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Scale 1311: "Bynian"

Scale 1311: Bynian, 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

Zeitler
Bynian
Dozenal
Ithian

Analysis

Cardinality

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

7 (heptatonic)

Pitch Class Set

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

{0,1,2,3,4,8,10}

Forte Number

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

7-9

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: 3861

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.

4

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.

6

Prime Form

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

no
prime: 351

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, 4, 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.

<4, 5, 3, 4, 3, 2>

Interval Spectrum

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

p3m4n3s5d4t2

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

Spectra Variation

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

3.429

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.

2.299

Polygon Perimeter

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

5.803

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.

(46, 40, 104)

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}131.5
Minor Triadsc♯m{1,4,8}221
Augmented TriadsC+{0,4,8}221
Diminished Triadsa♯°{10,1,4}131.5

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

Parsimonious Voice Leading Between Common Triads of Scale 1311. Created by Ian Ring ©2019 C+ C+ c#m c#m C+->c#m G# G# C+->G# a#° a#° c#m->a#°

Above is a graph showing opportunities for parsimonious voice leading between triads*. Each line connects two triads that have two common tones, while the third tone changes by one generic scale step.

Diameter3
Radius2
Self-Centeredno
Central VerticesC+, c♯m
Peripheral VerticesG♯, a♯°

Modes

Modes are the rotational transformation of this scale. Scale 1311 can be rotated to make 6 other scales. The 1st mode is itself.

2nd mode:
Scale 2703
Scale 2703: Galian, Ian Ring Music TheoryGalian
3rd mode:
Scale 3399
Scale 3399: Zonian, Ian Ring Music TheoryZonian
4th mode:
Scale 3747
Scale 3747: Myrian, Ian Ring Music TheoryMyrian
5th mode:
Scale 3921
Scale 3921: Pythian, Ian Ring Music TheoryPythian
6th mode:
Scale 501
Scale 501: Katylian, Ian Ring Music TheoryKatylian
7th mode:
Scale 1149
Scale 1149: Bydian, Ian Ring Music TheoryBydian

Prime

The prime form of this scale is Scale 351

Scale 351Scale 351: Epanian, Ian Ring Music TheoryEpanian

Complement

The heptatonic modal family [1311, 2703, 3399, 3747, 3921, 501, 1149] (Forte: 7-9) is the complement of the pentatonic modal family [87, 1473, 1797, 2091, 3093] (Forte: 5-9)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 1311 is 3861

Scale 3861Scale 3861: Phroptian, Ian Ring Music TheoryPhroptian

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 1311 is chiral, and its enantiomorph is scale 3861

Scale 3861Scale 3861: Phroptian, Ian Ring Music TheoryPhroptian

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> 1311       T0I <11,0> 3861
T1 <1,1> 2622      T1I <11,1> 3627
T2 <1,2> 1149      T2I <11,2> 3159
T3 <1,3> 2298      T3I <11,3> 2223
T4 <1,4> 501      T4I <11,4> 351
T5 <1,5> 1002      T5I <11,5> 702
T6 <1,6> 2004      T6I <11,6> 1404
T7 <1,7> 4008      T7I <11,7> 2808
T8 <1,8> 3921      T8I <11,8> 1521
T9 <1,9> 3747      T9I <11,9> 3042
T10 <1,10> 3399      T10I <11,10> 1989
T11 <1,11> 2703      T11I <11,11> 3978
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 1341      T0MI <7,0> 1941
T1M <5,1> 2682      T1MI <7,1> 3882
T2M <5,2> 1269      T2MI <7,2> 3669
T3M <5,3> 2538      T3MI <7,3> 3243
T4M <5,4> 981      T4MI <7,4> 2391
T5M <5,5> 1962      T5MI <7,5> 687
T6M <5,6> 3924      T6MI <7,6> 1374
T7M <5,7> 3753      T7MI <7,7> 2748
T8M <5,8> 3411      T8MI <7,8> 1401
T9M <5,9> 2727      T9MI <7,9> 2802
T10M <5,10> 1359      T10MI <7,10> 1509
T11M <5,11> 2718      T11MI <7,11> 3018

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 1309Scale 1309: Pogimic, Ian Ring Music TheoryPogimic
Scale 1307Scale 1307: Katorimic, Ian Ring Music TheoryKatorimic
Scale 1303Scale 1303: Epolimic, Ian Ring Music TheoryEpolimic
Scale 1295Scale 1295: Huyian, Ian Ring Music TheoryHuyian
Scale 1327Scale 1327: Zalian, Ian Ring Music TheoryZalian
Scale 1343Scale 1343: Zalyllic, Ian Ring Music TheoryZalyllic
Scale 1375Scale 1375: Bothyllic, Ian Ring Music TheoryBothyllic
Scale 1439Scale 1439: Rolyllic, Ian Ring Music TheoryRolyllic
Scale 1055Scale 1055: Gihian, Ian Ring Music TheoryGihian
Scale 1183Scale 1183: Sadian, Ian Ring Music TheorySadian
Scale 1567Scale 1567: Jobian, Ian Ring Music TheoryJobian
Scale 1823Scale 1823: Phralyllic, Ian Ring Music TheoryPhralyllic
Scale 287Scale 287: Gynimic, Ian Ring Music TheoryGynimic
Scale 799Scale 799: Lolian, Ian Ring Music TheoryLolian
Scale 2335Scale 2335: Epydian, Ian Ring Music TheoryEpydian
Scale 3359Scale 3359: Bonyllic, Ian Ring Music TheoryBonyllic

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.