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Scale 4071: "Decatonic Chromatic 8"

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 reflective 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).

Keyboard Diagram





Other diagrams coming soon!

Common Names

Names are messy, inconsistent, polysemic, and non-bijective. If you see a name with lots of citations beside it, that's a good measure of credulity.

Name Sources

Analysis

Cardinality

Cardinality is the count of how many pitches are in the scale. Cardinalities can be expressed as an adjective, e.g. pentatonic, hexatonic, heptatonic, and so on.

 10 (decatonic)

Pitch Class Set

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

 {0,1,2,5,6,7,8,9,10,11}

Leonard Notation

As practiced in the theoretical work of B P Leonard, this notation for describing a pitch class set replaces commas with subscripted numbers indicating the interval distance between adjacent tones. Convenient when you are doing certain kinds of analysis. The superscript in parentheses is the sonority's Brightness.

[0111235161718191101111](59)

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.

 [3.5]

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.

 9 (multihemitonic)

Cohemitonia

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

 8 (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.

 2

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.

 10

Prime Form

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

 no
prime: 1023

Forte Number

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

 10-1

Generator

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

 generator: 1
origin: 5

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.

 [1, 1, 3, 1, 1, 1, 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.

 <9, 8, 8, 8, 8, 4>

Hanson's Interval Spectrum

The same as the Interval Vector, but expressed in a syntax used by Howard Hanson. Hanson categorizes all intervals as being one of six classes, and gives each a letter: p m n s d t, ordered from most consonant (p) to most dissonant (t). When an interval appears more than once in a sonority, it is superscripted with a number, like p2.

 p8m8n8s8d9t4

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.

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

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

Spectra Variation

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

 1.8

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.

2.75

Polygon Perimeter

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

6.073

Myhill Property

A scale has Myhill Property if the Distribution Spectra have exactly two specific intervals for every generic interval.

 yes

Centre of Gravity Distance

When tones of a scale are imagined as physical objects of equal weight arranged around a unit circle, this is the distance from the center of the circle to the center of gravity for all the tones. A perfectly balanced scale has a CoG distance of zero.

 0.193186

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.

 [7]

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.

(120, 84, 165)

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.

0.728

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.

0.593

Brightness

Based on the theories of B P Leonard, Brightness is a measurement of interval content calculated by taking the sum of each tone's distance from the root. Scales with more tones at higher pitches will have a greater Brightness than those with fewer, lower pitches. Typically used to compare pitch class sets with the same cardinality.

59

Xenome

A naming schema invented by Qid Love, and published in their book The Book Of Xenomes. A xenome is a succinct encoding of the pitch class set as three hexadecimal characters, with reversed bits such that they read left to right as ascending pitches.

 E7F

Lewin-Quinn FC Components

Conceived by David Lewin in 1959, and generalized by Ian Quinn; FC is a function that transforms the set by multiplying by a given number of semitones, then gives the total distance of the sum of the vectors produced by each tone when mapped to a circular plane. The result is a discrete Fourier transform that quantifies harmonic qualities. A more thorough and sensible explanation is coming in the book. FC Components can be used to analyze other tuning systems besides 12-TET. FC0 is the cardinality of the scale.

 FC0 = 10
FC1 = 1.931852
FC2 = 1.732051
FC3 = 1.414214
FC4 = 1
FC5 = 0.517638
FC6 = 0

Generator

This scale has a generator of 1, originating on 5.

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}352.7
D{2,6,9}352.4
F{5,9,0}352.7
F♯{6,10,1}452.4
G{7,11,2}352.9
A♯{10,2,5}452.4
Minor Triadsdm{2,5,9}452.4
fm{5,8,0}352.9
f♯m{6,9,1}452.4
gm{7,10,2}352.7
a♯m{10,1,5}352.4
bm{11,2,6}352.7
Augmented TriadsC♯+{1,5,9}552.3
D+{2,6,10}552.3
Diminished Triadsd°{2,5,8}252.9
f°{5,8,11}253.1
f♯°{6,9,0}252.9
g°{7,10,1}252.9
g♯°{8,11,2}253.1
b°{11,2,5}252.9
Parsimonious Voice Leading Between Common Triads of Scale 4071. Created by Ian Ring ©2019 C# C# C#+ C#+ C#->C#+ d° d° C#->d° fm fm C#->fm dm dm C#+->dm F F C#+->F f#m f#m C#+->f#m a#m a#m C#+->a#m d°->dm D D dm->D A# A# dm->A# D+ D+ D->D+ D->f#m F# F# D+->F# gm gm D+->gm D+->A# bm bm D+->bm f° f° f°->fm g#° g#° f°->g#° fm->F f#° f#° F->f#° f#°->f#m f#m->F# g° g° F#->g° F#->a#m g°->gm Parsimonious Voice Leading Between Common Triads of Scale 4071. Created by Ian Ring ©2019 G gm->G G->g#° G->bm a#m->A# b° b° A#->b° b°->bm

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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.

Diameter5
Radius5
Self-Centeredyes

Modes

Modes are the rotational transformation of this scale. Scale 4071 can be rotated to make 9 other scales. The 1st mode is itself.

2nd mode:
Scale 4083		Decatonic Chromatic 9
3rd mode:
Scale 4089		Decatonic Chromatic Descending
4th mode:
Scale 1023		Chromatic DecamirrorThis is the prime mode
5th mode:
Scale 2559		Decatonic Chromatic 2
6th mode:
Scale 3327		Decatonic Chromatic 3
7th mode:
Scale 3711		Decatonic Chromatic 4
8th mode:
Scale 3903		Decatonic Chromatic 5
9th mode:
Scale 3999		Decatonic Chromatic 6
10th mode:
Scale 4047		Decatonic Chromatic 7

Prime

The prime form of this scale is Scale 1023

Scale 1023Chromatic Decamirror

Complement

The decatonic modal family [4071, 4083, 4089, 1023, 2559, 3327, 3711, 3903, 3999, 4047] (Forte: 10-1) is the complement of the ditonic modal family [3, 2049] (Forte: 2-1)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 4071 is 3327

Scale 3327Decatonic Chromatic 3

Interval Matrix

Each row is a generic interval, cells contain the specific size of each generic. Useful for identifying contradictions and ambiguities.

Contradictions (120)

Ambiguities(84)

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
111110011111114071k = 1h = 1
2200(11111)(11111)4071k = 2h = 2
3200(11111)(11111)4071k = 3h = 2
4200(11111)(11111)4071k = 4h = 2
5200(11111)(11111)4071k = 5h = 2

Center of Gravity

If tones of the scale are imagined as identical physical objects spaced around a unit circle, the center of gravity is the point where the scale is balanced.

Position

with origin in the center

(-0.186603, -0.05)
Distance from Center0.193186
Angle in degrees

measured clockwise starting from the root.

285
Angle in cents

100 cents = 1 semitone.

950

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> 4071       T0I <11,0> 3327
T1 <1,1> 4047      T1I <11,1> 2559
T2 <1,2> 3999      T2I <11,2> 1023
T3 <1,3> 3903      T3I <11,3> 2046
T4 <1,4> 3711      T4I <11,4> 4092
T5 <1,5> 3327      T5I <11,5> 4089
T6 <1,6> 2559      T6I <11,6> 4083
T7 <1,7> 1023      T7I <11,7> 4071
T8 <1,8> 2046      T8I <11,8> 4047
T9 <1,9> 4092      T9I <11,9> 3999
T10 <1,10> 4089      T10I <11,10> 3903
T11 <1,11> 4083      T11I <11,11> 3711
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 3831      T0MI <7,0> 3567
T1M <5,1> 3567      T1MI <7,1> 3039
T2M <5,2> 3039      T2MI <7,2> 1983
T3M <5,3> 1983      T3MI <7,3> 3966
T4M <5,4> 3966      T4MI <7,4> 3837
T5M <5,5> 3837      T5MI <7,5> 3579
T6M <5,6> 3579      T6MI <7,6> 3063
T7M <5,7> 3063      T7MI <7,7> 2031
T8M <5,8> 2031      T8MI <7,8> 4062
T9M <5,9> 4062      T9MI <7,9> 4029
T10M <5,10> 4029      T10MI <7,10> 3963
T11M <5,11> 3963      T11MI <7,11> 3831

The transformations that map this set to itself are: T0, T7I

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 4069Starygic
Scale 4067Nonatonic Chromatic 8
Scale 4075Katyllian
Scale 4079Chromatic Undecamode 8
Scale 4087Chromatic Undecamode 9
Scale 4039Nonatonic Chromatic 7
Scale 4055Dagyllian
Scale 4007Doptygic
Scale 3943Zynygic
Scale 3815Mylygic
Scale 3559Aerathygic
Scale 3047Panygic
Scale 2023Zodygic

This scale analysis was created by Ian Ring, Canadian Composer of works for Piano, and total music theory nerd. Scale notation generated by 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 were invented by living persons, and used here with permission where required: notably collections of names by William Zeitler, Justin Pecot, Rich Cochrane, and Robert Bedwell.

Pitch spelling algorithm employed here is adapted from a method by Uzay Bora, Baris Tekin Tezel, and Alper Vahaplar. (DOI, Patent owner: Dokuz Eylül University, Used with Permission.

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 naming the Carnatic ragas. Thanks to Niels Verosky for collaborating on the Hierarchizability diagrams. Gratitudes to Qid Love for the Xenomes. Thanks to B P Leonard for the Brightness metrics. Thanks to u/howaboot for inventing the Center of Gravity metrics.