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Scale 3137: "TOVian"

Scale 3137: TOVian, 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).



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


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: 71


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

2 (dihemitonic)


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

1 (uncohemitonic)


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 Starr/Rahn algorithm.

prime: 71


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, an indicator of maximum hierarchization.


Interval Structure

Defines the scale as the sequence of intervals between one tone and the next.

[6, 4, 1, 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.

<2, 1, 0, 1, 1, 1>

Proportional Saturation Vector

First described by Michael Buchler (2001), this is a vector showing the prominence of intervals relative to the maximum and minimum possible for the scale's cardinality. A saturation of 0 means the interval is present minimally, a saturation of 1 means it is the maximum possible.

<0.667, 0.333, 0, 0.333, 0.333, 0.5>

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

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 Distribution Spectra have 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.

(6, 1, 16)

Coherence Quotient

The Coherence Quotient is a score between 0 and 1, indicating the proportion of coherence failures (ambiguity or contradiction) in the scale, against the maximum possible for a cardinality. A high coherence quotient indicates a less complex scale, whereas a quotient of 0 indicates a maximally complex scale.


Sameness Quotient

The Sameness Quotient is a score between 0 and 1, indicating the proportion of differences in the heteromorphic profile, against the maximum possible for a cardinality. A higher quotient indicates a less complex scale, whereas a quotient of 0 indicates a scale with maximum complexity.



This scale has no generator.

Common Triads

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


Modes are the rotational transformation of this scale. Scale 3137 can be rotated to make 3 other scales. The 1st mode is itself.

2nd mode:
Scale 113
Scale 113: ARUian, Ian Ring Music TheoryARUian
3rd mode:
Scale 263
Scale 263: UDWian, Ian Ring Music TheoryUDWian
4th mode:
Scale 2179
Scale 2179: NELian, Ian Ring Music TheoryNELian


The prime form of this scale is Scale 71

Scale 71Scale 71: ALOian, Ian Ring Music TheoryALOian


The tetratonic modal family [3137, 113, 263, 2179] (Forte: 4-5) is the complement of the octatonic modal family [479, 1991, 2287, 3043, 3191, 3569, 3643, 3869] (Forte: 8-5)


The inverse of a scale is a reflection using the root as its axis. The inverse of 3137 is 71

Scale 71Scale 71: ALOian, Ian Ring Music TheoryALOian


Only scales that are chiral will have an enantiomorph. Scale 3137 is chiral, and its enantiomorph is scale 71

Scale 71Scale 71: ALOian, Ian Ring Music TheoryALOian


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> 3137       T0I <11,0> 71
T1 <1,1> 2179      T1I <11,1> 142
T2 <1,2> 263      T2I <11,2> 284
T3 <1,3> 526      T3I <11,3> 568
T4 <1,4> 1052      T4I <11,4> 1136
T5 <1,5> 2104      T5I <11,5> 2272
T6 <1,6> 113      T6I <11,6> 449
T7 <1,7> 226      T7I <11,7> 898
T8 <1,8> 452      T8I <11,8> 1796
T9 <1,9> 904      T9I <11,9> 3592
T10 <1,10> 1808      T10I <11,10> 3089
T11 <1,11> 3616      T11I <11,11> 2083
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 197      T0MI <7,0> 1121
T1M <5,1> 394      T1MI <7,1> 2242
T2M <5,2> 788      T2MI <7,2> 389
T3M <5,3> 1576      T3MI <7,3> 778
T4M <5,4> 3152      T4MI <7,4> 1556
T5M <5,5> 2209      T5MI <7,5> 3112
T6M <5,6> 323      T6MI <7,6> 2129
T7M <5,7> 646      T7MI <7,7> 163
T8M <5,8> 1292      T8MI <7,8> 326
T9M <5,9> 2584      T9MI <7,9> 652
T10M <5,10> 1073      T10MI <7,10> 1304
T11M <5,11> 2146      T11MI <7,11> 2608

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 3139Scale 3139: TOWian, Ian Ring Music TheoryTOWian
Scale 3141Scale 3141: Kanitonic, Ian Ring Music TheoryKanitonic
Scale 3145Scale 3145: Stolitonic, Ian Ring Music TheoryStolitonic
Scale 3153Scale 3153: Zathitonic, Ian Ring Music TheoryZathitonic
Scale 3169Scale 3169: TUPian, Ian Ring Music TheoryTUPian
Scale 3073Scale 3073: Tritonic Chromatic Descending, Ian Ring Music TheoryTritonic Chromatic Descending
Scale 3105Scale 3105: TIBian, Ian Ring Music TheoryTIBian
Scale 3201Scale 3201: URTian, Ian Ring Music TheoryURTian
Scale 3265Scale 3265: URRian, Ian Ring Music TheoryURRian
Scale 3393Scale 3393: VENian, Ian Ring Music TheoryVENian
Scale 3649Scale 3649: WUPian, Ian Ring Music TheoryWUPian
Scale 2113Scale 2113: MUXian, Ian Ring Music TheoryMUXian
Scale 2625Scale 2625: ODWian, Ian Ring Music TheoryODWian
Scale 1089Scale 1089: GOCian, Ian Ring Music TheoryGOCian

This scale analysis was created by Ian Ring, Canadian Composer of works for Piano, and total music theory nerd. Scale notation generated by VexFlow and Lilypond, graph visualization by Graphviz, audio by TiMIDIty and FFMPEG. 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.