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Scale 1801: "Lanian"

Scale 1801: Lanian, 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
Lanian

Analysis

Cardinality

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

5 (pentatonic)

Pitch Class Set

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

{0,3,8,9,10}

Forte Number

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

5-Z36

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: 541

Hemitonia

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

2 (dihemitonic)

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.

3

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.

4

Prime Form

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

no
prime: 151

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, 1, 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.

<2, 2, 2, 1, 2, 1>

Interval Spectrum

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

p2mn2s2d2t

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

Spectra Variation

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

4

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.

1.683

Polygon Perimeter

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

5.381

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.

(13, 7, 38)

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}110.5
Diminished Triads{9,0,3}110.5

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

Parsimonious Voice Leading Between Common Triads of Scale 1801. Created by Ian Ring ©2019 G# G# G#->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.

Diameter1
Radius1
Self-Centeredyes

Modes

Modes are the rotational transformation of this scale. Scale 1801 can be rotated to make 4 other scales. The 1st mode is itself.

2nd mode:
Scale 737
Scale 737: Truian, Ian Ring Music TheoryTruian
3rd mode:
Scale 151
Scale 151: Bahian, Ian Ring Music TheoryBahianThis is the prime mode
4th mode:
Scale 2123
Scale 2123: Nacian, Ian Ring Music TheoryNacian
5th mode:
Scale 3109
Scale 3109: Tidian, Ian Ring Music TheoryTidian

Prime

The prime form of this scale is Scale 151

Scale 151Scale 151: Bahian, Ian Ring Music TheoryBahian

Complement

The pentatonic modal family [1801, 737, 151, 2123, 3109] (Forte: 5-Z36) is the complement of the heptatonic modal family [367, 1777, 1931, 2231, 3013, 3163, 3629] (Forte: 7-Z36)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 1801 is 541

Scale 541Scale 541: Demian, Ian Ring Music TheoryDemian

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 1801 is chiral, and its enantiomorph is scale 541

Scale 541Scale 541: Demian, Ian Ring Music TheoryDemian

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> 1801       T0I <11,0> 541
T1 <1,1> 3602      T1I <11,1> 1082
T2 <1,2> 3109      T2I <11,2> 2164
T3 <1,3> 2123      T3I <11,3> 233
T4 <1,4> 151      T4I <11,4> 466
T5 <1,5> 302      T5I <11,5> 932
T6 <1,6> 604      T6I <11,6> 1864
T7 <1,7> 1208      T7I <11,7> 3728
T8 <1,8> 2416      T8I <11,8> 3361
T9 <1,9> 737      T9I <11,9> 2627
T10 <1,10> 1474      T10I <11,10> 1159
T11 <1,11> 2948      T11I <11,11> 2318
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 541      T0MI <7,0> 1801
T1M <5,1> 1082      T1MI <7,1> 3602
T2M <5,2> 2164      T2MI <7,2> 3109
T3M <5,3> 233      T3MI <7,3> 2123
T4M <5,4> 466      T4MI <7,4> 151
T5M <5,5> 932      T5MI <7,5> 302
T6M <5,6> 1864      T6MI <7,6> 604
T7M <5,7> 3728      T7MI <7,7> 1208
T8M <5,8> 3361      T8MI <7,8> 2416
T9M <5,9> 2627      T9MI <7,9> 737
T10M <5,10> 1159      T10MI <7,10> 1474
T11M <5,11> 2318      T11MI <7,11> 2948

The transformations that map this set to itself are: T0, T0MI

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 1803Scale 1803: Lapian, Ian Ring Music TheoryLapian
Scale 1805Scale 1805: Laqian, Ian Ring Music TheoryLaqian
Scale 1793Scale 1793: Lajian, Ian Ring Music TheoryLajian
Scale 1797Scale 1797: Lalian, Ian Ring Music TheoryLalian
Scale 1809Scale 1809: Ranitonic, Ian Ring Music TheoryRanitonic
Scale 1817Scale 1817: Phrythimic, Ian Ring Music TheoryPhrythimic
Scale 1833Scale 1833: Ionacrimic, Ian Ring Music TheoryIonacrimic
Scale 1865Scale 1865: Thagimic, Ian Ring Music TheoryThagimic
Scale 1929Scale 1929: Aeolycrimic, Ian Ring Music TheoryAeolycrimic
Scale 1545Scale 1545: Jonian, Ian Ring Music TheoryJonian
Scale 1673Scale 1673: Thocritonic, Ian Ring Music TheoryThocritonic
Scale 1289Scale 1289: Huvian, Ian Ring Music TheoryHuvian
Scale 777Scale 777: Empian, Ian Ring Music TheoryEmpian
Scale 2825Scale 2825: Rumian, Ian Ring Music TheoryRumian
Scale 3849Scale 3849: Yikian, Ian Ring Music TheoryYikian

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.