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Scale 1803: "Lapian"

Scale 1803: Lapian, 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
Lapian

Analysis

Cardinality

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

6 (hexatonic)

Pitch Class Set

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

{0,1,3,8,9,10}

Forte Number

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

6-Z11

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: 2589

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.

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.

5

Prime Form

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

no
prime: 183

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, 2, 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.

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

Interval Spectrum

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

p3m2n3s3d3t

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

Spectra Variation

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

3.667

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.

1.866

Polygon Perimeter

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

5.485

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.

(27, 11, 59)

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: {1,10}

Parsimonious Voice Leading Between Common Triads of Scale 1803. 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 1803 can be rotated to make 5 other scales. The 1st mode is itself.

2nd mode:
Scale 2949
Scale 2949: Sikian, Ian Ring Music TheorySikian
3rd mode:
Scale 1761
Scale 1761: Kuqian, Ian Ring Music TheoryKuqian
4th mode:
Scale 183
Scale 183: Bebian, Ian Ring Music TheoryBebianThis is the prime mode
5th mode:
Scale 2139
Scale 2139: Namian, Ian Ring Music TheoryNamian
6th mode:
Scale 3117
Scale 3117: Tijian, Ian Ring Music TheoryTijian

Prime

The prime form of this scale is Scale 183

Scale 183Scale 183: Bebian, Ian Ring Music TheoryBebian

Complement

The hexatonic modal family [1803, 2949, 1761, 183, 2139, 3117] (Forte: 6-Z11) is the complement of the hexatonic modal family [303, 753, 1929, 2199, 3147, 3621] (Forte: 6-Z40)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 1803 is 2589

Scale 2589Scale 2589: Puvian, Ian Ring Music TheoryPuvian

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 1803 is chiral, and its enantiomorph is scale 2589

Scale 2589Scale 2589: Puvian, Ian Ring Music TheoryPuvian

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> 1803       T0I <11,0> 2589
T1 <1,1> 3606      T1I <11,1> 1083
T2 <1,2> 3117      T2I <11,2> 2166
T3 <1,3> 2139      T3I <11,3> 237
T4 <1,4> 183      T4I <11,4> 474
T5 <1,5> 366      T5I <11,5> 948
T6 <1,6> 732      T6I <11,6> 1896
T7 <1,7> 1464      T7I <11,7> 3792
T8 <1,8> 2928      T8I <11,8> 3489
T9 <1,9> 1761      T9I <11,9> 2883
T10 <1,10> 3522      T10I <11,10> 1671
T11 <1,11> 2949      T11I <11,11> 3342
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 573      T0MI <7,0> 1929
T1M <5,1> 1146      T1MI <7,1> 3858
T2M <5,2> 2292      T2MI <7,2> 3621
T3M <5,3> 489      T3MI <7,3> 3147
T4M <5,4> 978      T4MI <7,4> 2199
T5M <5,5> 1956      T5MI <7,5> 303
T6M <5,6> 3912      T6MI <7,6> 606
T7M <5,7> 3729      T7MI <7,7> 1212
T8M <5,8> 3363      T8MI <7,8> 2424
T9M <5,9> 2631      T9MI <7,9> 753
T10M <5,10> 1167      T10MI <7,10> 1506
T11M <5,11> 2334      T11MI <7,11> 3012

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 1801Scale 1801: Lanian, Ian Ring Music TheoryLanian
Scale 1805Scale 1805: Laqian, Ian Ring Music TheoryLaqian
Scale 1807Scale 1807: Larian, Ian Ring Music TheoryLarian
Scale 1795Scale 1795: Lakian, Ian Ring Music TheoryLakian
Scale 1799Scale 1799: Lamian, Ian Ring Music TheoryLamian
Scale 1811Scale 1811: Kyptimic, Ian Ring Music TheoryKyptimic
Scale 1819Scale 1819: Pydian, Ian Ring Music TheoryPydian
Scale 1835Scale 1835: Byptian, Ian Ring Music TheoryByptian
Scale 1867Scale 1867: Solian, Ian Ring Music TheorySolian
Scale 1931Scale 1931: Stogian, Ian Ring Music TheoryStogian
Scale 1547Scale 1547: Jopian, Ian Ring Music TheoryJopian
Scale 1675Scale 1675: Raga Salagavarali, Ian Ring Music TheoryRaga Salagavarali
Scale 1291Scale 1291: Huwian, Ian Ring Music TheoryHuwian
Scale 779Scale 779: Etrian, Ian Ring Music TheoryEtrian
Scale 2827Scale 2827: Runian, Ian Ring Music TheoryRunian
Scale 3851Scale 3851: Yilian, Ian Ring Music TheoryYilian

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.