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Scale 3915: "Yuyian"

Scale 3915: Yuyian, 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
Yuyian

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

{0,1,3,6,8,9,10,11}

Forte Number

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

8-10

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.

5 (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.

3

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.

7

Prime Form

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

no
prime: 765

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, 2, 3, 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.

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

Interval Spectrum

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

p5m4n6s6d5t2

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

Spectra Variation

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

2.75

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.

2.616

Polygon Perimeter

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

6.002

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.

[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.

(65, 66, 144)

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 TriadsF♯{6,10,1}242.1
G♯{8,0,3}342.1
B{11,3,6}341.9
Minor Triadsd♯m{3,6,10}341.9
f♯m{6,9,1}342.1
g♯m{8,11,3}242.1
Diminished Triads{0,3,6}242.1
d♯°{3,6,9}242.1
f♯°{6,9,0}242.1
{9,0,3}242.1
Parsimonious Voice Leading Between Common Triads of Scale 3915. Created by Ian Ring ©2019 G# G# c°->G# B B c°->B d#° d#° d#m d#m d#°->d#m f#m f#m d#°->f#m F# F# d#m->F# d#m->B f#° f#° f#°->f#m f#°->a° f#m->F# g#m g#m g#m->G# g#m->B G#->a°

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.

Diameter4
Radius4
Self-Centeredyes

Modes

Modes are the rotational transformation of this scale. Scale 3915 can be rotated to make 7 other scales. The 1st mode is itself.

2nd mode:
Scale 4005
Scale 4005: Zibian, Ian Ring Music TheoryZibian
3rd mode:
Scale 2025
Scale 2025: Mivian, Ian Ring Music TheoryMivian
4th mode:
Scale 765
Scale 765: Erkian, Ian Ring Music TheoryErkianThis is the prime mode
5th mode:
Scale 1215
Scale 1215: Hibian, Ian Ring Music TheoryHibian
6th mode:
Scale 2655
Scale 2655: Qojian, Ian Ring Music TheoryQojian
7th mode:
Scale 3375
Scale 3375: Vecian, Ian Ring Music TheoryVecian
8th mode:
Scale 3735
Scale 3735: Xupian, Ian Ring Music TheoryXupian

Prime

The prime form of this scale is Scale 765

Scale 765Scale 765: Erkian, Ian Ring Music TheoryErkian

Complement

The octatonic modal family [3915, 4005, 2025, 765, 1215, 2655, 3375, 3735] (Forte: 8-10) is the complement of the tetratonic modal family [45, 1035, 1665, 2565] (Forte: 4-10)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 3915 is 2655

Scale 2655Scale 2655: Qojian, Ian Ring Music TheoryQojian

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> 3915       T0I <11,0> 2655
T1 <1,1> 3735      T1I <11,1> 1215
T2 <1,2> 3375      T2I <11,2> 2430
T3 <1,3> 2655      T3I <11,3> 765
T4 <1,4> 1215      T4I <11,4> 1530
T5 <1,5> 2430      T5I <11,5> 3060
T6 <1,6> 765      T6I <11,6> 2025
T7 <1,7> 1530      T7I <11,7> 4050
T8 <1,8> 3060      T8I <11,8> 4005
T9 <1,9> 2025      T9I <11,9> 3915
T10 <1,10> 4050      T10I <11,10> 3735
T11 <1,11> 4005      T11I <11,11> 3375
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 765      T0MI <7,0> 2025
T1M <5,1> 1530      T1MI <7,1> 4050
T2M <5,2> 3060      T2MI <7,2> 4005
T3M <5,3> 2025      T3MI <7,3> 3915
T4M <5,4> 4050      T4MI <7,4> 3735
T5M <5,5> 4005      T5MI <7,5> 3375
T6M <5,6> 3915       T6MI <7,6> 2655
T7M <5,7> 3735      T7MI <7,7> 1215
T8M <5,8> 3375      T8MI <7,8> 2430
T9M <5,9> 2655      T9MI <7,9> 765
T10M <5,10> 1215      T10MI <7,10> 1530
T11M <5,11> 2430      T11MI <7,11> 3060

The transformations that map this set to itself are: T0, T9I, T6M, T3MI

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 3913Scale 3913: Bonian, Ian Ring Music TheoryBonian
Scale 3917Scale 3917: Katoptyllic, Ian Ring Music TheoryKatoptyllic
Scale 3919Scale 3919: Lynygic, Ian Ring Music TheoryLynygic
Scale 3907Scale 3907, Ian Ring Music Theory
Scale 3911Scale 3911: Katyryllic, Ian Ring Music TheoryKatyryllic
Scale 3923Scale 3923: Stoptyllic, Ian Ring Music TheoryStoptyllic
Scale 3931Scale 3931: Aerygic, Ian Ring Music TheoryAerygic
Scale 3947Scale 3947: Ryptygic, Ian Ring Music TheoryRyptygic
Scale 3851Scale 3851: Yilian, Ian Ring Music TheoryYilian
Scale 3883Scale 3883: Kyryllic, Ian Ring Music TheoryKyryllic
Scale 3979Scale 3979: Dynyllic, Ian Ring Music TheoryDynyllic
Scale 4043Scale 4043: Phrocrygic, Ian Ring Music TheoryPhrocrygic
Scale 3659Scale 3659: Polian, Ian Ring Music TheoryPolian
Scale 3787Scale 3787: Kagyllic, Ian Ring Music TheoryKagyllic
Scale 3403Scale 3403: Bylian, Ian Ring Music TheoryBylian
Scale 2891Scale 2891: Phrogian, Ian Ring Music TheoryPhrogian
Scale 1867Scale 1867: Solian, Ian Ring Music TheorySolian

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.