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Scale 375: "Sodian"

Scale 375: Sodian, 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
Sodian
Dozenal
Cepian

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

{0,1,2,4,5,6,8}

Forte Number

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

7-13

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: 3537

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.

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.

6

Prime Form

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

yes

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, 1, 1, 2, 4]

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, 3, 5, 3, 2>

Interval Spectrum

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

p3m5n3s4d4t2

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> = {4,6,7}
<4> = {5,6,8}
<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.

2.857

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.

(38, 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 TriadsC♯{1,5,8}321
Minor Triadsc♯m{1,4,8}221.2
fm{5,8,0}221.2
Augmented TriadsC+{0,4,8}231.4
Diminished Triads{2,5,8}131.6

The following pitch classes are not present in any of the common triads: {6}

Parsimonious Voice Leading Between Common Triads of Scale 375. Created by Ian Ring ©2019 C+ C+ c#m c#m C+->c#m fm fm C+->fm C# C# c#m->C# C#->d° C#->fm

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.

Diameter3
Radius2
Self-Centeredno
Central Verticesc♯m, C♯, fm
Peripheral VerticesC+, d°

Modes

Modes are the rotational transformation of this scale. Scale 375 can be rotated to make 6 other scales. The 1st mode is itself.

2nd mode:
Scale 2235
Scale 2235: Bathian, Ian Ring Music TheoryBathian
3rd mode:
Scale 3165
Scale 3165: Mylian, Ian Ring Music TheoryMylian
4th mode:
Scale 1815
Scale 1815: Godian, Ian Ring Music TheoryGodian
5th mode:
Scale 2955
Scale 2955: Thorian, Ian Ring Music TheoryThorian
6th mode:
Scale 3525
Scale 3525: Zocrian, Ian Ring Music TheoryZocrian
7th mode:
Scale 1905
Scale 1905: Katacrian, Ian Ring Music TheoryKatacrian

Prime

This is the prime form of this scale.

Complement

The heptatonic modal family [375, 2235, 3165, 1815, 2955, 3525, 1905] (Forte: 7-13) is the complement of the pentatonic modal family [279, 369, 1809, 2187, 3141] (Forte: 5-13)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 375 is 3537

Scale 3537Scale 3537: Katogian, Ian Ring Music TheoryKatogian

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 375 is chiral, and its enantiomorph is scale 3537

Scale 3537Scale 3537: Katogian, Ian Ring Music TheoryKatogian

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> 375       T0I <11,0> 3537
T1 <1,1> 750      T1I <11,1> 2979
T2 <1,2> 1500      T2I <11,2> 1863
T3 <1,3> 3000      T3I <11,3> 3726
T4 <1,4> 1905      T4I <11,4> 3357
T5 <1,5> 3810      T5I <11,5> 2619
T6 <1,6> 3525      T6I <11,6> 1143
T7 <1,7> 2955      T7I <11,7> 2286
T8 <1,8> 1815      T8I <11,8> 477
T9 <1,9> 3630      T9I <11,9> 954
T10 <1,10> 3165      T10I <11,10> 1908
T11 <1,11> 2235      T11I <11,11> 3816
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 1395      T0MI <7,0> 2517
T1M <5,1> 2790      T1MI <7,1> 939
T2M <5,2> 1485      T2MI <7,2> 1878
T3M <5,3> 2970      T3MI <7,3> 3756
T4M <5,4> 1845      T4MI <7,4> 3417
T5M <5,5> 3690      T5MI <7,5> 2739
T6M <5,6> 3285      T6MI <7,6> 1383
T7M <5,7> 2475      T7MI <7,7> 2766
T8M <5,8> 855      T8MI <7,8> 1437
T9M <5,9> 1710      T9MI <7,9> 2874
T10M <5,10> 3420      T10MI <7,10> 1653
T11M <5,11> 2745      T11MI <7,11> 3306

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 373Scale 373: Epagimic, Ian Ring Music TheoryEpagimic
Scale 371Scale 371: Rythimic, Ian Ring Music TheoryRythimic
Scale 379Scale 379: Aeragian, Ian Ring Music TheoryAeragian
Scale 383Scale 383: Logyllic, Ian Ring Music TheoryLogyllic
Scale 359Scale 359: Bothimic, Ian Ring Music TheoryBothimic
Scale 367Scale 367: Aerodian, Ian Ring Music TheoryAerodian
Scale 343Scale 343: Ionorimic, Ian Ring Music TheoryIonorimic
Scale 311Scale 311: Stagimic, Ian Ring Music TheoryStagimic
Scale 439Scale 439: Bythian, Ian Ring Music TheoryBythian
Scale 503Scale 503: Thoptyllic, Ian Ring Music TheoryThoptyllic
Scale 119Scale 119: Smoian, Ian Ring Music TheorySmoian
Scale 247Scale 247: Bopian, Ian Ring Music TheoryBopian
Scale 631Scale 631: Zygian, Ian Ring Music TheoryZygian
Scale 887Scale 887: Sathyllic, Ian Ring Music TheorySathyllic
Scale 1399Scale 1399: Syryllic, Ian Ring Music TheorySyryllic
Scale 2423Scale 2423: Otuian, Ian Ring Music TheoryOtuian

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.