniformidade de uma escala é sua Variação de Espectros. Somamos todas as larguras de espectro e
dividimos pelo número de tons na escala para obter uma largura média em relação ao tamanho da escala. Se uma escala tem notas
perfeitamente espaçadas com uniformidade completamente uniforme, então ela tem uma variação de espectros de zero. Uma variação
maior significa que a distribuição da escala é menos uniforme.
As quatro escalas a seguir têm uma pontuação perfeita - uma variação espectral de zero:
273 585 1365 4095
Obviamente, é possível distribuir uniformemente 6 tons em uma escala de 12 tons. Mas é impossível fazer isso com uma escala de 5
tons (pentatônica) ou 7 tons (heptatônica). Para tais contagens de tons, tudo o que podemos esperar alcançar é uma distribuição
otimamente uniforme .
Abaixo estão todas as escalas primárias (ou seja, com rotações e reflexões omitidas), classificadas da mais par para a menos par. Se
você clicar em cada página de detalhes da escala, poderá ler sua variação de espectros lá.
3 tons
273
4 tons
585 325 293 297 277 291 275
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5 tons
661 597 595 341 587 403 339 333 355 331 307 327 309 301
299 283 313 295 279
6 tons
1365 819 715 723 717 693 691 685 683 427 679 667 619 455
663 615 423 363 603 411 347 359 365 407 605 599 371 591
349 399 343 335 315 311 303 317 287
7 tons
1387 1371 1367 859 871 855 731 823 747 743 727 699 733 719
695 471 443 439 631 701 755 463 687 375 431 671 623 607
415 379 367 381 351 319
8 tons
1755 1495 1467 1463 1455 1399 975 951 943 1391 887 1375 879 891
927 759 751 863 495 735 831 763 765 703 479 639 447 383
9 tons
1911 1775 1519 1759 1503 1471 991 959 1407 895 767 511
10 tons
2015 1983 1919 1791 1535 1023
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11 tons
2047
12 tons
4095
Propriedade de Myhill
A Propriedade de Myhill é a qualidade de um conjunto de classes de pitch onde o espectro tem exatamente dois intervalos específicos
para cada intervalo genérico. Existem 6 escalas primárias com a propriedade de Myhill.
341 511 661 1023 1387 2047
Há um capítulo no livro sobre a Propriedade Myhill - e por que ela é importante .
Propriedade
Na seção sobre uniformidade, discutimos os conceitos de Intervalos Genéricos e Intervalos Específicos . Há uma propriedade de uma
escala chamada "Propriedade", que indica se a relação entre intervalos genéricos e específicos é ambígua ou não. Essa propriedade foi
descoberta por David Rothenberg em 1978, por isso às vezes é chamada de "Propriedade de Rothenberg".
Rothenberg afirmou que há três níveis de propriedade. No nível mais exclusivo, há aqueles cujos intervalos específicos têm uma relação
inequívoca com os passos da escala genérica; estes são chamados de Estritamente Próprios . Um exemplo fácil de uma escala
estritamente própria é a escala cromática de 12 tons. Se você ouvir um intervalo de 3 semitons, você sabe sem nenhuma dúvida que é a
distância genérica de 3 passos da escala. Qualquer intervalo específico de 7 semitons será, sem nenhuma ambiguidade, um intervalo
genérico de 7 passos da escala. E assim por diante.
Escalas estritamente próprias não são comuns. Como todas as transformações de uma escala têm a mesma propriedade, aqui veremos
apenas escalas primas. Aqui estão todas as estritamente próprias:
273 291 293 297 325 585 661 819 293 1365 1755 4095
Rothenberg definiu que abaixo dessas escalas estritamente próprias, há um estrato de escalas que são meramente próprias , mas não
estritamente assim. Para ser próprio, um intervalo específico pode descrever dois intervalos genéricos diferentes, mas não deve haver
nenhuma sobreposição. Em outras palavras, em uma escala própria , nunca deve haver uma quarta genérica que seja menor que uma
terceira genérica; mas elas podem ter o mesmo tamanho. A coleção de escalas próprias é maior que a coleção estrita, mas ainda é um
clube exclusivo. Aqui estão todas as escalas primárias que são próprias, mas não estritamente assim:
67 69 73 163 165 275 277 339 341 403 587 595 597 683
685 691 693 715 717 723 859 1367 1371 1387 1463 1467 1495 1775
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1911 1983 2015 2047
Por fim, há todas as outras escalas que não são adequadas de forma alguma; essas são Escalas Impróprias . Todas essas escalas terão
sobreposição de intervalos, onde o tamanho de um intervalo genérico não garante que ele seja especificamente maior ou menor do que
outro intervalo genérico.
Você pode julgar a propriedade de uma escala inspecionando seus espectros de distribuição. Olhe para esta escala:
Escala Notas Espectros de distribuição
<1> = {1,2,3}
<2> = {3,4,5}
1449 <3> = {5,7}
<4> = {7,8,9}
<5> = {9,10,11}
Observe o espectro de cada intervalo genérico e como os intervalos específicos se encaixam em nichos. O intervalo específico de 3
semitons pode ser <1> ou <2>. O intervalo específico de 5 semitons pode ser <2> ou <3>, e assim por diante. Os intervalos genéricos se
encontram e compartilham bordas comuns, mas não se sobrepõem . Isso significa que essa escala é própria , mas não é estritamente
própria .
A seguir, veremos um exemplo de escala imprópria , a escala menor napolitana .
Escala Notas Espectros de distribuição
<1> = {1,2,3}
<2> = {2,3,4}
2475 <3> = {4,5,6}
<4> = {6,7,8}
<5> = {8,9,10}
<6> = {9,10,11}
The impropriety of this scale is evident in two of its specific intervals. In Neapolitan Minor, it is possible to have a generic interval of
two scale steps with a specific interval of 2 (between B and D flat), which is smaller than a generic interval of one step with a specific
interval of 3 (between A flat and B). The fact that a 2nd can be larger than a 3rd means this scale is not proper. The same situation
exists where a generic interval of 5 scale steps can have a specific interval of 10, while a generic interval of 6 can have an interval of 9.
This "overlap" of specific intervals in the distribution spectra indicates that this scale is improper.
You might think, what's the big deal here? The deal is that when we list the strictly proper and proper scales, they include all the
diatonic modes, common scales like whole tone and the more typical pentatonics, consonant scales that are typically used in music. The
Propriety of a scale is a good indicator of "sounds good", and yet it's a measurement that has no basis in the harmonic series, which
most other theories rely on for the notion of consonance. Propriety also has no reliance on the tuning system being comprised of 12
equal semitones. Because of this interesting observation of interval distribution patterns, propriety can be applied to tuning systems of
more than (or less than) 12 tones, to pick out scales that are likely to have meaningful potential for music-making.
Maximal Area
Maximal Area is a property invented by David Rappaport8. He observed that along with the maximally even sets, there are popular
scales that share a similar composition of intervals, but not in their most evenly spaced configuration. Rappaport observed that when
tones of a scale are arranged around a circle, the interior area of a polygon with vertices at each tone describes a "score" that favours
popular scales. Every scale with maximal evenness will also have maximal area, but not all scales with maximal area are maximally
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Note that the interior area for a scale is identical for all transpositions and inversions of a scale, so it suffices to measure the area for
prime scales only. While for each cardinality there will be only one prime set that has maximal evenness, there may be multiple prime
sets that share the same maximal area. Here they are.
Cardinality Interior Sets
Area
3 tones 1.299 273 Augmented Triad
4 tones 2 585 Diminished Seventh
5 tones 2.299 597 Kung 661 Major Pentatonic
6 tones 2.598 1365 Whole Tone
7 tones 2.665 1367 Leading Whole-Tone Inverse 1371 Superlocrian 1387 Locrian
8 tones 2.732 1375 Bothyllic 1391 Aeradyllic 1399 Syryllic 1455 Quartal Octamode
1463 Zaptyllic 1467 Spanish Phrygian 1495 Messiaen Mode 6 Rotation 2
1755 Octatonic
9 tones 2.799 1407 Tharygic 1471 Radygic 1503 Padygic 1519 Locrian/Aeolian Mixed
1759 Pylygic 1775 Lyrygic 1911 Messiaen Mode 3 Rotation 1
10 tones 2.866 1535 Mixodyllian 1791 Aerygyllian 1919 Rocryllian 1983 Soryllian
2015 Messiaen Mode 7 Rotation 4
11 tones 2.933 2047 Chromatic Undecamode
12 tones 3 4095 Chromatic
Hemitonia and Tritonia
One interesting approach to understanding scales is to look at the distribution of consonant and dissonant intervals in the scale. We did
this already in the "spectrum analysis" above, but two intervals in particular are commonly regarded in more depth: tritones and
semitones - which are deemed the most dissonant of intervals, and those that give a scale its spice and flavour.
A scale that contains semitones is called "hemitonic", and we will also refer to a hemitonic as the scale member that has the upper
semitone neighbour (for example, mi-fa and ti-do in a major scale, the hemitones are mi and fa).
A scale that contains tritones is called "tritonic", and we will also refer to a tritonic as the scale member that has a tritone above it. This
concept seems very close to the notion of "imperfection" (explained below)
Since hemitonia and tritonia are based on the interval spectrum, all the modes of a scale will have the same hemitonia. For example, the
major scale is dihemitonic and ancohemitonic; thus so are dorian, phrygian, lydian, etc.
Number of tones # of Hemitonic Scales # of Tritonic Scales
3 0 0
4 12 24
5 140 150
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6 335 335
7 413 413
8 322 322
9 165 165
10 55 55
11 11 11
12 1 1
It's well to know that so many scales are hemitonic and tritonic (having more than zero semitones or tritones), but obviously some scales
are more hemitonic than others. A scale could have no hemitonics ("ahemitonic"), one ("unihemitonic"), two ("dihemitonic"), three
("trihemitonic") and so on. Let's look at the count of hemitones in our scales.
Number of hemitones found in all scales
Number of hemitones
tones in scale 0 1 2 3 4 5 6 7 8 9 10 11 12
3 1 0 0 0 0 0 0 0 0 0 0 0 0
4 19 12 0 0 0 0 0 0 0 0 0 0 0
5 15 80 60 0 0 0 0 0 0 0 0 0 0
6 1 30 150 140 15 0 0 0 0 0 0 0 0
7 0 0 21 140 210 42 0 0 0 0 0 0 0
8 0 0 0 0 70 168 84 0 0 0 0 0 0
9 0 0 0 0 0 0 84 72 9 0 0 0 0
10 0 0 0 0 0 0 0 0 45 10 0 0 0
11 0 0 0 0 0 0 0 0 0 0 11 0 0
12 0 0 0 0 0 0 0 0 0 0 0 0 1
Fun fact: there are no scales with 11 hemitones. Do you understand why?
Number of tritones found in all scales
Number of tritones
tones in scale 0 1 2 3 4 5 6 7 8 9 10 11 12
3 1 0 0 0 0 0 0 0 0 0 0 0 0
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4 7 16 8 0 0 0 0 0 0 0 0 0 0
5 5 40 75 30 5 0 0 0 0 0 0 0 0
6 1 12 102 146 69 6 0 0 0 0 0 0 0
7 0 0 14 112 196 84 7 0 0 0 0 0 0
8 0 0 0 0 62 168 84 8 0 0 0 0 0
9 0 0 0 0 0 0 84 72 9 0 0 0 0
10 0 0 0 0 0 0 0 0 45 10 0 0 0
11 0 0 0 0 0 0 0 0 0 0 11 0 0
12 0 0 0 0 0 0 0 0 0 0 0 0 1
Cohemitonia
Cohemitonia is the presense of two semitones consecutively in scale order. For instance, if a scale has three cromatically consecutive
notes, then it is cohemitonic. We will also refer to the cehemitonic as the tone that has two semitone neighbours above it.
Scales
400 scales
scales
200
0
0 1 2 3 4 5 6 7 8 9 10 11 12
cohemitones
Proximity
We would consider two scales to be "near" each other, if they bear many similarities; sharing many of the same notes, such that it would
take few mutations to turn one into the other.
This distance measured by mutation is almost the same thing as a "Levenshtein Distance". The normal definition of
a Levenshtein Distance on a string of characters allows three kinds of mutation: insertion, deletion, and substitution.
Our scale mutations are different from a string mutation, in that scales can't do substitution, instead we move tones
up or down with rules for handling collision. This difference means we can't employ all the elegant formulas
bequeathed to us by Vladimir Levenshtein.
We can mutate a scale in three ways:
Move a tone up or down by a semitone
Remove a tone
Add a tone
It is simple to generate all the scales at a distance of 1, just by performing all possible mutations to every interval above the root.
Example
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add a tone at C# 2743 Staptyllic
lower the D to D ♭ 2739 Mela Suryakanta
raise the D to D# 2745 Mela Sulini
delete the D 2737 Raga Hari Nata
add a tone at D# 2749 Spanish Octamode 1st Rotation
lower the E to E ♭ 2733 Melodic Minor Ascending
raise the E to F same as deleting E
delete the E 2725 Raga Nagagandhari
lower the F to E same as deleting F
raise the F to F# 2773 Lydian
delete the F 2709 Raga Kumud
add a tone at F# 2805 Ichikotsuchô
lower the G to G ♭ 2677 Thodian
raise the G to G# 2869 Major Augmented
delete the G 2613 Raga Hamsa Vinodini
add a tone at G# 2997 Major Bebop
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lower the A to A ♭ 2485 Harmonic Major
raise the A to A# 3253 Mela Naganandini
delete the A 2229 Raga Nalinakanti
add a tone at A# 3765 Dominant Bebop
lower the B to B ♭ 1717 Mixolydian
raise the B to C same as deleting B
delete the B 693 Arezzo Major Diatonic Hexachord
Evidently since every scale will have a collection of neighbours similar to this one, a complete graph of scale proximity is large, but not
unfathomably so.
We can also easily calculate the Levenshtein distance between two scales. Apply an XOR operation to expose changed bits between two
scales. Adjacent on bits in the XOR where the bits were different in the original scale identify a "move" operation. Any bits remaining
are either an addition or deletion.
Imperfection
Imperfection is a concept invented (so far as I can tell) by William Zeitler, to describe the presence or absense of perfect fifths in the
scale tones. Any tone in the scale that does not have the perfect fifth above it represented in the scale is an "imperfect" tone. The number
of imperfections is a metric that plausibly correlates with the perception of dissonance in a sonority.
The only scale that has no imperfections is the 12-tone chromatic scale.
This table differs from Zeitler's9, because this script does not de-duplicate modes. If an imperfection exists in a scale, it will also exist in
all the sibling modes of that scale. Hence the single imperfect tone in the 11-tone scale is found 11 times (in 11 scales that are all
modally related), whereas Zeitler only counts it as one.
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number of notes in scale # of Imperfections
0 1 2 3 4 5 6
1 0 0 0 0 0 0 0
2 0 0 0 0 0 0 0
3 0 0 0 1 0 0 0
4 0 0 8 16 7 0 0
5 0 5 30 75 40 5 0
6 0 6 69 146 102 12 1
7 0 7 84 196 112 14 0
8 0 8 84 168 62 0 0
9 0 9 72 84 0 0 0
10 0 10 45 0 0 0 0
11 0 11 0 0 0 0 0
12 1 0 0 0 0 0 0
Going Further
Looking at the table, there are 5 scales of 5 tones with one imperfection. There are 6 scales of 6 tones with only one imperfection.
The same patten continues right up to 11 tones. What causes this pattern?
The only 7-note scale with only one imperfection is the major diatonic scale (plus all its modes). Is it a coincidence that we find
this scale sonically pleasing?
Negative
One peculiar way we can manipulate a scale is to "flip its bits" -- so that every bit that is on becomes off, and all that were of are turned
on. If you flip a scale with a root tone, you will get a non-scale without a root tone; so it's not so useful to speak of negating a scale,
instead we negate an entire modal family to find the modal family that is its negative.
For example, one that's easy to conceptualize is the major scale, which (in C) occupies all the white keys on a piano. The negative of the
major scale is all the notes that aren't in the major scale - just the black keys, which interestingly have the pattern of a major pentatonic
(with F# as the root). In pitch class set theory, the negative of a set is called its "complement", and Dr Forte named complementary pairs
with matching numbers.
Glossary
TET
Twelve-tone Equal Temperament. The system in which our octave is split into twelve equal intervals.
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achiral
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Not having chirality, i.e. the mirror image can be achieved by rotation.
ancohemitonic
A scale that is not cohemitonic. This either means it contain no semitones (and thus is anhemitonic), or contain semitones
(being hemitonic) where none of the semitones appear consecutively in scale order.
anhemitonic
A scale that does not include any semitones
atritonic
Containing no tritones
balance
Having tones distributed such that if they were equal weights distributed on a spokes of a 12-spoke wheel, the wheel would
balance on its centre.
cardinality
Fancy way of saying "the number of things" in a group or set. Cardinal numbers are numbers used for counting, in contrast to
ordinal numbers for denoting sequence, or nominal numbers that names or identifies something. If a scale has seven tones,
then its cardinality is seven.
chiral
The quality of being different from ones own mirror-image, in a way that can not be achieved by rotation.
cohemitonic
Cohemitonic scales contain two or more semitones (making them hemitonic) such that two or more of the semitones appear
consecutively in scale order. Example: the Hungarian minor scale
coherence
An unabiguous relationship between specific intervals and generic intervals. Also known as propriety.
complement relation
Having all the tones that are absent from another set
dicohemitonic
A scale that contains exactly two semitones consecutively in scale order
dihemitonic
A scale that contains exactly two semitones
distribution spectra
The collection of the spectrum of distribution of specific intervals for each generic interval of a scale
enantiomorph
The result of a transformation by reflection, i.e. with its interval pattern reversed, but specifically in the case of chiral scales.
generic interval
The number of scale steps between two tones
heliotonic
A scale which can be rendered with one notehead on each line and space, using nothing more than single or double alterations
hemitonic
A scale that has tones separated by one semitone
heptatonic
A scale with seven tones. For example, the major scale is heptatonic.
imperfection
A scale member where the perfect fifth above it is not in the scale
interval of equivalence
The interval at which the pitch class is considered equivalent. In TET, the interval of equivalence is 12, aka an octave.
interval pattern
The sequence of semitones, tones, and larger intervals, that describe a scale. For example, a major scale is "T T S T T T S".
Expressed numerically, a major scale has the interval pattern [2,2,1,2,2,2]; the final interval is implied.
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interval spectrum
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A signature invented by Howard Hanson, describing all the intervals that can be found in a sonority
mutation
The alteration of a scale by addition or removal of a tone, or by shifting a tone up or down by a semitone.
normal form
the most compact way to arrange of pitches in a set, without altering the set by transposition
octatonic
A scale with eight tones.
palindromic
A scale that has the same interval pattern forward and backward.
pentatonic
A scale with five tones
pitch class set
An unordered set of pitches, usually described in integer form.
prime form
The most exemplary form of a pitch class set, being the transformation that is most condensed and left-packed.
propriety
An unabiguous relationship between specific intervals and generic intervals. Also known as coherence.
proximity
The number of transformations required to change one scale into another
ridge tone
A pitch that appears in every scale built upon the scale degrees of itself.
root
The lowest tone of the scale, signifying the tone upon which all others are measured as an interval above
scale
A set of tones starting on a root, contained within one octave, having no more than a major third leap
sonority
The whole of a sound, comprised of all component tones
specific interval
The number of semitones between two tones
spectra variation
The average of the spectra widths with respect to the number of tones in a scale.
spectrum width
The difference between the lowest and highest specific intervals for a given generic interval.
subset relation
Consisting of tones that are all present within another set
symmetry
Having the ability to transform into itself by reflection or rotation
tone
A single entity having a pitch, as in one member of a scale
trihemitonic
A scale that contains exactly three semitones
tritonic
Containing one or more tritones
truncation
A scale produced by removing tones from another scale
unhemitonic
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29/03/2025, 10:33 Um estudo de escalas musicais por Ian Ring
z-relation
The relation between two pitch class sets that have the same interval vector, but are not transpositions or inversions of each
other.
This scale analysis was created by Ian Ring, Canadian Composer of works for Piano, and total music theory nerd. Scale notation
generated by VexFlow, and MIDI playback by MIDI.js. Some scale names used on this and other pages are ©2005 William Zeitler
(http://allthescales.org).
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
Assumptions
Representing a Scale
What is a Scale?
Modes
Symmetry
Balance
Interval Spectrum
Evenness
Hemitonia and Tritonia
Proximity
Imperfection
Negative
Glossary
References
[1] http://allthescales.org/
[2] Allan Forte, The Structure of Atonal Music (1973, ISBN 0-300-02120-8).
[3] "The Integer Model Of Pitch", Basic Atonal Theory, John Rahn p.35 ISBN 0-02-873-160-3
[4] Howard Hanson, "Harmonic Materials Of Modern Music", ISBN 978-0891972075
[5] Paul Nelson, "Pitch Class Sets" http://composertools.com/Theory/PCSets.pdf
[6] http://andrewduncan.net/cmt/
[ 7 ] Distribuições circulares e variações de espectros na música. http://archive.bridgesmathart.org/2005/bridges2005-255.pdf
[ 8 ] Rappoport, David. "Conjuntos de área máxima e harmonia". Graphs and Combinatorics, Vol 23, 2007-06-01.
[ 9 ] Zeitler, William, tabela de imperfeições contadas em escalas. https://allthescales.org/intro.html#Perfection
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