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Scale 1157: "Alkian"

Scale 1157: Alkian, 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
Alkian

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

{0,2,7,10}

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: 1061

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, 5, 3, 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
Minor Triadsgm{7,10,2}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 1157 can be rotated to make 3 other scales. The 1st mode is itself.

2nd mode:
Scale 1313
Scale 1313: Iplian, Ian Ring Music TheoryIplian
3rd mode:
Scale 169
Scale 169: Vietnamese Tetratonic, Ian Ring Music TheoryVietnamese Tetratonic
4th mode:
Scale 533
Scale 533: Dehian, Ian Ring Music TheoryDehian

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 [1157, 1313, 169, 533] (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 1157 is 1061

Scale 1061Scale 1061: Gilian, Ian Ring Music TheoryGilian

Enantiomorph

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

Scale 1061Scale 1061: Gilian, Ian Ring Music TheoryGilian

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

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 1159Scale 1159: Hasian, Ian Ring Music TheoryHasian
Scale 1153Scale 1153: Choian, Ian Ring Music TheoryChoian
Scale 1155Scale 1155, Ian Ring Music Theory
Scale 1161Scale 1161: Bi Yu, Ian Ring Music TheoryBi Yu
Scale 1165Scale 1165: Gycritonic, Ian Ring Music TheoryGycritonic
Scale 1173Scale 1173: Dominant Pentatonic, Ian Ring Music TheoryDominant Pentatonic
Scale 1189Scale 1189: Suspended Pentatonic, Ian Ring Music TheorySuspended Pentatonic
Scale 1221Scale 1221: Epyritonic, Ian Ring Music TheoryEpyritonic
Scale 1029Scale 1029: Ampian, Ian Ring Music TheoryAmpian
Scale 1093Scale 1093: Lydic, Ian Ring Music TheoryLydic
Scale 1285Scale 1285: Husian, Ian Ring Music TheoryHusian
Scale 1413Scale 1413: Iruian, Ian Ring Music TheoryIruian
Scale 1669Scale 1669: Raga Matha Kokila, Ian Ring Music TheoryRaga Matha Kokila
Scale 133Scale 133: Suspended Second Triad, Ian Ring Music TheorySuspended Second Triad
Scale 645Scale 645: Duyian, Ian Ring Music TheoryDuyian
Scale 2181Scale 2181: Nemian, Ian Ring Music TheoryNemian
Scale 3205Scale 3205: Utwian, Ian Ring Music TheoryUtwian

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.