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Scale 2839: "Lyptian"

Scale 2839: Lyptian, 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

Zeitler
Lyptian
Dozenal
Ruvian

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

{0,1,2,4,8,9,11}

Forte Number

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

7-11

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: 3355

Hemitonia

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

4 (multihemitonic)

Cohemitonia

A cohemitone is an instance of two adjacent hemitones. Cohemitonia describes how many such cohemitones exist.

2 (dicohemitonic)

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.

6

Prime Form

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

no
prime: 379

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, 2, 4, 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.

<4, 4, 4, 4, 4, 1>

Interval Spectrum

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

p4m4n4s4d4t

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

Spectra Variation

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

3.143

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.

2.299

Polygon Perimeter

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

5.803

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.

(43, 27, 92)

Tertian Harmonic Chords

Tertian chords are made from alternating members of the scale, ie built from "stacked thirds". Not all scales lend themselves well to tertian harmony.

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 TriadsE{4,8,11}231.5
A{9,1,4}241.83
Minor Triadsc♯m{1,4,8}231.5
am{9,0,4}231.5
Augmented TriadsC+{0,4,8}321.17
Diminished Triadsg♯°{8,11,2}142.17
Parsimonious Voice Leading Between Common Triads of Scale 2839. Created by Ian Ring ©2019 C+ C+ c#m c#m C+->c#m E E C+->E am am C+->am A A c#m->A g#° g#° E->g#° am->A

view full size

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.

Diameter4
Radius2
Self-Centeredno
Central VerticesC+
Peripheral Verticesg♯°, A

Modes

Modes are the rotational transformation of this scale. Scale 2839 can be rotated to make 6 other scales. The 1st mode is itself.

2nd mode:
Scale 3467
Scale 3467: Katonian, Ian Ring Music TheoryKatonian
3rd mode:
Scale 3781
Scale 3781: Gyphian, Ian Ring Music TheoryGyphian
4th mode:
Scale 1969
Scale 1969: Stylian, Ian Ring Music TheoryStylian
5th mode:
Scale 379
Scale 379: Aeragian, Ian Ring Music TheoryAeragianThis is the prime mode
6th mode:
Scale 2237
Scale 2237: Epothian, Ian Ring Music TheoryEpothian
7th mode:
Scale 1583
Scale 1583: Salian, Ian Ring Music TheorySalian

Prime

The prime form of this scale is Scale 379

Scale 379Scale 379: Aeragian, Ian Ring Music TheoryAeragian

Complement

The heptatonic modal family [2839, 3467, 3781, 1969, 379, 2237, 1583] (Forte: 7-11) is the complement of the pentatonic modal family [157, 929, 1063, 2579, 3337] (Forte: 5-11)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 2839 is 3355

Scale 3355Scale 3355: Bagian, Ian Ring Music TheoryBagian

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 2839 is chiral, and its enantiomorph is scale 3355

Scale 3355Scale 3355: Bagian, Ian Ring Music TheoryBagian

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> 2839       T0I <11,0> 3355
T1 <1,1> 1583      T1I <11,1> 2615
T2 <1,2> 3166      T2I <11,2> 1135
T3 <1,3> 2237      T3I <11,3> 2270
T4 <1,4> 379      T4I <11,4> 445
T5 <1,5> 758      T5I <11,5> 890
T6 <1,6> 1516      T6I <11,6> 1780
T7 <1,7> 3032      T7I <11,7> 3560
T8 <1,8> 1969      T8I <11,8> 3025
T9 <1,9> 3938      T9I <11,9> 1955
T10 <1,10> 3781      T10I <11,10> 3910
T11 <1,11> 3467      T11I <11,11> 3725
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 1969      T0MI <7,0> 445
T1M <5,1> 3938      T1MI <7,1> 890
T2M <5,2> 3781      T2MI <7,2> 1780
T3M <5,3> 3467      T3MI <7,3> 3560
T4M <5,4> 2839       T4MI <7,4> 3025
T5M <5,5> 1583      T5MI <7,5> 1955
T6M <5,6> 3166      T6MI <7,6> 3910
T7M <5,7> 2237      T7MI <7,7> 3725
T8M <5,8> 379      T8MI <7,8> 3355
T9M <5,9> 758      T9MI <7,9> 2615
T10M <5,10> 1516      T10MI <7,10> 1135
T11M <5,11> 3032      T11MI <7,11> 2270

The transformations that map this set to itself are: T0, T4M

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 2837Scale 2837: Aelothimic, Ian Ring Music TheoryAelothimic
Scale 2835Scale 2835: Ionygimic, Ian Ring Music TheoryIonygimic
Scale 2843Scale 2843: Sorian, Ian Ring Music TheorySorian
Scale 2847Scale 2847: Phracryllic, Ian Ring Music TheoryPhracryllic
Scale 2823Scale 2823: Rulian, Ian Ring Music TheoryRulian
Scale 2831Scale 2831: Ruqian, Ian Ring Music TheoryRuqian
Scale 2855Scale 2855: Epocrain, Ian Ring Music TheoryEpocrain
Scale 2871Scale 2871: Stanyllic, Ian Ring Music TheoryStanyllic
Scale 2903Scale 2903: Gothyllic, Ian Ring Music TheoryGothyllic
Scale 2967Scale 2967: Madyllic, Ian Ring Music TheoryMadyllic
Scale 2583Scale 2583: Purian, Ian Ring Music TheoryPurian
Scale 2711Scale 2711: Stolian, Ian Ring Music TheoryStolian
Scale 2327Scale 2327: Epalimic, Ian Ring Music TheoryEpalimic
Scale 3351Scale 3351: Crater Scale, Ian Ring Music TheoryCrater Scale
Scale 3863Scale 3863: Eparyllic, Ian Ring Music TheoryEparyllic
Scale 791Scale 791: Aeoloptimic, Ian Ring Music TheoryAeoloptimic
Scale 1815Scale 1815: Godian, Ian Ring Music TheoryGodian

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.