 The Exciting Universe Of Music Theory
presents

more than you ever wanted to know about...

# Scale 1765: "Lonian" ### 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).

Zeitler
Lonian
Dozenal
Kusian

## 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

{0,2,5,6,7,9,10}

#### Forte Number

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

7-27

#### 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: 1261

#### Hemitonia

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

3 (trihemitonic)

#### Cohemitonia

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

1 (uncohemitonic)

#### 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.

6

#### Prime Form

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

no
prime: 695

#### 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, 1, 1, 2, 1, 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.

<3, 4, 4, 4, 5, 1>

#### Interval Spectrum

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

p5m4n4s4d3t

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

#### Spectra Variation

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

2.286

#### 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.

2.549

#### Polygon Perimeter

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

5.967

#### 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.

(9, 35, 98)

## Tertian Harmonic Chords

Tertian chords are made from alternating members of the scale, ie built from "stacked thirds". Not all scales lend themselves well to tertian harmony. 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

F{5,9,0}241.86
A♯{10,2,5}231.57
gm{7,10,2}142.14

view full size

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.

Diameter 4 2 no D F, gm

## Modes

Modes are the rotational transformation of this scale. Scale 1765 can be rotated to make 6 other scales. The 1st mode is itself.

 2nd mode:Scale 1465 Mela Ragavardhani 3rd mode:Scale 695 Sarian This is the prime mode 4th mode:Scale 2395 Zoptian 5th mode:Scale 3245 Mela Varunapriya 6th mode:Scale 1835 Byptian 7th mode:Scale 2965 Darian

## Prime

The prime form of this scale is Scale 695

 Scale 695 Sarian

## Complement

The heptatonic modal family [1765, 1465, 695, 2395, 3245, 1835, 2965] (Forte: 7-27) is the complement of the pentatonic modal family [299, 689, 1417, 1573, 2197] (Forte: 5-27)

## Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 1765 is 1261

 Scale 1261 Modified Blues

## Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 1765 is chiral, and its enantiomorph is scale 1261

 Scale 1261 Modified Blues

## 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> 1765       T0I <11,0> 1261
T1 <1,1> 3530      T1I <11,1> 2522
T2 <1,2> 2965      T2I <11,2> 949
T3 <1,3> 1835      T3I <11,3> 1898
T4 <1,4> 3670      T4I <11,4> 3796
T5 <1,5> 3245      T5I <11,5> 3497
T6 <1,6> 2395      T6I <11,6> 2899
T7 <1,7> 695      T7I <11,7> 1703
T8 <1,8> 1390      T8I <11,8> 3406
T9 <1,9> 2780      T9I <11,9> 2717
T10 <1,10> 1465      T10I <11,10> 1339
T11 <1,11> 2930      T11I <11,11> 2678
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 3655      T0MI <7,0> 3151
T1M <5,1> 3215      T1MI <7,1> 2207
T2M <5,2> 2335      T2MI <7,2> 319
T3M <5,3> 575      T3MI <7,3> 638
T4M <5,4> 1150      T4MI <7,4> 1276
T5M <5,5> 2300      T5MI <7,5> 2552
T6M <5,6> 505      T6MI <7,6> 1009
T7M <5,7> 1010      T7MI <7,7> 2018
T8M <5,8> 2020      T8MI <7,8> 4036
T9M <5,9> 4040      T9MI <7,9> 3977
T10M <5,10> 3985      T10MI <7,10> 3859
T11M <5,11> 3875      T11MI <7,11> 3623

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 1767 Dyryllic Scale 1761 Kuqian Scale 1763 Katalian Scale 1769 Blues Heptatonic II Scale 1773 Blues Scale II Scale 1781 Gocryllic Scale 1733 Raga Sarasvati Scale 1749 Acoustic Scale 1701 Dominant Seventh Scale 1637 Syptimic Scale 1893 Ionylian Scale 2021 Katycryllic Scale 1253 Zolimic Scale 1509 Ragian Scale 741 Gathimic Scale 2789 Zolian Scale 3813 Aeologyllic

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.