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Scale 225: "Bibian"

Scale 225: Bibian, 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
Bibian
Bibian

Analysis

Cardinality

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

4 (tetratonic)

Pitch Class Set

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

{0,5,6,7}

Forte Number

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

4-6

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.

[0]

Palindromicity

A palindromic scale has the same pattern of intervals both ascending and descending.

yes

Chirality

A chiral scale can not be transformed into its inverse by rotation. If a scale is chiral, then it has an enantiomorph.

no

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.

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.

3

Prime Form

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

no
prime: 135

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.

[5, 1, 1, 5]

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, 1, 0, 0, 2, 1>

Interval Spectrum

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

p2sd2t

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

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

Polygon Perimeter

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

4.899

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.

[0]

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.

(4, 0, 13)

Common Triads

There are no common triads (major, minor, augmented and diminished) that can be formed using notes in this scale.

Modes

Modes are the rotational transformation of this scale. Scale 225 can be rotated to make 3 other scales. The 1st mode is itself.

2nd mode:
Scale 135
Scale 135: Armian, Ian Ring Music TheoryArmianThis is the prime mode
3rd mode:
Scale 2115
Scale 2115: Muyian, Ian Ring Music TheoryMuyian
4th mode:
Scale 3105
Scale 3105: Tibian, Ian Ring Music TheoryTibian

Prime

The prime form of this scale is Scale 135

Scale 135Scale 135: Armian, Ian Ring Music TheoryArmian

Complement

The tetratonic modal family [225, 135, 2115, 3105] (Forte: 4-6) is the complement of the octatonic modal family [495, 1935, 2295, 3015, 3195, 3555, 3645, 3825] (Forte: 8-6)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 225 is itself, because it is a palindromic scale!

Scale 225Scale 225: Bibian, Ian Ring Music TheoryBibian

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> 225       T0I <11,0> 225
T1 <1,1> 450      T1I <11,1> 450
T2 <1,2> 900      T2I <11,2> 900
T3 <1,3> 1800      T3I <11,3> 1800
T4 <1,4> 3600      T4I <11,4> 3600
T5 <1,5> 3105      T5I <11,5> 3105
T6 <1,6> 2115      T6I <11,6> 2115
T7 <1,7> 135      T7I <11,7> 135
T8 <1,8> 270      T8I <11,8> 270
T9 <1,9> 540      T9I <11,9> 540
T10 <1,10> 1080      T10I <11,10> 1080
T11 <1,11> 2160      T11I <11,11> 2160
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 2115      T0MI <7,0> 2115
T1M <5,1> 135      T1MI <7,1> 135
T2M <5,2> 270      T2MI <7,2> 270
T3M <5,3> 540      T3MI <7,3> 540
T4M <5,4> 1080      T4MI <7,4> 1080
T5M <5,5> 2160      T5MI <7,5> 2160
T6M <5,6> 225       T6MI <7,6> 225
T7M <5,7> 450      T7MI <7,7> 450
T8M <5,8> 900      T8MI <7,8> 900
T9M <5,9> 1800      T9MI <7,9> 1800
T10M <5,10> 3600      T10MI <7,10> 3600
T11M <5,11> 3105      T11MI <7,11> 3105

The transformations that map this set to itself are: T0, T0I, T6M, T6MI

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 227Scale 227: Bician, Ian Ring Music TheoryBician
Scale 229Scale 229: Bidian, Ian Ring Music TheoryBidian
Scale 233Scale 233: Bigian, Ian Ring Music TheoryBigian
Scale 241Scale 241: Bilian, Ian Ring Music TheoryBilian
Scale 193Scale 193: Raga Ongkari, Ian Ring Music TheoryRaga Ongkari
Scale 209Scale 209: Birian, Ian Ring Music TheoryBirian
Scale 161Scale 161: Raga Sarvasri, Ian Ring Music TheoryRaga Sarvasri
Scale 97Scale 97: Athian, Ian Ring Music TheoryAthian
Scale 353Scale 353: Cebian, Ian Ring Music TheoryCebian
Scale 481Scale 481: Dabian, Ian Ring Music TheoryDabian
Scale 737Scale 737: Truian, Ian Ring Music TheoryTruian
Scale 1249Scale 1249: Howian, Ian Ring Music TheoryHowian
Scale 2273Scale 2273: Nurian, Ian Ring Music TheoryNurian

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.