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Scale 3315: "Tcherepnin Octatonic Mode 1"

Scale 3315: Tcherepnin Octatonic Mode 1, 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

Named After Composers
Tcherepnin Octatonic Mode 1
Zeitler
Aeralyllic
Dozenal
Ubbian

Analysis

Cardinality

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

8 (octatonic)

Pitch Class Set

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

{0,1,4,5,6,7,10,11}

Forte Number

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

8-9

Rotational Symmetry

Some scales have rotational symmetry, sometimes known as "limited transposition". If there are any rotational symmetries, these are the intervals of periodicity.

[6]

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.

[2.5, 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.

6 (multihemitonic)

Cohemitonia

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

4 (multicohemitonic)

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: 975

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, 3, 1, 1, 1, 3, 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.

<6, 4, 4, 4, 6, 4>

Interval Spectrum

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

p6m4n4s4d6t4

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

Spectra Variation

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

1.5

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.

2.5

Polygon Perimeter

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

5.934

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.

yes

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.

[5,11]

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.

(32, 8, 80)

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 TriadsC{0,4,7}242
F♯{6,10,1}242
Minor Triadsem{4,7,11}242
a♯m{10,1,5}242
Diminished Triadsc♯°{1,4,7}242
{4,7,10}242
{7,10,1}242
a♯°{10,1,4}242
Parsimonious Voice Leading Between Common Triads of Scale 3315. Created by Ian Ring ©2019 C C c#° c#° C->c#° em em C->em a#° a#° c#°->a#° e°->em e°->g° F# F# F#->g° a#m a#m F#->a#m a#°->a#m

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
Radius4
Self-Centeredyes

Modes

Modes are the rotational transformation of this scale. Scale 3315 can be rotated to make 3 other scales. The 1st mode is itself.

2nd mode:
Scale 3705
Scale 3705: Messiaen Mode 4 Inverse, Ian Ring Music TheoryMessiaen Mode 4 Inverse
3rd mode:
Scale 975
Scale 975: Messiaen Mode 4, Ian Ring Music TheoryMessiaen Mode 4This is the prime mode
4th mode:
Scale 2535
Scale 2535: Messiaen Mode 4, Ian Ring Music TheoryMessiaen Mode 4

Prime

The prime form of this scale is Scale 975

Scale 975Scale 975: Messiaen Mode 4, Ian Ring Music TheoryMessiaen Mode 4

Complement

The octatonic modal family [3315, 3705, 975, 2535] (Forte: 8-9) is the complement of the tetratonic modal family [195, 2145] (Forte: 4-9)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 3315 is 2535

Scale 2535Scale 2535: Messiaen Mode 4, Ian Ring Music TheoryMessiaen Mode 4

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> 3315       T0I <11,0> 2535
T1 <1,1> 2535      T1I <11,1> 975
T2 <1,2> 975      T2I <11,2> 1950
T3 <1,3> 1950      T3I <11,3> 3900
T4 <1,4> 3900      T4I <11,4> 3705
T5 <1,5> 3705      T5I <11,5> 3315
T6 <1,6> 3315       T6I <11,6> 2535
T7 <1,7> 2535      T7I <11,7> 975
T8 <1,8> 975      T8I <11,8> 1950
T9 <1,9> 1950      T9I <11,9> 3900
T10 <1,10> 3900      T10I <11,10> 3705
T11 <1,11> 3705      T11I <11,11> 3315
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 2535      T0MI <7,0> 3315
T1M <5,1> 975      T1MI <7,1> 2535
T2M <5,2> 1950      T2MI <7,2> 975
T3M <5,3> 3900      T3MI <7,3> 1950
T4M <5,4> 3705      T4MI <7,4> 3900
T5M <5,5> 3315       T5MI <7,5> 3705
T6M <5,6> 2535      T6MI <7,6> 3315
T7M <5,7> 975      T7MI <7,7> 2535
T8M <5,8> 1950      T8MI <7,8> 975
T9M <5,9> 3900      T9MI <7,9> 1950
T10M <5,10> 3705      T10MI <7,10> 3900
T11M <5,11> 3315       T11MI <7,11> 3705

The transformations that map this set to itself are: T0, T6, T5I, T11I, T5M, T11M, T0MI, 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 3313Scale 3313: Aeolacrian, Ian Ring Music TheoryAeolacrian
Scale 3317Scale 3317: Katynyllic, Ian Ring Music TheoryKatynyllic
Scale 3319Scale 3319: Tholygic, Ian Ring Music TheoryTholygic
Scale 3323Scale 3323: Lacrygic, Ian Ring Music TheoryLacrygic
Scale 3299Scale 3299: Syptian, Ian Ring Music TheorySyptian
Scale 3307Scale 3307: Boptyllic, Ian Ring Music TheoryBoptyllic
Scale 3283Scale 3283: Mela Visvambhari, Ian Ring Music TheoryMela Visvambhari
Scale 3251Scale 3251: Mela Hatakambari, Ian Ring Music TheoryMela Hatakambari
Scale 3187Scale 3187: Koptian, Ian Ring Music TheoryKoptian
Scale 3443Scale 3443: Verdi's Scala Enigmatica, Ian Ring Music TheoryVerdi's Scala Enigmatica
Scale 3571Scale 3571: Dyrygic, Ian Ring Music TheoryDyrygic
Scale 3827Scale 3827: Bodygic, Ian Ring Music TheoryBodygic
Scale 2291Scale 2291: Zydian, Ian Ring Music TheoryZydian
Scale 2803Scale 2803: Raga Bhatiyar, Ian Ring Music TheoryRaga Bhatiyar
Scale 1267Scale 1267: Katynian, Ian Ring Music TheoryKatynian

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.