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Scale 2183: "Nenian"

Scale 2183: Nenian, 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




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


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.

enantiomorph: 3107


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.

prime: 143


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


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, 5, 4, 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.

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

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

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.

(17, 3, 32)

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{7,11,2}000

The following pitch classes are not present in any of the common triads: {0,1}

Since there is only one common triad in this scale, there are no opportunities for parsimonious voice leading between triads.


Modes are the rotational transformation of this scale. Scale 2183 can be rotated to make 4 other scales. The 1st mode is itself.

2nd mode:
Scale 3139
Scale 3139: Towian, Ian Ring Music TheoryTowian
3rd mode:
Scale 3617
Scale 3617: Wovian, Ian Ring Music TheoryWovian
4th mode:
Scale 241
Scale 241: Bilian, Ian Ring Music TheoryBilian
5th mode:
Scale 271
Scale 271: Bodian, Ian Ring Music TheoryBodian


The prime form of this scale is Scale 143

Scale 143Scale 143: Bacian, Ian Ring Music TheoryBacian


The pentatonic modal family [2183, 3139, 3617, 241, 271] (Forte: 5-5) is the complement of the heptatonic modal family [239, 1927, 2167, 3011, 3131, 3553, 3613] (Forte: 7-5)


The inverse of a scale is a reflection using the root as its axis. The inverse of 2183 is 3107

Scale 3107Scale 3107: Tician, Ian Ring Music TheoryTician


Only scales that are chiral will have an enantiomorph. Scale 2183 is chiral, and its enantiomorph is scale 3107

Scale 3107Scale 3107: Tician, Ian Ring Music TheoryTician


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> 2183       T0I <11,0> 3107
T1 <1,1> 271      T1I <11,1> 2119
T2 <1,2> 542      T2I <11,2> 143
T3 <1,3> 1084      T3I <11,3> 286
T4 <1,4> 2168      T4I <11,4> 572
T5 <1,5> 241      T5I <11,5> 1144
T6 <1,6> 482      T6I <11,6> 2288
T7 <1,7> 964      T7I <11,7> 481
T8 <1,8> 1928      T8I <11,8> 962
T9 <1,9> 3856      T9I <11,9> 1924
T10 <1,10> 3617      T10I <11,10> 3848
T11 <1,11> 3139      T11I <11,11> 3601
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 3233      T0MI <7,0> 167
T1M <5,1> 2371      T1MI <7,1> 334
T2M <5,2> 647      T2MI <7,2> 668
T3M <5,3> 1294      T3MI <7,3> 1336
T4M <5,4> 2588      T4MI <7,4> 2672
T5M <5,5> 1081      T5MI <7,5> 1249
T6M <5,6> 2162      T6MI <7,6> 2498
T7M <5,7> 229      T7MI <7,7> 901
T8M <5,8> 458      T8MI <7,8> 1802
T9M <5,9> 916      T9MI <7,9> 3604
T10M <5,10> 1832      T10MI <7,10> 3113
T11M <5,11> 3664      T11MI <7,11> 2131

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 2181Scale 2181: Nemian, Ian Ring Music TheoryNemian
Scale 2179Scale 2179, Ian Ring Music Theory
Scale 2187Scale 2187: Ionothitonic, Ian Ring Music TheoryIonothitonic
Scale 2191Scale 2191: Thydimic, Ian Ring Music TheoryThydimic
Scale 2199Scale 2199: Dyptimic, Ian Ring Music TheoryDyptimic
Scale 2215Scale 2215: Ranimic, Ian Ring Music TheoryRanimic
Scale 2247Scale 2247: Raga Vijayasri, Ian Ring Music TheoryRaga Vijayasri
Scale 2055Scale 2055: Tetratonic Chromatic 2, Ian Ring Music TheoryTetratonic Chromatic 2
Scale 2119Scale 2119: Mubian, Ian Ring Music TheoryMubian
Scale 2311Scale 2311: Raga Kumarapriya, Ian Ring Music TheoryRaga Kumarapriya
Scale 2439Scale 2439: Pagian, Ian Ring Music TheoryPagian
Scale 2695Scale 2695: Rakian, Ian Ring Music TheoryRakian
Scale 3207Scale 3207: Ucoian, Ian Ring Music TheoryUcoian
Scale 135Scale 135: Armian, Ian Ring Music TheoryArmian
Scale 1159Scale 1159: Hasian, Ian Ring Music TheoryHasian

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.