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Scale 905: "Bylitonic"

Scale 905: Bylitonic, 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
Bylitonic
Dozenal
Fotian

Analysis

Cardinality

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

5 (pentatonic)

Pitch Class Set

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

{0,3,7,8,9}

Forte Number

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

5-Z38

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: 569

Hemitonia

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

2 (dihemitonic)

Cohemitonia

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

1 (uncohemitonic)

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.

4

Prime Form

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

no
prime: 295

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, 4, 1, 1, 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.

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

Interval Spectrum

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

p2m2n2sd2t

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

Spectra Variation

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

3.2

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.

1.933

Polygon Perimeter

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

5.596

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.

(9, 5, 36)

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 TriadsG♯{8,0,3}210.67
Minor Triadscm{0,3,7}121
Diminished Triads{9,0,3}121
Parsimonious Voice Leading Between Common Triads of Scale 905. Created by Ian Ring ©2019 cm cm G# G# cm->G# G#->a°

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.

Diameter2
Radius1
Self-Centeredno
Central VerticesG♯
Peripheral Verticescm, a°

Modes

Modes are the rotational transformation of this scale. Scale 905 can be rotated to make 4 other scales. The 1st mode is itself.

2nd mode:
Scale 625
Scale 625: Ionyptitonic, Ian Ring Music TheoryIonyptitonic
3rd mode:
Scale 295
Scale 295: Gyritonic, Ian Ring Music TheoryGyritonicThis is the prime mode
4th mode:
Scale 2195
Scale 2195: Zalitonic, Ian Ring Music TheoryZalitonic
5th mode:
Scale 3145
Scale 3145: Stolitonic, Ian Ring Music TheoryStolitonic

Prime

The prime form of this scale is Scale 295

Scale 295Scale 295: Gyritonic, Ian Ring Music TheoryGyritonic

Complement

The pentatonic modal family [905, 625, 295, 2195, 3145] (Forte: 5-Z38) is the complement of the heptatonic modal family [439, 1763, 1819, 2267, 2929, 2957, 3181] (Forte: 7-Z38)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 905 is 569

Scale 569Scale 569: Mothitonic, Ian Ring Music TheoryMothitonic

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 905 is chiral, and its enantiomorph is scale 569

Scale 569Scale 569: Mothitonic, Ian Ring Music TheoryMothitonic

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> 905       T0I <11,0> 569
T1 <1,1> 1810      T1I <11,1> 1138
T2 <1,2> 3620      T2I <11,2> 2276
T3 <1,3> 3145      T3I <11,3> 457
T4 <1,4> 2195      T4I <11,4> 914
T5 <1,5> 295      T5I <11,5> 1828
T6 <1,6> 590      T6I <11,6> 3656
T7 <1,7> 1180      T7I <11,7> 3217
T8 <1,8> 2360      T8I <11,8> 2339
T9 <1,9> 625      T9I <11,9> 583
T10 <1,10> 1250      T10I <11,10> 1166
T11 <1,11> 2500      T11I <11,11> 2332
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 2585      T0MI <7,0> 779
T1M <5,1> 1075      T1MI <7,1> 1558
T2M <5,2> 2150      T2MI <7,2> 3116
T3M <5,3> 205      T3MI <7,3> 2137
T4M <5,4> 410      T4MI <7,4> 179
T5M <5,5> 820      T5MI <7,5> 358
T6M <5,6> 1640      T6MI <7,6> 716
T7M <5,7> 3280      T7MI <7,7> 1432
T8M <5,8> 2465      T8MI <7,8> 2864
T9M <5,9> 835      T9MI <7,9> 1633
T10M <5,10> 1670      T10MI <7,10> 3266
T11M <5,11> 3340      T11MI <7,11> 2437

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 907Scale 907: Tholimic, Ian Ring Music TheoryTholimic
Scale 909Scale 909: Katarimic, Ian Ring Music TheoryKatarimic
Scale 897Scale 897: Fopian, Ian Ring Music TheoryFopian
Scale 901Scale 901: Bofian, Ian Ring Music TheoryBofian
Scale 913Scale 913: Aeolyritonic, Ian Ring Music TheoryAeolyritonic
Scale 921Scale 921: Bogimic, Ian Ring Music TheoryBogimic
Scale 937Scale 937: Stothimic, Ian Ring Music TheoryStothimic
Scale 969Scale 969: Ionogimic, Ian Ring Music TheoryIonogimic
Scale 777Scale 777: Empian, Ian Ring Music TheoryEmpian
Scale 841Scale 841: Phrothitonic, Ian Ring Music TheoryPhrothitonic
Scale 649Scale 649: Byptic, Ian Ring Music TheoryByptic
Scale 393Scale 393: Lothic, Ian Ring Music TheoryLothic
Scale 1417Scale 1417: Raga Shailaja, Ian Ring Music TheoryRaga Shailaja
Scale 1929Scale 1929: Aeolycrimic, Ian Ring Music TheoryAeolycrimic
Scale 2953Scale 2953: Ionylimic, Ian Ring Music TheoryIonylimic

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.