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Scale 3905: "Yusian"

Scale 3905: Yusian, 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

Dozenal
Yusian

Analysis

Cardinality

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

6 (hexatonic)

Pitch Class Set

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

{0,6,8,9,10,11}

Forte Number

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

6-2

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: 95

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.

3 (tricohemitonic)

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.

5

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.

5

Prime Form

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

no
prime: 95

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.

[6, 2, 1, 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, 4, 3, 2, 1, 1>

Interval Spectrum

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

pm2n3s4d4t

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

Spectra Variation

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

4.667

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.

1.433

Polygon Perimeter

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

5.071

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.

(34, 13, 55)

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
Diminished Triadsf♯°{6,9,0}000

The following pitch classes are not present in any of the common triads: {8,10,11}

Since there is only one common triad in this scale, there are no opportunities for parsimonious voice leading between triads.

Modes

Modes are the rotational transformation of this scale. Scale 3905 can be rotated to make 5 other scales. The 1st mode is itself.

2nd mode:
Scale 125
Scale 125: Atwian, Ian Ring Music TheoryAtwian
3rd mode:
Scale 1055
Scale 1055: Gihian, Ian Ring Music TheoryGihian
4th mode:
Scale 2575
Scale 2575: Pumian, Ian Ring Music TheoryPumian
5th mode:
Scale 3335
Scale 3335: Vadian, Ian Ring Music TheoryVadian
6th mode:
Scale 3715
Scale 3715: Xician, Ian Ring Music TheoryXician

Prime

The prime form of this scale is Scale 95

Scale 95Scale 95: Arkian, Ian Ring Music TheoryArkian

Complement

The hexatonic modal family [3905, 125, 1055, 2575, 3335, 3715] (Forte: 6-2) is the complement of the hexatonic modal family [95, 1985, 2095, 3095, 3595, 3845] (Forte: 6-2)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 3905 is 95

Scale 95Scale 95: Arkian, Ian Ring Music TheoryArkian

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 3905 is chiral, and its enantiomorph is scale 95

Scale 95Scale 95: Arkian, Ian Ring Music TheoryArkian

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> 3905       T0I <11,0> 95
T1 <1,1> 3715      T1I <11,1> 190
T2 <1,2> 3335      T2I <11,2> 380
T3 <1,3> 2575      T3I <11,3> 760
T4 <1,4> 1055      T4I <11,4> 1520
T5 <1,5> 2110      T5I <11,5> 3040
T6 <1,6> 125      T6I <11,6> 1985
T7 <1,7> 250      T7I <11,7> 3970
T8 <1,8> 500      T8I <11,8> 3845
T9 <1,9> 1000      T9I <11,9> 3595
T10 <1,10> 2000      T10I <11,10> 3095
T11 <1,11> 4000      T11I <11,11> 2095
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 725      T0MI <7,0> 1385
T1M <5,1> 1450      T1MI <7,1> 2770
T2M <5,2> 2900      T2MI <7,2> 1445
T3M <5,3> 1705      T3MI <7,3> 2890
T4M <5,4> 3410      T4MI <7,4> 1685
T5M <5,5> 2725      T5MI <7,5> 3370
T6M <5,6> 1355      T6MI <7,6> 2645
T7M <5,7> 2710      T7MI <7,7> 1195
T8M <5,8> 1325      T8MI <7,8> 2390
T9M <5,9> 2650      T9MI <7,9> 685
T10M <5,10> 1205      T10MI <7,10> 1370
T11M <5,11> 2410      T11MI <7,11> 2740

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 3907Scale 3907, Ian Ring Music Theory
Scale 3909Scale 3909: Rydian, Ian Ring Music TheoryRydian
Scale 3913Scale 3913: Bonian, Ian Ring Music TheoryBonian
Scale 3921Scale 3921: Pythian, Ian Ring Music TheoryPythian
Scale 3937Scale 3937: Zalian, Ian Ring Music TheoryZalian
Scale 3841Scale 3841: Pentatonic Chromatic Descending, Ian Ring Music TheoryPentatonic Chromatic Descending
Scale 3873Scale 3873: Yoyian, Ian Ring Music TheoryYoyian
Scale 3969Scale 3969: Hexatonic Chromatic Descending, Ian Ring Music TheoryHexatonic Chromatic Descending
Scale 4033Scale 4033: Heptatonic Chromatic Descending, Ian Ring Music TheoryHeptatonic Chromatic Descending
Scale 3649Scale 3649: Wupian, Ian Ring Music TheoryWupian
Scale 3777Scale 3777: Yarian, Ian Ring Music TheoryYarian
Scale 3393Scale 3393: Venian, Ian Ring Music TheoryVenian
Scale 2881Scale 2881: Satian, Ian Ring Music TheorySatian
Scale 1857Scale 1857: Liwian, Ian Ring Music TheoryLiwian

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.