Theory of palindromic MOS scales or rhythms: Difference between revisions

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While working on a project to make a MOS rhythm generator audio plugin (to be released in 2019), I found out that I liked the sound of mirror symmetrical or palindromic rhythms, rhythms that are the same pattern both forwards and backwards and so I wanted to find a method to wrestle out ALL the palindromic sequences of a single MOS rhythm.
{{archive}}


I knew how to make the whole MOS scale palindromic, by using the same amount of positive and negative generators. Added together along with the starting note, it turned out that I all of them odd.
While working on a project to make a [[MOS rhythm]] generator audio plugin (to be released in 2019), I found out that I liked the sound of mirror symmetrical or palindromic rhythms, rhythms that are the same pattern both forwards and backwards and so I wanted to find a method to wrestle out ALL the palindromic patterns of a single MOS rhythm.
 
And since this palindromic mode is mirror symmetric through and through, all you need to do to find the smaller palindromic sequences was to delete two notes from it, one from either end.
I knew how to make the whole [[MOS scale]] palindromic, by using the same amount of positive and negative [[generator]]s. And that only all the palindromic subsets of MOS scales of ODD cardinality could be found in this way. So for MOS scales of even cardinality, the process described here won't work because there is no palindromic mode for the whole scale.  
 
A trivial example of this would be the diatonic scale. By using the same amount of positive and negative generators, we end up with the following pattern, which we call the dorian mode:
Since this primary palindromic mode is of course mirror symmetric through and through, all you need to do to find smaller palindromic subsets was to delete two notes from it at a time, one from either end.
 
7 notes: DEFGABC, 7 steps: 2122212
A trivial example of this would be the [[diatonic scale]]. By using the same amount of positive and negative generators, we end up with the following pattern, which we call the dorian mode:
 
And by chopping of both the end notes repeatedly, we end up with the following patterns that are also palindromic:
7 notes: DEFGABC, 7 steps: 2122212
 
DEFGABCD
And by chopping of both the end notes repeatedly, we end up with the following patterns that are also palindromic:
EFGABC
  FGAB
DEFGABCD
  GA
  EFGABC
 
  FGAB
2122212
    GA
12221
  222
2122212
  2
  12221
 
  222
Paul Erlich then showed me that by removing the middle step of this mode while leaving the notes untouched, would give you another scale which was also palindromic:
    2
 
7 notes: ABCDEFG, 6 steps 212212
[[Paul Erlich]] then showed me that by removing the middle step of the primary palindromic mode while leaving the notes untouched, would give you another secondary scale which was also palindromic:
 
And by chopping of both the end notes repeatedly, we end up with the additional patterns that are also palindromic:
7 notes: ABCDEFG, 6 steps 212212
 
ABCDEFG
And by chopping of both the end notes repeatedly, we end up with the additional patterns that are also palindromic:
BCDEF
  CDE
ABCDEFG
 
  BCDEF
212212
  CDE
1221
  22
212212
 
  1221
So now we had a neat way of finding the palindromic mode of a scale and it's counterpart on the other end of the scale (when the scale is viewed as a complete circle anyway), that would let us repeatedly chop of both ends to locate ALL the palindromic patterns.
  22
 
Still, I could find palindromic patterns that were not part of any of these "parent palindrome" rhythms, like 212 and so the quest was on to find the missing parent that contained the rest of them.
So now we had a neat way of finding the palindromic mode of a scale and it's counterpart on the other end of the scale (when the scale is viewed as a complete circle anyway), that would let us repeatedly chop of both ends to locate ALL the palindromic patterns.
 
I can't remember how I discovered it, but I know that the rhythm I was working on was 34.21.13, where the palindromic mode is:
Still, we could find palindromic patterns that were not part of any of these "parent palindrome" rhythms, like 212 and so the quest was on to find a third parent scale that maybe contained the rest of them.
 
13 notes and 13 steps: 3232332332323
I can't remember how I discovered it, but I know that the rhythm I was working on was 34.21.13, where the palindromic mode is:
 
By chopping of both the end notes repeatedly, we end up with the additional patterns that are also palindromic:
13 notes and 13 steps: 3232332332323
 
3232332332323
By chopping of both the end notes repeatedly, we end up with the additional patterns that are also palindromic:
23233233232
  323323323
3232332332323
  2332332
  23233233232
    33233
  323323323
    323
    2332332
      2
    33233
 
      323
By removing the middle step of it we get the other parent palindromic scale:
      2
13 notes and 12 steps: 332323323233
 
By removing the middle step of it we get the other parent palindromic scale:
By chopping of both the end notes repeatedly, we end up with the additional patterns that are also palindromic:
 
13 notes and 12 steps: 332323323233
332323323233
3232332323
By chopping of both the end notes repeatedly, we end up with the additional patterns that are also palindromic:
  23233232
  323323
332323323233
    2332
  3232332323
    33
  23233232
 
    323323
It was while I was working with this scale I discovered that if you delete either the first or the last note of the symmetrical chain of generators that was used to make the first or primary palindromic mode, that you hit upon a new palindromic parent scale that contained the remaining palindromic patterns.
    2332
 
      33
32332323323
233232332
Because I was working with this scale visualized as a circle I discovered that if you delete either the first or the last note of the symmetrical chain of generators that was used to make the primary palindromic mode, you would hit upon a third palindromic parent scale that contained the remaining palindromic patterns.
  3323233
  32323
32332323323
    232
  233232332
    3
  3323233
 
    32323
It may be a bit hard to picture this with such an unfamiliar scale, but if we go back to our first example with the diatonic scale, we see that while we already have DEFGABCD and ABCDEFG, we can chop of either F or B from the chain FCGDAEB that was used to generate them both, we end up with either FCGDAE or CGDAEB as the generator chain for our new parent palindromic scale:
    232
 
      3
CDEFGA
DEFG
It may be a bit hard to picture this with such an unfamiliar scale, but if we go back to our first example with the diatonic scale, we see that if we chop of either F or B from the chain FCGDAEB that was used to generate both the two primary palindromic modes DEFGABCD and ABCDEFG, we end up with either FCGDAE or CGDAEB as the generator chain for our new parent palindromic scale:
  EF
 
CDEFGA
22122
  DEFG
212
  EF
  1
 
22122
or...
  212
 
  1
GABCDE
ABCD
or...
  BC
 
GABCDE
22122
  ABCD
212
  BC
  1
 
22122
So, depending on your definition of palindromic scale (is a scale consisting of two notes with one step between them a "scale"?), the diatonic scale has the following palindromic step sequences:
  212
 
  1
2122212, 212212, 12221, 22122, 1221, 222, 212, 22, 2, 1
 
So, depending on your definition of palindromic SCALES (is a palindromic scale consisting of only two notes with one step between them a "scale"?), the diatonic scale at least can be said to have the following palindromic SUBSETS:
10 or 8 if you discount the one step patterns.
 
2122212, 212212, 12221, 22122, 1221, 222, 212, 22, 2, 1
And for the 34.21.13 scale:
 
A total of 10 (or 8 if you discount the one step subsets).
3232332332323, 332323323233, 23233233232, 32332323323, 3232332323, 323323323, 233232332, 23233232, 3323233, 2332332, 323323, 33233, 32323, 2332, 323, 232, 33, 3, 2
 
And for the 34.21.13 scale:
A total of 19 or 17 if you discount the one step patterns.
 
3232332332323, 332323323233, 23233233232, 32332323323, 3232332323, 323323323, 233232332, 23233232, 3323233, 2332332, 323323, 33233, 32323, 2332, 323, 232, 33, 3, 2
I have no way of verifying if these indeed are all the palindromic step sequences of these MOS scales, but I think that's all of them and I have verified that the method finds them all in two more MOS scales.
 
A total of 19 (or 17 if you discount the one step subsets).
It would be fun if someone good with maths could verify if my theory of the three parent palindromic patterns is true.
 
I know of no present mathematical way of verifying if these are indeed ALL the palindromic subsets of these MOS scales, but I think that's all of them and can verify that the method has worked for all the other MOS scales I have tried it on.
You might think, what is the point of all of this? But when it comes to rhythm it can now be proven that these three parent palindromic rhythms contain all of the smaller palindromic rhythms and it makes a cool feature of the rhythm generator to be able to rotate the rhythm to the three modes that together contain all of them.  
 
-[[Joakim Bang Larsen]] (February 2019)
-Joakim Bang Larsen (February 2019)
[[Category:MOS scale]]
[[Category:Non-scale applications of MOS]]

Latest revision as of 07:08, 9 January 2024

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While working on a project to make a MOS rhythm generator audio plugin (to be released in 2019), I found out that I liked the sound of mirror symmetrical or palindromic rhythms, rhythms that are the same pattern both forwards and backwards and so I wanted to find a method to wrestle out ALL the palindromic patterns of a single MOS rhythm.

I knew how to make the whole MOS scale palindromic, by using the same amount of positive and negative generators.  And that only all the palindromic subsets of MOS scales of ODD cardinality could be found in this way. So for MOS scales of even cardinality, the process described here won't work because there is no palindromic mode for the whole scale. 

Since this primary palindromic mode is of course mirror symmetric through and through, all you need to do to find smaller palindromic subsets was to delete two notes from it at a time, one from either end.

A trivial example of this would be the diatonic scale. By using the same amount of positive and negative generators, we end up with the following pattern, which we call the dorian mode:

7 notes: DEFGABC, 7 steps: 2122212

And by chopping of both the end notes repeatedly, we end up with the following patterns that are also palindromic:

DEFGABCD
 EFGABC
  FGAB
   GA

2122212
 12221
  222
   2

Paul Erlich then showed me that by removing the middle step of the primary palindromic mode while leaving the notes untouched, would give you another secondary scale which was also palindromic:

7 notes: ABCDEFG, 6 steps 212212

And by chopping of both the end notes repeatedly, we end up with the additional patterns that are also palindromic:

ABCDEFG
 BCDEF
  CDE

212212
 1221
  22

So now we had a neat way of finding the palindromic mode of a scale and it's counterpart on the other end of the scale (when the scale is viewed as a complete circle anyway), that would let us repeatedly chop of both ends to locate ALL the palindromic patterns.

Still, we could find palindromic patterns that were not part of any of these "parent palindrome" rhythms, like 212 and so the quest was on to find a third parent scale that maybe contained the rest of them.

I can't remember how I discovered it, but I know that the rhythm I was working on was 34.21.13, where the palindromic mode is:

13 notes and 13 steps: 3232332332323

By chopping of both the end notes repeatedly, we end up with the additional patterns that are also palindromic:

3232332332323
 23233233232
  323323323
   2332332
    33233
     323
      2

By removing the middle step of it we get the other parent palindromic scale:

13 notes and 12 steps: 332323323233

By chopping of both the end notes repeatedly, we end up with the additional patterns that are also palindromic:

332323323233
 3232332323
  23233232
   323323
    2332
     33

Because I was working with this scale visualized as a circle I discovered that if you delete either the first or the last note of the symmetrical chain of generators that was used to make the primary palindromic mode, you would hit upon a third palindromic parent scale that contained the remaining palindromic patterns.

32332323323
 233232332
  3323233
   32323
    232
     3

It may be a bit hard to picture this with such an unfamiliar scale, but if we go back to our first example with the diatonic scale, we see that if we chop of either F or B from the chain FCGDAEB that was used to generate both the two primary palindromic modes DEFGABCD and ABCDEFG, we end up with either FCGDAE or CGDAEB as the generator chain for our new parent palindromic scale:

CDEFGA
 DEFG
  EF

22122
 212
  1

or...

GABCDE
 ABCD
  BC

22122
 212
  1

So, depending on your definition of palindromic SCALES (is a palindromic scale consisting of only two notes with one step between them a "scale"?), the diatonic scale at least can be said to have the following palindromic SUBSETS:

2122212, 212212, 12221, 22122, 1221, 222, 212, 22, 2, 1

A total of 10 (or 8 if you discount the one step subsets).

And for the 34.21.13 scale:

3232332332323, 332323323233, 23233233232, 32332323323, 3232332323, 323323323, 233232332, 23233232, 3323233, 2332332, 323323, 33233, 32323, 2332, 323, 232, 33, 3, 2

A total of 19 (or 17 if you discount the one step subsets).

I know of no present mathematical way of verifying if these are indeed ALL the palindromic subsets of these MOS scales, but I think that's all of them and can verify that the method has worked for all the other MOS scales I have tried it on.

-Joakim Bang Larsen (February 2019)