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Scale 579: "Giyian"

Scale 579: Giyian, 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
Giyian

Analysis

Cardinality

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

4 (tetratonic)

Pitch Class Set

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

{0,1,6,9}

Forte Number

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

4-18

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: 2121

Hemitonia

A hemitone is two tones separated by a semitone interval. Hemitonia describes how many such hemitones exist.

1 (unhemitonic)

Cohemitonia

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

0 (ancohemitonic)

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.

3

Prime Form

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

no
prime: 147

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, an indicator of maximum hierarchization.

no

Interval Structure

Defines the scale as the sequence of intervals between one tone and the next.

[1, 5, 3, 3]

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.

<1, 0, 2, 1, 1, 1>

Interval Spectrum

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

pmn2dt

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

Spectra Variation

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

3

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.

1.5

Polygon Perimeter

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

5.278

Myhill Property

A scale has Myhill Property if the Distribution Spectra have 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.

(2, 0, 15)

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
Minor Triadsf♯m{6,9,1}110.5
Diminished Triadsf♯°{6,9,0}110.5
Parsimonious Voice Leading Between Common Triads of Scale 579. Created by Ian Ring ©2019 f#° f#° f#m f#m f#°->f#m

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.

Diameter1
Radius1
Self-Centeredyes

Modes

Modes are the rotational transformation of this scale. Scale 579 can be rotated to make 3 other scales. The 1st mode is itself.

2nd mode:
Scale 2337
Scale 2337: Ogoian, Ian Ring Music TheoryOgoian
3rd mode:
Scale 201
Scale 201: Bemian, Ian Ring Music TheoryBemian
4th mode:
Scale 537
Scale 537: Atuian, Ian Ring Music TheoryAtuian

Prime

The prime form of this scale is Scale 147

Scale 147Scale 147: Bafian, Ian Ring Music TheoryBafian

Complement

The tetratonic modal family [579, 2337, 201, 537] (Forte: 4-18) is the complement of the octatonic modal family [879, 1779, 1947, 2487, 2937, 3021, 3291, 3693] (Forte: 8-18)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 579 is 2121

Scale 2121Scale 2121: Nabian, Ian Ring Music TheoryNabian

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 579 is chiral, and its enantiomorph is scale 2121

Scale 2121Scale 2121: Nabian, Ian Ring Music TheoryNabian

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> 579       T0I <11,0> 2121
T1 <1,1> 1158      T1I <11,1> 147
T2 <1,2> 2316      T2I <11,2> 294
T3 <1,3> 537      T3I <11,3> 588
T4 <1,4> 1074      T4I <11,4> 1176
T5 <1,5> 2148      T5I <11,5> 2352
T6 <1,6> 201      T6I <11,6> 609
T7 <1,7> 402      T7I <11,7> 1218
T8 <1,8> 804      T8I <11,8> 2436
T9 <1,9> 1608      T9I <11,9> 777
T10 <1,10> 3216      T10I <11,10> 1554
T11 <1,11> 2337      T11I <11,11> 3108
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 609      T0MI <7,0> 201
T1M <5,1> 1218      T1MI <7,1> 402
T2M <5,2> 2436      T2MI <7,2> 804
T3M <5,3> 777      T3MI <7,3> 1608
T4M <5,4> 1554      T4MI <7,4> 3216
T5M <5,5> 3108      T5MI <7,5> 2337
T6M <5,6> 2121      T6MI <7,6> 579
T7M <5,7> 147      T7MI <7,7> 1158
T8M <5,8> 294      T8MI <7,8> 2316
T9M <5,9> 588      T9MI <7,9> 537
T10M <5,10> 1176      T10MI <7,10> 1074
T11M <5,11> 2352      T11MI <7,11> 2148

The transformations that map this set to itself are: T0, T6MI

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 577Scale 577: Illian, Ian Ring Music TheoryIllian
Scale 581Scale 581: Eporic 2, Ian Ring Music TheoryEporic 2
Scale 583Scale 583: Aeritonic, Ian Ring Music TheoryAeritonic
Scale 587Scale 587: Pathitonic, Ian Ring Music TheoryPathitonic
Scale 595Scale 595: Sogitonic, Ian Ring Music TheorySogitonic
Scale 611Scale 611: Anchihoye, Ian Ring Music TheoryAnchihoye
Scale 515Scale 515: Depian, Ian Ring Music TheoryDepian
Scale 547Scale 547: Pyrric, Ian Ring Music TheoryPyrric
Scale 643Scale 643: Duxian, Ian Ring Music TheoryDuxian
Scale 707Scale 707: Ehoian, Ian Ring Music TheoryEhoian
Scale 835Scale 835: Fecian, Ian Ring Music TheoryFecian
Scale 67Scale 67: Abrian, Ian Ring Music TheoryAbrian
Scale 323Scale 323: Cajian, Ian Ring Music TheoryCajian
Scale 1091Scale 1091: Pedian, Ian Ring Music TheoryPedian
Scale 1603Scale 1603: Juxian, Ian Ring Music TheoryJuxian
Scale 2627Scale 2627: Qerian, Ian Ring Music TheoryQerian

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.