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Scale 505: "Sanian"

Scale 505: Sanian, 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

41161837294116105072918310504116183
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
Sanian

Analysis

Cardinality7 (heptatonic)
Pitch Class Set{0,3,4,5,6,7,8}
Forte Number7-3
Rotational Symmetrynone
Reflection Axesnone
Palindromicno
Chiralityyes
enantiomorph: 1009
Hemitonia5 (multihemitonic)
Cohemitonia4 (multicohemitonic)
Imperfections4
Modes6
Prime?no
prime: 319
Deep Scaleno
Interval Vector544431
Interval Spectrump3m4n4s4d5t
Distribution Spectra<1> = {1,3,4}
<2> = {2,4,5,7}
<3> = {3,5,6,8}
<4> = {4,6,7,9}
<5> = {5,7,8,10}
<6> = {8,9,11}
Spectra Variation3.714
Maximally Evenno
Maximal Area Setno
Interior Area2.183
Myhill Propertyno
Balancedno
Ridge Tonesnone
ProprietyImproper
Heliotonicno

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}221.33
G♯{8,0,3}221.33
Minor Triadscm{0,3,7}331.33
fm{5,8,0}142
Augmented TriadsC+{0,4,8}331.33
Diminished Triads{0,3,6}142
Parsimonious Voice Leading Between Common Triads of Scale 505. Created by Ian Ring ©2019 cm cm c°->cm C C cm->C G# G# cm->G# C+ C+ C->C+ fm fm C+->fm C+->G#

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
Radius2
Self-Centeredno
Central VerticesC, G♯
Peripheral Verticesc°, fm

Modes

Modes are the rotational transformation of this scale. Scale 505 can be rotated to make 6 other scales. The 1st mode is itself.

2nd mode:
Scale 575
Scale 575: Ionydian, Ian Ring Music TheoryIonydian
3rd mode:
Scale 2335
Scale 2335: Epydian, Ian Ring Music TheoryEpydian
4th mode:
Scale 3215
Scale 3215: Katydian, Ian Ring Music TheoryKatydian
5th mode:
Scale 3655
Scale 3655: Mathian, Ian Ring Music TheoryMathian
6th mode:
Scale 3875
Scale 3875: Aeryptian, Ian Ring Music TheoryAeryptian
7th mode:
Scale 3985
Scale 3985: Thadian, Ian Ring Music TheoryThadian

Prime

The prime form of this scale is Scale 319

Scale 319Scale 319: Epodian, Ian Ring Music TheoryEpodian

Complement

The heptatonic modal family [505, 575, 2335, 3215, 3655, 3875, 3985] (Forte: 7-3) is the complement of the pentatonic modal family [55, 1795, 2075, 2945, 3085] (Forte: 5-3)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 505 is 1009

Scale 1009Scale 1009: Katyptian, Ian Ring Music TheoryKatyptian

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 505 is chiral, and its enantiomorph is scale 1009

Scale 1009Scale 1009: Katyptian, Ian Ring Music TheoryKatyptian

Transformations:

T0 505  T0I 1009
T1 1010  T1I 2018
T2 2020  T2I 4036
T3 4040  T3I 3977
T4 3985  T4I 3859
T5 3875  T5I 3623
T6 3655  T6I 3151
T7 3215  T7I 2207
T8 2335  T8I 319
T9 575  T9I 638
T10 1150  T10I 1276
T11 2300  T11I 2552

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 507Scale 507: Moryllic, Ian Ring Music TheoryMoryllic
Scale 509Scale 509: Ionothyllic, Ian Ring Music TheoryIonothyllic
Scale 497Scale 497: Kadimic, Ian Ring Music TheoryKadimic
Scale 501Scale 501: Katylian, Ian Ring Music TheoryKatylian
Scale 489Scale 489: Phrathimic, Ian Ring Music TheoryPhrathimic
Scale 473Scale 473: Aeralimic, Ian Ring Music TheoryAeralimic
Scale 441Scale 441: Thycrimic, Ian Ring Music TheoryThycrimic
Scale 377Scale 377: Kathimic, Ian Ring Music TheoryKathimic
Scale 249Scale 249, Ian Ring Music Theory
Scale 761Scale 761: Ponian, Ian Ring Music TheoryPonian
Scale 1017Scale 1017: Dythyllic, Ian Ring Music TheoryDythyllic
Scale 1529Scale 1529: Kataryllic, Ian Ring Music TheoryKataryllic
Scale 2553Scale 2553: Aeolaptyllic, Ian Ring Music TheoryAeolaptyllic

This scale analysis was created by Ian Ring, Canadian Composer of works for Piano, and total music theory nerd. The software used to generate this analysis is an open source project at GitHub. 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.