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Scale 1289: "Huvian"

Scale 1289: Huvian, 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
Huvian

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

{0,3,8,10}

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: 533

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.

[3, 5, 2, 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 TriadsG♯{8,0,3}000

The following pitch classes are not present in any of the common triads: {10}

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 1289 can be rotated to make 3 other scales. The 1st mode is itself.

2nd mode:
Scale 673
Scale 673: Estian, Ian Ring Music TheoryEstian
3rd mode:
Scale 149
Scale 149: Eskimo Tetratonic, Ian Ring Music TheoryEskimo TetratonicThis is the prime mode
4th mode:
Scale 1061
Scale 1061: Gilian, Ian Ring Music TheoryGilian

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 [1289, 673, 149, 1061] (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 1289 is 533

Scale 533Scale 533: Dehian, Ian Ring Music TheoryDehian

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 1289 is chiral, and its enantiomorph is scale 533

Scale 533Scale 533: Dehian, Ian Ring Music TheoryDehian

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

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 1291Scale 1291: Huwian, Ian Ring Music TheoryHuwian
Scale 1293Scale 1293: Huxian, Ian Ring Music TheoryHuxian
Scale 1281Scale 1281: Huqian, Ian Ring Music TheoryHuqian
Scale 1285Scale 1285: Husian, Ian Ring Music TheoryHusian
Scale 1297Scale 1297: Aeolic, Ian Ring Music TheoryAeolic
Scale 1305Scale 1305: Dynitonic, Ian Ring Music TheoryDynitonic
Scale 1321Scale 1321: Blues Minor, Ian Ring Music TheoryBlues Minor
Scale 1353Scale 1353: Raga Harikauns, Ian Ring Music TheoryRaga Harikauns
Scale 1417Scale 1417: Raga Shailaja, Ian Ring Music TheoryRaga Shailaja
Scale 1033Scale 1033: Allian, Ian Ring Music TheoryAllian
Scale 1161Scale 1161: Bi Yu, Ian Ring Music TheoryBi Yu
Scale 1545Scale 1545: Jonian, Ian Ring Music TheoryJonian
Scale 1801Scale 1801: Lanian, Ian Ring Music TheoryLanian
Scale 265Scale 265: Boxian, Ian Ring Music TheoryBoxian
Scale 777Scale 777: Empian, Ian Ring Music TheoryEmpian
Scale 2313Scale 2313: Osrian, Ian Ring Music TheoryOsrian
Scale 3337Scale 3337: Vafian, Ian Ring Music TheoryVafian

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.