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Scale 3765: "Dominant Bebop"

Scale 3765: Dominant Bebop, Ian Ring Music Theory

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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

Jazz and Blues
Dominant Bebop
Bebop Dominant
Western
Gregorian Nr.6
Quartal Octamode 8th Rotation
Western Mixed
Mixionian
Major/Mixolydian Mixed
Ionian/Mixolydian Mixed
Ancient Greek
Genus Diatonicum
Carnatic
Raga Khamaj
Unknown / Unsorted
Desh Malhar
Devagandhari
Bihagara
Rast
Hindustani
Alhaiya Bilaval
Gregorian Numbered
Gregorian Number 6
Exoticisms
Chinese Eight-Tone
Zeitler
Aerycryllic
Dozenal
YAKian

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

{0,2,4,5,7,9,10,11}

Forte Number

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

8-23

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.

[4.5]

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.

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.

1

Modes

Modes are the rotational transformations of this scale. This number includes the scale itself, so the number is usually the same as its cardinality; unless there are rotational symmetries then there are fewer modes.

8

Prime Form

Describes if this scale is in prime form, using the Starr/Rahn algorithm.

no
prime: 1455

Generator

Indicates if the scale can be constructed using a generator, and an origin.

generator: 5
origin: 11

Deep Scale

A deep scale is one where the interval vector has 6 different digits, an indicator of maximum hierarchization.

no

Interval Structure

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

[2, 2, 1, 2, 2, 1, 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.

<4, 6, 5, 4, 7, 2>

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, 0.667, 0.25, 0, 1, 0>

Interval Spectrum

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

p7m4n5s6d4t2

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

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.

yes

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.

2.732

Polygon Perimeter

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

6.071

Myhill Property

A scale has Myhill Property if the Distribution Spectra have 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.

[9]

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.

(4, 52, 126)

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.

0.789

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.

0.357

Generator

This scale has a generator of 5, originating on 11.

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}242.1
F{5,9,0}242.3
G{7,11,2}341.9
A♯{10,2,5}341.9
Minor Triadsdm{2,5,9}242.1
em{4,7,11}341.9
gm{7,10,2}341.9
am{9,0,4}242.3
Diminished Triads{4,7,10}242.1
{11,2,5}242.1
Parsimonious Voice Leading Between Common Triads of Scale 3765. Created by Ian Ring ©2019 C C em em C->em am am C->am dm dm F F dm->F A# A# dm->A# e°->em gm gm e°->gm Parsimonious Voice Leading Between Common Triads of Scale 3765. Created by Ian Ring ©2019 G em->G F->am gm->G gm->A# G->b° A#->b°

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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 3765 can be rotated to make 7 other scales. The 1st mode is itself.

2nd mode:
Scale 1965
Scale 1965: Raga Mukhari, Ian Ring Music TheoryRaga Mukhari
3rd mode:
Scale 1515
Scale 1515: Phrygian/Locrian Mixed, Ian Ring Music TheoryPhrygian/Locrian Mixed
4th mode:
Scale 2805
Scale 2805: Ichikotsuchô, Ian Ring Music TheoryIchikotsuchô
5th mode:
Scale 1725
Scale 1725: Minor Bebop, Ian Ring Music TheoryMinor Bebop
6th mode:
Scale 1455
Scale 1455: Quartal Octamode, Ian Ring Music TheoryQuartal OctamodeThis is the prime mode
7th mode:
Scale 2775
Scale 2775: Quartal Octamode 10th Rotation, Ian Ring Music TheoryQuartal Octamode 10th Rotation
8th mode:
Scale 3435
Scale 3435: Prokofiev, Ian Ring Music TheoryProkofiev

Prime

The prime form of this scale is Scale 1455

Scale 1455Scale 1455: Quartal Octamode, Ian Ring Music TheoryQuartal Octamode

Complement

The octatonic modal family [3765, 1965, 1515, 2805, 1725, 1455, 2775, 3435] (Forte: 8-23) is the complement of the tetratonic modal family [165, 645, 1065, 1185] (Forte: 4-23)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 3765 is 1455

Scale 1455Scale 1455: Quartal Octamode, Ian Ring Music TheoryQuartal Octamode

Hierarchizability

Based on the work of Niels Verosky, hierarchizability is the measure of repeated patterns with "place-finding" remainder bits, applied recursively to the binary representation of a scale. For a full explanation, read Niels' paper, Hierarchizability as a Predictor of Scale Candidacy. The variable k is the maximum number of remainders allowed at each level of recursion, for them to count as an increment of hierarchizability. A high hierarchizability score is a good indicator of scale candidacy, ie a measure of usefulness for producing pleasing music. There is a strong correlation between scales with maximal hierarchizability and scales that are in popular use in a variety of world musical traditions.

kHierarchizabilityBreakdown PatternDiagram
111010110101113765k = 1h = 1
23([10][10]1)([10][10]1)113765k = 2h = 3
33([10][10]1)([10][10]1)113765k = 3h = 3
43([10][10]1)([10][10]1)113765k = 4h = 3
53([10][10]1)([10][10]1)113765k = 5h = 3

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. A note about the multipliers: multiplying by 1 changes nothing, multiplying by 11 produces the same result as inversion. 5 is the only non-degenerate multiplier, with the multiplier 7 producing the inverse of 5.

Abbrev Operation Result Abbrev Operation Result
T0 <1,0> 3765       T0I <11,0> 1455
T1 <1,1> 3435      T1I <11,1> 2910
T2 <1,2> 2775      T2I <11,2> 1725
T3 <1,3> 1455      T3I <11,3> 3450
T4 <1,4> 2910      T4I <11,4> 2805
T5 <1,5> 1725      T5I <11,5> 1515
T6 <1,6> 3450      T6I <11,6> 3030
T7 <1,7> 2805      T7I <11,7> 1965
T8 <1,8> 1515      T8I <11,8> 3930
T9 <1,9> 3030      T9I <11,9> 3765
T10 <1,10> 1965      T10I <11,10> 3435
T11 <1,11> 3930      T11I <11,11> 2775
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 3975      T0MI <7,0> 3135
T1M <5,1> 3855      T1MI <7,1> 2175
T2M <5,2> 3615      T2MI <7,2> 255
T3M <5,3> 3135      T3MI <7,3> 510
T4M <5,4> 2175      T4MI <7,4> 1020
T5M <5,5> 255      T5MI <7,5> 2040
T6M <5,6> 510      T6MI <7,6> 4080
T7M <5,7> 1020      T7MI <7,7> 4065
T8M <5,8> 2040      T8MI <7,8> 4035
T9M <5,9> 4080      T9MI <7,9> 3975
T10M <5,10> 4065      T10MI <7,10> 3855
T11M <5,11> 4035      T11MI <7,11> 3615

The transformations that map this set to itself are: T0, T9I

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.


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 (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.