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Scale 2829: "Rupian"

Scale 2829: Rupian, 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
Rupian

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

{0,2,3,8,9,11}

Forte Number

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

6-Z13

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.

[5.5]

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.

no

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.

0 (ancohemitonic)

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.

5

Prime Form

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

no
prime: 219

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.

[2, 1, 5, 1, 2, 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, 4, 2, 2, 2>

Interval Spectrum

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

p2m2n4s2d3t2

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

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.

[11]

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.

(24, 6, 51)

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}221
Minor Triadsg♯m{8,11,3}221
Diminished Triadsg♯°{8,11,2}131.5
{9,0,3}131.5
Parsimonious Voice Leading Between Common Triads of Scale 2829. Created by Ian Ring ©2019 g#° g#° g#m g#m g#°->g#m G# G# g#m->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.

Diameter3
Radius2
Self-Centeredno
Central Verticesg♯m, G♯
Peripheral Verticesg♯°, a°

Triad Polychords

Also known as Bi-Triadic Hexatonics (a term coined by mDecks), and related to Generic Modality Compression (a method for guitar by Mick Goodrick and Tim Miller), these are two common triads that when combined use all the tones in this scale.

There is 1 way that this hexatonic scale can be split into two common triads.


Diminished: {8, 11, 2}
Diminished: {9, 0, 3}

Modes

Modes are the rotational transformation of this scale. Scale 2829 can be rotated to make 5 other scales. The 1st mode is itself.

2nd mode:
Scale 1731
Scale 1731: Koxian, Ian Ring Music TheoryKoxian
3rd mode:
Scale 2913
Scale 2913: Senian, Ian Ring Music TheorySenian
4th mode:
Scale 219
Scale 219: Istrian, Ian Ring Music TheoryIstrianThis is the prime mode
5th mode:
Scale 2157
Scale 2157: Nexian, Ian Ring Music TheoryNexian
6th mode:
Scale 1563
Scale 1563: Joyian, Ian Ring Music TheoryJoyian

Prime

The prime form of this scale is Scale 219

Scale 219Scale 219: Istrian, Ian Ring Music TheoryIstrian

Complement

The hexatonic modal family [2829, 1731, 2913, 219, 2157, 1563] (Forte: 6-Z13) is the complement of the hexatonic modal family [591, 633, 969, 2343, 3219, 3657] (Forte: 6-Z42)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 2829 is 1563

Scale 1563Scale 1563: Joyian, Ian Ring Music TheoryJoyian

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> 2829       T0I <11,0> 1563
T1 <1,1> 1563      T1I <11,1> 3126
T2 <1,2> 3126      T2I <11,2> 2157
T3 <1,3> 2157      T3I <11,3> 219
T4 <1,4> 219      T4I <11,4> 438
T5 <1,5> 438      T5I <11,5> 876
T6 <1,6> 876      T6I <11,6> 1752
T7 <1,7> 1752      T7I <11,7> 3504
T8 <1,8> 3504      T8I <11,8> 2913
T9 <1,9> 2913      T9I <11,9> 1731
T10 <1,10> 1731      T10I <11,10> 3462
T11 <1,11> 3462      T11I <11,11> 2829
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 1689      T0MI <7,0> 813
T1M <5,1> 3378      T1MI <7,1> 1626
T2M <5,2> 2661      T2MI <7,2> 3252
T3M <5,3> 1227      T3MI <7,3> 2409
T4M <5,4> 2454      T4MI <7,4> 723
T5M <5,5> 813      T5MI <7,5> 1446
T6M <5,6> 1626      T6MI <7,6> 2892
T7M <5,7> 3252      T7MI <7,7> 1689
T8M <5,8> 2409      T8MI <7,8> 3378
T9M <5,9> 723      T9MI <7,9> 2661
T10M <5,10> 1446      T10MI <7,10> 1227
T11M <5,11> 2892      T11MI <7,11> 2454

The transformations that map this set to itself are: T0, T11I

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 2831Scale 2831: Ruqian, Ian Ring Music TheoryRuqian
Scale 2825Scale 2825: Rumian, Ian Ring Music TheoryRumian
Scale 2827Scale 2827: Runian, Ian Ring Music TheoryRunian
Scale 2821Scale 2821: Rukian, Ian Ring Music TheoryRukian
Scale 2837Scale 2837: Aelothimic, Ian Ring Music TheoryAelothimic
Scale 2845Scale 2845: Baptian, Ian Ring Music TheoryBaptian
Scale 2861Scale 2861: Katothian, Ian Ring Music TheoryKatothian
Scale 2893Scale 2893: Lylian, Ian Ring Music TheoryLylian
Scale 2957Scale 2957: Thygian, Ian Ring Music TheoryThygian
Scale 2573Scale 2573: Pulian, Ian Ring Music TheoryPulian
Scale 2701Scale 2701: Hawaiian, Ian Ring Music TheoryHawaiian
Scale 2317Scale 2317: Odoian, Ian Ring Music TheoryOdoian
Scale 3341Scale 3341: Vahian, Ian Ring Music TheoryVahian
Scale 3853Scale 3853: Yomian, Ian Ring Music TheoryYomian
Scale 781Scale 781: Etoian, Ian Ring Music TheoryEtoian
Scale 1805Scale 1805: Laqian, Ian Ring Music TheoryLaqian

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.