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Scale 3041: "Tanian"

Scale 3041: Tanian, 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.

7 (heptatonic)

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: 251


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

5 (multihemitonic)


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

3 (tricohemitonic)


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: 223


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.

[5, 1, 1, 1, 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.

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

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> = {1,2,5}
<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.


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.

(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 TriadsF{5,9,0}221
Minor Triadsfm{5,8,0}221
Diminished Triads{5,8,11}131.5

The following pitch classes are not present in any of the common triads: {7}

Parsimonious Voice Leading Between Common Triads of Scale 3041. Created by Ian Ring ©2019 fm fm f°->fm F F fm->F f#° f#° F->f#°

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.

Central Verticesfm, F
Peripheral Verticesf°, f♯°


Modes are the rotational transformation of this scale. Scale 3041 can be rotated to make 6 other scales. The 1st mode is itself.

2nd mode:
Scale 223
Scale 223: Bizian, Ian Ring Music TheoryBizianThis is the prime mode
3rd mode:
Scale 2159
Scale 2159: Neyian, Ian Ring Music TheoryNeyian
4th mode:
Scale 3127
Scale 3127: Topian, Ian Ring Music TheoryTopian
5th mode:
Scale 3611
Scale 3611: Worian, Ian Ring Music TheoryWorian
6th mode:
Scale 3853
Scale 3853: Yomian, Ian Ring Music TheoryYomian
7th mode:
Scale 1987
Scale 1987: Mexian, Ian Ring Music TheoryMexian


The prime form of this scale is Scale 223

Scale 223Scale 223: Bizian, Ian Ring Music TheoryBizian


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


The inverse of a scale is a reflection using the root as its axis. The inverse of 3041 is 251

Scale 251Scale 251: Borian, Ian Ring Music TheoryBorian


Only scales that are chiral will have an enantiomorph. Scale 3041 is chiral, and its enantiomorph is scale 251

Scale 251Scale 251: Borian, Ian Ring Music TheoryBorian


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

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 3043Scale 3043: Ionayllic, Ian Ring Music TheoryIonayllic
Scale 3045Scale 3045: Raptyllic, Ian Ring Music TheoryRaptyllic
Scale 3049Scale 3049: Phrydyllic, Ian Ring Music TheoryPhrydyllic
Scale 3057Scale 3057: Phroryllic, Ian Ring Music TheoryPhroryllic
Scale 3009Scale 3009: Suvian, Ian Ring Music TheorySuvian
Scale 3025Scale 3025: Epycrian, Ian Ring Music TheoryEpycrian
Scale 2977Scale 2977: Sobian, Ian Ring Music TheorySobian
Scale 2913Scale 2913: Senian, Ian Ring Music TheorySenian
Scale 2785Scale 2785: Ronian, Ian Ring Music TheoryRonian
Scale 2529Scale 2529: Pikian, Ian Ring Music TheoryPikian
Scale 3553Scale 3553: Wehian, Ian Ring Music TheoryWehian
Scale 4065Scale 4065: Octatonic Chromatic Descending, Ian Ring Music TheoryOctatonic Chromatic Descending
Scale 993Scale 993: Gavian, Ian Ring Music TheoryGavian
Scale 2017Scale 2017: Meqian, Ian Ring Music TheoryMeqian

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.