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Scale 389

Scale 389, 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).

Analysis

Cardinality

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

{0,2,7,8}

Forte Number

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

4-16

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: 1073

Hemitonia

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

1 (unhemitonic)

Cohemitonia

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

0 (ancohemitonic)

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: 163

Deep Scale

A deep scale is one where the interval vector has 6 different digits.

no

Interval Formula

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

[2, 5, 1, 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.

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

Interval Spectrum

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

p2msdt

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

Spectra Variation

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

2.5

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.

1.366

Polygon Perimeter

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

5.182

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".

Proper

Common Triads

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

Modes

Modes are the rotational transformation of this scale. Scale 389 can be rotated to make 3 other scales. The 1st mode is itself.

2nd mode:
Scale 1121
Scale 1121, Ian Ring Music Theory
3rd mode:
Scale 163
Scale 163, Ian Ring Music TheoryThis is the prime mode
4th mode:
Scale 2129
Scale 2129: Raga Nigamagamini, Ian Ring Music TheoryRaga Nigamagamini

Prime

The prime form of this scale is Scale 163

Scale 163Scale 163, Ian Ring Music Theory

Complement

The tetratonic modal family [389, 1121, 163, 2129] (Forte: 4-16) is the complement of the octatonic modal family [943, 1511, 1949, 2519, 2803, 3307, 3449, 3701] (Forte: 8-16)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 389 is 1073

Scale 1073Scale 1073, Ian Ring Music Theory

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 389 is chiral, and its enantiomorph is scale 1073

Scale 1073Scale 1073, Ian Ring Music Theory

Transformations:

T0 389  T0I 1073
T1 778  T1I 2146
T2 1556  T2I 197
T3 3112  T3I 394
T4 2129  T4I 788
T5 163  T5I 1576
T6 326  T6I 3152
T7 652  T7I 2209
T8 1304  T8I 323
T9 2608  T9I 646
T10 1121  T10I 1292
T11 2242  T11I 2584

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 391Scale 391, Ian Ring Music Theory
Scale 385Scale 385, Ian Ring Music Theory
Scale 387Scale 387, Ian Ring Music Theory
Scale 393Scale 393: Lothic, Ian Ring Music TheoryLothic
Scale 397Scale 397: Aeolian Pentatonic, Ian Ring Music TheoryAeolian Pentatonic
Scale 405Scale 405: Raga Bhupeshwari, Ian Ring Music TheoryRaga Bhupeshwari
Scale 421Scale 421: Han-kumoi, Ian Ring Music TheoryHan-kumoi
Scale 453Scale 453: Raditonic, Ian Ring Music TheoryRaditonic
Scale 261Scale 261, Ian Ring Music Theory
Scale 325Scale 325: Messiaen Truncated Mode 6, Ian Ring Music TheoryMessiaen Truncated Mode 6
Scale 133Scale 133: Suspended Second Triad, Ian Ring Music TheorySuspended Second Triad
Scale 645Scale 645, Ian Ring Music Theory
Scale 901Scale 901, Ian Ring Music Theory
Scale 1413Scale 1413, Ian Ring Music Theory
Scale 2437Scale 2437, Ian Ring Music Theory

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. 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.