The Exciting Universe Of Music Theory
presents

more than you ever wanted to know about...

Scale 1055: "Gihian"

Scale 1055: Gihian, Ian Ring Music Theory

Bracelet Diagram

The bracelet shows tones that are in this scale, starting from the top (12 o'clock), going clockwise in ascending semitones. The "i" icon marks imperfect tones that do not have a tone a fifth above. Dotted lines indicate axes of symmetry.

Tonnetz Diagram

Tonnetz diagrams are popular in Neo-Riemannian theory. Notes are arranged in a lattice where perfect 5th intervals are from left to right, major third are northeast, and major 6th intervals are northwest. Other directions are inverse of their opposite. This diagram helps to visualize common triads (they're triangles) and circle-of-fifth relationships (horizontal lines).

Common Names

Dozenal
Gihian

Analysis

Cardinality

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

6 (hexatonic)

Pitch Class Set

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

{0,1,2,3,4,10}

Forte Number

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

6-2

Rotational Symmetry

Some scales have rotational symmetry, sometimes known as "limited transposition". If there are any rotational symmetries, these are the intervals of periodicity.

none

Reflection Axes

If a scale has an axis of reflective symmetry, then it can transform into itself by inversion. It also implies that the scale has Ridge Tones. Notably an axis of reflection can occur directly on a tone or half way between two tones.

none

Palindromicity

A palindromic scale has the same pattern of intervals both ascending and descending.

no

Chirality

A chiral scale can not be transformed into its inverse by rotation. If a scale is chiral, then it has an enantiomorph.

yes
enantiomorph: 3845

Hemitonia

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

4 (multihemitonic)

Cohemitonia

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

3 (tricohemitonic)

Imperfections

An imperfection is a tone which does not have a perfect fifth above it in the scale. This value is the quantity of imperfections in this scale.

5

Modes

Modes are the rotational transformations of this scale. This number does not include the scale itself, so the number is usually one less than its cardinality; unless there are rotational symmetries then there are even fewer modes.

5

Prime Form

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

no
prime: 95

Generator

Indicates if the scale can be constructed using a generator, and an origin.

none

Deep Scale

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

no

Interval Structure

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

[1, 1, 1, 1, 6, 2]

Interval Vector

Describes the intervallic content of the scale, read from left to right as the number of occurences of each interval size from semitone, up to six semitones.

<4, 4, 3, 2, 1, 1>

Interval Spectrum

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

pm2n3s4d4t

Distribution Spectra

Describes the specific interval sizes that exist for each generic interval size. Each generic <g> has a spectrum {n,...}. The Spectrum Width is the difference between the highest and lowest values in each spectrum.

<1> = {1,2,6}
<2> = {2,3,7,8}
<3> = {3,4,8,9}
<4> = {4,5,9,10}
<5> = {6,10,11}

Spectra Variation

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

4.667

Maximally Even

A scale is maximally even if the tones are optimally spaced apart from each other.

no

Maximal Area Set

A scale is a maximal area set if a polygon described by vertices dodecimetrically placed around a circle produces the maximal interior area for scales of the same cardinality. All maximally even sets have maximal area, but not all maximal area sets are maximally even.

no

Interior Area

Area of the polygon described by vertices placed for each tone of the scale dodecimetrically around a unit circle, ie a circle with radius of 1.

1.433

Polygon Perimeter

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

5.071

Myhill Property

A scale has Myhill Property if the Interval Spectra has exactly two specific intervals for every generic interval.

no

Balanced

A scale is balanced if the distribution of its tones would satisfy the "centrifuge problem", ie are placed such that it would balance on its centre point.

no

Ridge Tones

Ridge Tones are those that appear in all transpositions of a scale upon the members of that scale. Ridge Tones correspond directly with axes of reflective symmetry.

none

Propriety

Also known as Rothenberg Propriety, named after its inventor. Propriety describes whether every specific interval is uniquely mapped to a generic interval. A scale is either "Proper", "Strictly Proper", or "Improper".

Improper

Heteromorphic Profile

Defined by Norman Carey (2002), the heteromorphic profile is an ordered triple of (c, a, d) where c is the number of contradictions, a is the number of ambiguities, and d is the number of differences. When c is zero, the scale is Proper. When a is also zero, the scale is Strictly Proper.

(34, 13, 55)

Common Triads

These are the common triads (major, minor, augmented and diminished) that you can create from members of this scale.

* Pitches are shown with C as the root

Triad TypeTriad*Pitch ClassesDegreeEccentricityCloseness Centrality
Diminished Triadsa♯°{10,1,4}000

The following pitch classes are not present in any of the common triads: {0,2,3}

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

Modes

Modes are the rotational transformation of this scale. Scale 1055 can be rotated to make 5 other scales. The 1st mode is itself.

2nd mode:
Scale 2575
Scale 2575: Pumian, Ian Ring Music TheoryPumian
3rd mode:
Scale 3335
Scale 3335: Vadian, Ian Ring Music TheoryVadian
4th mode:
Scale 3715
Scale 3715: Xician, Ian Ring Music TheoryXician
5th mode:
Scale 3905
Scale 3905: Yusian, Ian Ring Music TheoryYusian
6th mode:
Scale 125
Scale 125: Atwian, Ian Ring Music TheoryAtwian

Prime

The prime form of this scale is Scale 95

Scale 95Scale 95: Arkian, Ian Ring Music TheoryArkian

Complement

The hexatonic modal family [1055, 2575, 3335, 3715, 3905, 125] (Forte: 6-2) is the complement of the hexatonic modal family [95, 1985, 2095, 3095, 3595, 3845] (Forte: 6-2)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 1055 is 3845

Scale 3845Scale 3845: Yihian, Ian Ring Music TheoryYihian

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 1055 is chiral, and its enantiomorph is scale 3845

Scale 3845Scale 3845: Yihian, Ian Ring Music TheoryYihian

Transformations:

In the abbreviation, the subscript number after "T" is the number of semitones of tranposition, "M" means the pitch class is multiplied by 5, and "I" means the result is inverted. Operation is an identical way to express the same thing; the syntax is <a,b> where each tone of the set x is transformed by the equation y = ax + b

Abbrev Operation Result Abbrev Operation Result
T0 <1,0> 1055       T0I <11,0> 3845
T1 <1,1> 2110      T1I <11,1> 3595
T2 <1,2> 125      T2I <11,2> 3095
T3 <1,3> 250      T3I <11,3> 2095
T4 <1,4> 500      T4I <11,4> 95
T5 <1,5> 1000      T5I <11,5> 190
T6 <1,6> 2000      T6I <11,6> 380
T7 <1,7> 4000      T7I <11,7> 760
T8 <1,8> 3905      T8I <11,8> 1520
T9 <1,9> 3715      T9I <11,9> 3040
T10 <1,10> 3335      T10I <11,10> 1985
T11 <1,11> 2575      T11I <11,11> 3970
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 1325      T0MI <7,0> 1685
T1M <5,1> 2650      T1MI <7,1> 3370
T2M <5,2> 1205      T2MI <7,2> 2645
T3M <5,3> 2410      T3MI <7,3> 1195
T4M <5,4> 725      T4MI <7,4> 2390
T5M <5,5> 1450      T5MI <7,5> 685
T6M <5,6> 2900      T6MI <7,6> 1370
T7M <5,7> 1705      T7MI <7,7> 2740
T8M <5,8> 3410      T8MI <7,8> 1385
T9M <5,9> 2725      T9MI <7,9> 2770
T10M <5,10> 1355      T10MI <7,10> 1445
T11M <5,11> 2710      T11MI <7,11> 2890

The transformations that map this set to itself are: T0

Nearby Scales:

These are other scales that are similar to this one, created by adding a tone, removing a tone, or moving one note up or down a semitone.

Scale 1053Scale 1053: Gigian, Ian Ring Music TheoryGigian
Scale 1051Scale 1051: Gifian, Ian Ring Music TheoryGifian
Scale 1047Scale 1047: Gician, Ian Ring Music TheoryGician
Scale 1039Scale 1039: Gixian, Ian Ring Music TheoryGixian
Scale 1071Scale 1071: Gorian, Ian Ring Music TheoryGorian
Scale 1087Scale 1087: Gobian, Ian Ring Music TheoryGobian
Scale 1119Scale 1119: Rarian, Ian Ring Music TheoryRarian
Scale 1183Scale 1183: Sadian, Ian Ring Music TheorySadian
Scale 1311Scale 1311: Bynian, Ian Ring Music TheoryBynian
Scale 1567Scale 1567: Jobian, Ian Ring Music TheoryJobian
Scale 31Scale 31: Pentatonic Chromatic, Ian Ring Music TheoryPentatonic Chromatic
Scale 543Scale 543: Denian, Ian Ring Music TheoryDenian
Scale 2079Scale 2079: Hexatonic Chromatic 4, Ian Ring Music TheoryHexatonic Chromatic 4
Scale 3103Scale 3103: Heptatonic Chromatic 3, Ian Ring Music TheoryHeptatonic Chromatic 3

This scale analysis was created by Ian Ring, Canadian Composer of works for Piano, and total music theory nerd. Scale notation generated by VexFlow, graph visualization by Graphviz, and MIDI playback by MIDI.js. All other diagrams and visualizations are © Ian Ring. Some scale names used on this and other pages are ©2005 William Zeitler (http://allthescales.org) used with permission.

Pitch spelling algorithm employed here is adapted from a method by Uzay Bora, Baris Tekin Tezel, and Alper Vahaplar. (An algorithm for spelling the pitches of any musical scale) Contact authors Patent owner: Dokuz Eylül University, Used with Permission. Contact TTO

Tons of background resources contributed to the production of this summary; for a list of these peruse this Bibliography. Special thanks to Richard Repp for helping with technical accuracy, and George Howlett for assistance with the Carnatic ragas.