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Scale 1061: "Gilian"

Scale 1061: Gilian, 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
Gilian

Analysis

Cardinality

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

4 (tetratonic)

Pitch Class Set

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

{0,2,5,10}

Forte Number

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

4-22

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: 1157

Hemitonia

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

0 (anhemitonic)

Cohemitonia

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

0 (ancohemitonic)

Imperfections

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

2

Modes

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

3

Prime Form

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

no
prime: 149

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.

[2, 3, 5, 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.

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

Interval Spectrum

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

p2mns2

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

Spectra Variation

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

2.5

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.

1.616

Polygon Perimeter

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

5.346

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.

(2, 2, 16)

Common Triads

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

* Pitches are shown with C as the root

Triad TypeTriad*Pitch ClassesDegreeEccentricityCloseness Centrality
Major TriadsA♯{10,2,5}000

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

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 1061 can be rotated to make 3 other scales. The 1st mode is itself.

2nd mode:
Scale 1289
Scale 1289: Huvian, Ian Ring Music TheoryHuvian
3rd mode:
Scale 673
Scale 673: Estian, Ian Ring Music TheoryEstian
4th mode:
Scale 149
Scale 149: Eskimo Tetratonic, Ian Ring Music TheoryEskimo TetratonicThis is the prime mode

Prime

The prime form of this scale is Scale 149

Scale 149Scale 149: Eskimo Tetratonic, Ian Ring Music TheoryEskimo Tetratonic

Complement

The tetratonic modal family [1061, 1289, 673, 149] (Forte: 4-22) is the complement of the octatonic modal family [1391, 1469, 1781, 1963, 2743, 3029, 3419, 3757] (Forte: 8-22)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 1061 is 1157

Scale 1157Scale 1157: Alkian, Ian Ring Music TheoryAlkian

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 1061 is chiral, and its enantiomorph is scale 1157

Scale 1157Scale 1157: Alkian, Ian Ring Music TheoryAlkian

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> 1061       T0I <11,0> 1157
T1 <1,1> 2122      T1I <11,1> 2314
T2 <1,2> 149      T2I <11,2> 533
T3 <1,3> 298      T3I <11,3> 1066
T4 <1,4> 596      T4I <11,4> 2132
T5 <1,5> 1192      T5I <11,5> 169
T6 <1,6> 2384      T6I <11,6> 338
T7 <1,7> 673      T7I <11,7> 676
T8 <1,8> 1346      T8I <11,8> 1352
T9 <1,9> 2692      T9I <11,9> 2704
T10 <1,10> 1289      T10I <11,10> 1313
T11 <1,11> 2578      T11I <11,11> 2626
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 1031      T0MI <7,0> 3077
T1M <5,1> 2062      T1MI <7,1> 2059
T2M <5,2> 29      T2MI <7,2> 23
T3M <5,3> 58      T3MI <7,3> 46
T4M <5,4> 116      T4MI <7,4> 92
T5M <5,5> 232      T5MI <7,5> 184
T6M <5,6> 464      T6MI <7,6> 368
T7M <5,7> 928      T7MI <7,7> 736
T8M <5,8> 1856      T8MI <7,8> 1472
T9M <5,9> 3712      T9MI <7,9> 2944
T10M <5,10> 3329      T10MI <7,10> 1793
T11M <5,11> 2563      T11MI <7,11> 3586

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 1063Scale 1063: Gomian, Ian Ring Music TheoryGomian
Scale 1057Scale 1057: Sansagari, Ian Ring Music TheorySansagari
Scale 1059Scale 1059: Gikian, Ian Ring Music TheoryGikian
Scale 1065Scale 1065: Gonian, Ian Ring Music TheoryGonian
Scale 1069Scale 1069: Goqian, Ian Ring Music TheoryGoqian
Scale 1077Scale 1077: Govian, Ian Ring Music TheoryGovian
Scale 1029Scale 1029: Ampian, Ian Ring Music TheoryAmpian
Scale 1045Scale 1045: Gibian, Ian Ring Music TheoryGibian
Scale 1093Scale 1093: Lydic, Ian Ring Music TheoryLydic
Scale 1125Scale 1125: Ionaritonic, Ian Ring Music TheoryIonaritonic
Scale 1189Scale 1189: Suspended Pentatonic, Ian Ring Music TheorySuspended Pentatonic
Scale 1317Scale 1317: Chaio, Ian Ring Music TheoryChaio
Scale 1573Scale 1573: Raga Guhamanohari, Ian Ring Music TheoryRaga Guhamanohari
Scale 37Scale 37: Afoian, Ian Ring Music TheoryAfoian
Scale 549Scale 549: Raga Bhavani, Ian Ring Music TheoryRaga Bhavani
Scale 2085Scale 2085: Mogian, Ian Ring Music TheoryMogian
Scale 3109Scale 3109: Tidian, Ian Ring Music TheoryTidian

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.