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Scale 15: "Tetratonic Chromatic"

Scale 15: Tetratonic Chromatic, 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

Western Modern
Tetratonic Chromatic



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


Forte Number

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


Rotational Symmetry

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


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.



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



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



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

3 (trihemitonic)


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

2 (dicohemitonic)


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.



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.


Prime Form

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



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

generator: 1
origin: 0

Deep Scale

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


Interval Structure

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

[1, 1, 1, 9]

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.

<3, 2, 1, 0, 0, 0>

Interval Spectrum

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


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> = {1,9}
<2> = {2,10}
<3> = {3,11}

Spectra Variation

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


Maximally Even

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


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.


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.


Polygon Perimeter

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


Myhill Property

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



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.


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.



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".


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.

(5, 0, 10)


This scale has a generator of 1, originating on 0.

Common Triads

There are no common triads (major, minor, augmented and diminished) that can be formed using notes in this scale.


Modes are the rotational transformation of this scale. Scale 15 can be rotated to make 3 other scales. The 1st mode is itself.

2nd mode:
Scale 2055
Scale 2055: Tetratonic Chromatic 2, Ian Ring Music TheoryTetratonic Chromatic 2
3rd mode:
Scale 3075
Scale 3075: Tetratonic Chromatic 3, Ian Ring Music TheoryTetratonic Chromatic 3
4th mode:
Scale 3585
Scale 3585: Tetratonic Chromatic Descending, Ian Ring Music TheoryTetratonic Chromatic Descending


This is the prime form of this scale.


The tetratonic modal family [15, 2055, 3075, 3585] (Forte: 4-1) is the complement of the octatonic modal family [255, 2175, 3135, 3615, 3855, 3975, 4035, 4065] (Forte: 8-1)


The inverse of a scale is a reflection using the root as its axis. The inverse of 15 is 3585

Scale 3585Scale 3585: Tetratonic Chromatic Descending, Ian Ring Music TheoryTetratonic Chromatic Descending


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> 15       T0I <11,0> 3585
T1 <1,1> 30      T1I <11,1> 3075
T2 <1,2> 60      T2I <11,2> 2055
T3 <1,3> 120      T3I <11,3> 15
T4 <1,4> 240      T4I <11,4> 30
T5 <1,5> 480      T5I <11,5> 60
T6 <1,6> 960      T6I <11,6> 120
T7 <1,7> 1920      T7I <11,7> 240
T8 <1,8> 3840      T8I <11,8> 480
T9 <1,9> 3585      T9I <11,9> 960
T10 <1,10> 3075      T10I <11,10> 1920
T11 <1,11> 2055      T11I <11,11> 3840
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 1065      T0MI <7,0> 645
T1M <5,1> 2130      T1MI <7,1> 1290
T2M <5,2> 165      T2MI <7,2> 2580
T3M <5,3> 330      T3MI <7,3> 1065
T4M <5,4> 660      T4MI <7,4> 2130
T5M <5,5> 1320      T5MI <7,5> 165
T6M <5,6> 2640      T6MI <7,6> 330
T7M <5,7> 1185      T7MI <7,7> 660
T8M <5,8> 2370      T8MI <7,8> 1320
T9M <5,9> 645      T9MI <7,9> 2640
T10M <5,10> 1290      T10MI <7,10> 1185
T11M <5,11> 2580      T11MI <7,11> 2370

The transformations that map this set to itself are: T0, T3I

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 13Scale 13: Dijian, Ian Ring Music TheoryDijian
Scale 11Scale 11: Ankian, Ian Ring Music TheoryAnkian
Scale 7Scale 7: Tritonic Chromatic, Ian Ring Music TheoryTritonic Chromatic
Scale 23Scale 23: Aphian, Ian Ring Music TheoryAphian
Scale 31Scale 31: Pentatonic Chromatic, Ian Ring Music TheoryPentatonic Chromatic
Scale 47Scale 47: Agoian, Ian Ring Music TheoryAgoian
Scale 79Scale 79: Appian, Ian Ring Music TheoryAppian
Scale 143Scale 143: Bacian, Ian Ring Music TheoryBacian
Scale 271Scale 271: Bodian, Ian Ring Music TheoryBodian
Scale 527Scale 527: Dedian, Ian Ring Music TheoryDedian
Scale 1039Scale 1039: Gixian, Ian Ring Music TheoryGixian
Scale 2063Scale 2063: Pentatonic Chromatic 2, Ian Ring Music TheoryPentatonic Chromatic 2

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 ( 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.