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Scale 2159: "Neyian"

Scale 2159: Neyian, 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
Neyian

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

{0,1,2,3,5,6,11}

Forte Number

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

7-4

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: 3779

Hemitonia

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

5 (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: 223

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, 2, 1, 5, 1]

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.

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

Interval Spectrum

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

p3m3n4s4d5t2

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

Spectra Variation

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

3.714

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.

1.933

Polygon Perimeter

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

5.52

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.

(57, 26, 90)

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 TriadsB{11,3,6}221
Minor Triadsbm{11,2,6}221
Diminished Triads{0,3,6}131.5
{11,2,5}131.5

The following pitch classes are not present in any of the common triads: {1}

Parsimonious Voice Leading Between Common Triads of Scale 2159. Created by Ian Ring ©2019 B B c°->B bm bm b°->bm bm->B

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 Verticesbm, B
Peripheral Verticesc°, b°

Modes

Modes are the rotational transformation of this scale. Scale 2159 can be rotated to make 6 other scales. The 1st mode is itself.

2nd mode:
Scale 3127
Scale 3127: Topian, Ian Ring Music TheoryTopian
3rd mode:
Scale 3611
Scale 3611: Worian, Ian Ring Music TheoryWorian
4th mode:
Scale 3853
Scale 3853: Yomian, Ian Ring Music TheoryYomian
5th mode:
Scale 1987
Scale 1987: Mexian, Ian Ring Music TheoryMexian
6th mode:
Scale 3041
Scale 3041: Tanian, Ian Ring Music TheoryTanian
7th mode:
Scale 223
Scale 223: Bizian, Ian Ring Music TheoryBizianThis is the prime mode

Prime

The prime form of this scale is Scale 223

Scale 223Scale 223: Bizian, Ian Ring Music TheoryBizian

Complement

The heptatonic modal family [2159, 3127, 3611, 3853, 1987, 3041, 223] (Forte: 7-4) is the complement of the pentatonic modal family [79, 961, 2087, 3091, 3593] (Forte: 5-4)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 2159 is 3779

Scale 3779Scale 3779, Ian Ring Music Theory

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 2159 is chiral, and its enantiomorph is scale 3779

Scale 3779Scale 3779, Ian Ring Music Theory

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> 2159       T0I <11,0> 3779
T1 <1,1> 223      T1I <11,1> 3463
T2 <1,2> 446      T2I <11,2> 2831
T3 <1,3> 892      T3I <11,3> 1567
T4 <1,4> 1784      T4I <11,4> 3134
T5 <1,5> 3568      T5I <11,5> 2173
T6 <1,6> 3041      T6I <11,6> 251
T7 <1,7> 1987      T7I <11,7> 502
T8 <1,8> 3974      T8I <11,8> 1004
T9 <1,9> 3853      T9I <11,9> 2008
T10 <1,10> 3611      T10I <11,10> 4016
T11 <1,11> 3127      T11I <11,11> 3937
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 1259      T0MI <7,0> 2789
T1M <5,1> 2518      T1MI <7,1> 1483
T2M <5,2> 941      T2MI <7,2> 2966
T3M <5,3> 1882      T3MI <7,3> 1837
T4M <5,4> 3764      T4MI <7,4> 3674
T5M <5,5> 3433      T5MI <7,5> 3253
T6M <5,6> 2771      T6MI <7,6> 2411
T7M <5,7> 1447      T7MI <7,7> 727
T8M <5,8> 2894      T8MI <7,8> 1454
T9M <5,9> 1693      T9MI <7,9> 2908
T10M <5,10> 3386      T10MI <7,10> 1721
T11M <5,11> 2677      T11MI <7,11> 3442

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 2157Scale 2157: Nexian, Ian Ring Music TheoryNexian
Scale 2155Scale 2155: Newian, Ian Ring Music TheoryNewian
Scale 2151Scale 2151: Natian, Ian Ring Music TheoryNatian
Scale 2167Scale 2167: Nedian, Ian Ring Music TheoryNedian
Scale 2175Scale 2175: Octatonic Chromatic 2, Ian Ring Music TheoryOctatonic Chromatic 2
Scale 2127Scale 2127: Nafian, Ian Ring Music TheoryNafian
Scale 2143Scale 2143: Napian, Ian Ring Music TheoryNapian
Scale 2095Scale 2095: Mumian, Ian Ring Music TheoryMumian
Scale 2223Scale 2223: Konian, Ian Ring Music TheoryKonian
Scale 2287Scale 2287: Lodyllic, Ian Ring Music TheoryLodyllic
Scale 2415Scale 2415: Lothyllic, Ian Ring Music TheoryLothyllic
Scale 2671Scale 2671: Aerolyllic, Ian Ring Music TheoryAerolyllic
Scale 3183Scale 3183: Mixonyllic, Ian Ring Music TheoryMixonyllic
Scale 111Scale 111: Aroian, Ian Ring Music TheoryAroian
Scale 1135Scale 1135: Katolian, Ian Ring Music TheoryKatolian

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.