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Scale 499: "Ionaptian"

Scale 499: Ionaptian, 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

Zeitler
Ionaptian
Dozenal
Damian

Analysis

Cardinality

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

7 (heptatonic)

Pitch Class Set

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

{0,1,4,5,6,7,8}

Forte Number

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

7-6

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: 2545

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.

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.

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.

6

Prime Form

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

no
prime: 415

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, 3, 1, 1, 1, 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.

<5, 3, 3, 4, 4, 2>

Interval Spectrum

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

p4m4n3s3d5t2

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

Spectra Variation

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

3.143

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.

2.183

Polygon Perimeter

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

5.734

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.

(45, 26, 90)

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}231.5
C♯{1,5,8}231.5
Minor Triadsc♯m{1,4,8}321.17
fm{5,8,0}231.5
Augmented TriadsC+{0,4,8}321.17
Diminished Triadsc♯°{1,4,7}231.5

The following pitch classes are not present in any of the common triads: {6}

Parsimonious Voice Leading Between Common Triads of Scale 499. Created by Ian Ring ©2019 C C C+ C+ C->C+ c#° c#° C->c#° c#m c#m C+->c#m fm fm C+->fm c#°->c#m C# C# c#m->C# C#->fm

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.

Diameter3
Radius2
Self-Centeredno
Central VerticesC+, c♯m
Peripheral VerticesC, c♯°, C♯, fm

Modes

Modes are the rotational transformation of this scale. Scale 499 can be rotated to make 6 other scales. The 1st mode is itself.

2nd mode:
Scale 2297
Scale 2297: Thylian, Ian Ring Music TheoryThylian
3rd mode:
Scale 799
Scale 799: Lolian, Ian Ring Music TheoryLolian
4th mode:
Scale 2447
Scale 2447: Thagian, Ian Ring Music TheoryThagian
5th mode:
Scale 3271
Scale 3271: Mela Raghupriya, Ian Ring Music TheoryMela Raghupriya
6th mode:
Scale 3683
Scale 3683: Dycrian, Ian Ring Music TheoryDycrian
7th mode:
Scale 3889
Scale 3889: Parian, Ian Ring Music TheoryParian

Prime

The prime form of this scale is Scale 415

Scale 415Scale 415: Aeoladian, Ian Ring Music TheoryAeoladian

Complement

The heptatonic modal family [499, 2297, 799, 2447, 3271, 3683, 3889] (Forte: 7-6) is the complement of the pentatonic modal family [103, 899, 2099, 2497, 3097] (Forte: 5-6)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 499 is 2545

Scale 2545Scale 2545: Thycrian, Ian Ring Music TheoryThycrian

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 499 is chiral, and its enantiomorph is scale 2545

Scale 2545Scale 2545: Thycrian, Ian Ring Music TheoryThycrian

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> 499       T0I <11,0> 2545
T1 <1,1> 998      T1I <11,1> 995
T2 <1,2> 1996      T2I <11,2> 1990
T3 <1,3> 3992      T3I <11,3> 3980
T4 <1,4> 3889      T4I <11,4> 3865
T5 <1,5> 3683      T5I <11,5> 3635
T6 <1,6> 3271      T6I <11,6> 3175
T7 <1,7> 2447      T7I <11,7> 2255
T8 <1,8> 799      T8I <11,8> 415
T9 <1,9> 1598      T9I <11,9> 830
T10 <1,10> 3196      T10I <11,10> 1660
T11 <1,11> 2297      T11I <11,11> 3320
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 2419      T0MI <7,0> 2515
T1M <5,1> 743      T1MI <7,1> 935
T2M <5,2> 1486      T2MI <7,2> 1870
T3M <5,3> 2972      T3MI <7,3> 3740
T4M <5,4> 1849      T4MI <7,4> 3385
T5M <5,5> 3698      T5MI <7,5> 2675
T6M <5,6> 3301      T6MI <7,6> 1255
T7M <5,7> 2507      T7MI <7,7> 2510
T8M <5,8> 919      T8MI <7,8> 925
T9M <5,9> 1838      T9MI <7,9> 1850
T10M <5,10> 3676      T10MI <7,10> 3700
T11M <5,11> 3257      T11MI <7,11> 3305

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 497Scale 497: Kadimic, Ian Ring Music TheoryKadimic
Scale 501Scale 501: Katylian, Ian Ring Music TheoryKatylian
Scale 503Scale 503: Thoptyllic, Ian Ring Music TheoryThoptyllic
Scale 507Scale 507: Moryllic, Ian Ring Music TheoryMoryllic
Scale 483Scale 483: Kygimic, Ian Ring Music TheoryKygimic
Scale 491Scale 491: Aeolyrian, Ian Ring Music TheoryAeolyrian
Scale 467Scale 467: Raga Dhavalangam, Ian Ring Music TheoryRaga Dhavalangam
Scale 435Scale 435: Raga Purna Pancama, Ian Ring Music TheoryRaga Purna Pancama
Scale 371Scale 371: Rythimic, Ian Ring Music TheoryRythimic
Scale 243Scale 243: Bomian, Ian Ring Music TheoryBomian
Scale 755Scale 755: Phrythian, Ian Ring Music TheoryPhrythian
Scale 1011Scale 1011: Kycryllic, Ian Ring Music TheoryKycryllic
Scale 1523Scale 1523: Zothyllic, Ian Ring Music TheoryZothyllic
Scale 2547Scale 2547: Raga Ramkali, Ian Ring Music TheoryRaga Ramkali

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.