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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

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
Dozenal
Daqian

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

{0,3,4,5,6,7,8}

Forte Number

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

7-3

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: 1009

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.

4

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: 319

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.

[3, 1, 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, 4, 4, 4, 3, 1>

Interval Spectrum

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

p3m4n4s4d5t

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> = {2,4,5,7}
<3> = {3,5,6,8}
<4> = {4,6,7,9}
<5> = {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.

3.714

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.

(67, 23, 86)

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:

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> 505       T0I <11,0> 1009
T1 <1,1> 1010      T1I <11,1> 2018
T2 <1,2> 2020      T2I <11,2> 4036
T3 <1,3> 4040      T3I <11,3> 3977
T4 <1,4> 3985      T4I <11,4> 3859
T5 <1,5> 3875      T5I <11,5> 3623
T6 <1,6> 3655      T6I <11,6> 3151
T7 <1,7> 3215      T7I <11,7> 2207
T8 <1,8> 2335      T8I <11,8> 319
T9 <1,9> 575      T9I <11,9> 638
T10 <1,10> 1150      T10I <11,10> 1276
T11 <1,11> 2300      T11I <11,11> 2552
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 2395      T0MI <7,0> 2899
T1M <5,1> 695      T1MI <7,1> 1703
T2M <5,2> 1390      T2MI <7,2> 3406
T3M <5,3> 2780      T3MI <7,3> 2717
T4M <5,4> 1465      T4MI <7,4> 1339
T5M <5,5> 2930      T5MI <7,5> 2678
T6M <5,6> 1765      T6MI <7,6> 1261
T7M <5,7> 3530      T7MI <7,7> 2522
T8M <5,8> 2965      T8MI <7,8> 949
T9M <5,9> 1835      T9MI <7,9> 1898
T10M <5,10> 3670      T10MI <7,10> 3796
T11M <5,11> 3245      T11MI <7,11> 3497

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 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: Boqian, Ian Ring Music TheoryBoqian
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. 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.