92

9J

Enumeration of

Synthetic Musical Scales

•

by Matrix Algebra

and a Catalogue

of Busoni Scales

I ha ve made an altern pt to exhaust the possibi lities of the arrangement of degrees within the seven- tone scale; and succeeded, by raising and lowering the intervals, in establishing one hundred and thirteen different scales. These 113 scales (within the octave C-C) comprise the greater part of ou I" familiar twenty- four keys, and, furthe rmore, a series of new keys of peculiar char-acte r , But with these the mine is not exhausted, for we are at liberty to transpose each of these 113. besides the blending of two such keys in harmony and melody. *1

Ferruccio Busoni (1856-1924)

ROBERT M. MASON

Busoni's Problem

In 1966 the musical world celebrated the lOath anniversary of the birth of Ferruccio Busoni. Although he is better known. of COurse. as a composer and performing artist whose creative life spanned the transitional period between the romantic and modern styles, Buaonl is recognized also for his pioneering contributions to musical theory. As a theoretician he must be given credit for posing a sparkling little problem in applied combinatorial analysis - a problem of musical scale synthesis that later intrigued J. Murray Barbour. "'2

94

9S

As almost everyone knows. the seven letters from A to G. arranged in the order C, D. E. F. G. A. B. denote that sequence of tones and intervals referred to as the "one-octave. ascending scale of C major". or commonly, the ·C major scale". Busoni's proposal for forming synthetic musical scales by sharping or flatting tones of the C major scale was studied by Barbour in his 1929 paper. Since a sharp (I) or a fiat (~) is a musical sign telling the performer to raise or lower a tone one halCstep in pitch. indiscriminate applications of sharps and fiats to the C major scale might. in the equitempered system. lead to tonal duplication (exemplified by GIA~) or to overlapping (exemplified by E'F~), which are prohibited. Barbour circumvented both of these complications by rephrasing the conditions of Busoni's problem in terms of a particular musical instrument - the harp - and the way in which its natural scale can be modified by pedal settings.

Usually the note C is marked as the starting ~oint or entrance to the scale of C major. If some other letter 1S chosen instead to signify the ·keynote-, and the remaining letters are rotated. the resulting cyclic rearrangement of the notes of the C major scale is termed a "modal variant- of the C major scale. Having decided to exclude modal variants, Barbour counted the scaletunings of the harp subject to this criterion by determing first the number of two-tone fragments. then the number of threetone fragments. and so on. until he reached complete scales. He found that Busoni's count of synthetic musical scales starting on C is somewhat less than the true number (155) of such scales formed in accordance with Busoni's declared method.

In his 1949 paper. which was presented before the Acoustical Society of America, Barbour elaborated on his earlier results. He observed that "not all [sixty-six) heptatonic scales can be notated with seven letter names unless double sharps and fiats are used.-

are needed inorder to write down all sixty-six heptatonic scales in every key.

Moreover. putting the matter in terms of musical intervals and their relationships avoids the introduction of Barbour's concepts of dupltcation and overlapping. It also demonstrates that an enharmonic mapping of the literal alphabets onto the twelve tones of the equitempered system is not essential to solving Busoni's problem. Until an enharmonic mapping is made in the concluding section. observe that F~ is not equal to E. and CX (CII) is not equal to D. This is true for the simple reason that no assumption has been made to the contrary.

Synthetic Musical Scales

It will be helpful in the beginning if certain terminology. explained in detail in a recent paper by the present author 03. is stated once more in brief summary. Thus. a "mustcal interval- is made up of two tones whose corresponding frequencies are recognizable as an accepted musical interval relationship. Such an interval relationship always can be expressed by the traditional terms: ·perfect. major. minor. augmented. diminished. first. second. third. and so on-" This provides assurance that no matter which two notes are chosen from the musical staff, the resulting interval will be a musical interval. To give several extreme examples. D'F'" forms an augmented third. c~EH~ forms a diminished third. and F~bBx forms a quintuply augmented fourth.

Although retaining the general pattern of Barbour's approach. the present study systematizes the enumeration by using the algebra of matrices. a method well adapted to digital computers. By employing standard mathematical procedures a:' a framework within which to carry out the required enumerabon. rather than the less-famUiar harp tunings used by Barbour. the present construction readily permlts an extension of the solution to live infiections (x." _. ~,H). An examination olthe catalog of Busoni scales (see Table 1) accompanying this enumeration demonstrates the correctness of Barbour's observations. Yet. such an examination reveals that six infiections

By definition adopted here. an interval Is "diaconnected " and the associated interval relationship is ·partitioned· by inserting one or more note names in between the endnotes. For example. the interval CC. whose endnotes are in an octave-interval relationship. can be disconnected in many ways. One familiar way would be to split it into seven smaller intervals: CD. DE. EF. FG, GA, AB. BC. So. the C major scale CDEFGABC may be considered to arise from disconnection and to correspond to a partition of the octave into seven interval parts.

The simple idea of octave partitioning suggests a very general concept. to be called a ·synthetic musical scale-. A ·synthetic musical scale ~ is a partition of the octave into smaller musical interval relationships. From this general point of view, the flnal interval of any given synthetic musical scale closes a circuit to bring the melodic path back to the keynote. and if the octave CC momentarily is considered to be indistinguishable Crom the unison CC. the melodic path may be said to return to

96

97

its starting point. To illustrate. various musical intervals can be connected to form a chain beginning with C. as follows:

CD + DE + EF + FG + GA + AB + "BC· " CC.

where m and n are suitably chosen integers. The numbers that appear in equation 3. so-called "L-vafues " (see ReCerence 3). are defined to be the logarithm on the base 3/2 oC this ratio, that is to say, I .. m - n.

The interval "BC· is enclosed in quotation marks to indicate that it is the tinal interval required to complete the synthetic musical scale. In 1929 Barbour measured these intervals in semttenes, which is equivalent to restating equation I as:

2 + 2 + (-S) + 2 + 2 + 2 + (-S) " O.

(3)

Although it has just been demonstrated that equation 3 is deeply rooted in the Pythagorean system, the physical significance attached to I-values is not vital, and in Cact is restrictive to the present outlook. Rather, consider these values as numerical labels that have been attached to the various names of musical inte rval relationships without regard to ternpe rument , simply to help mechanize the enumeration process. Then. the door remains open for assigning ani physical interpretation to the resulting scale notations that will be useful, without mental encumbrance. Accordingly, enlarging upon ideas found in the first paragraph of Section S oC ReCerence 2a. "Busont scale" may be deCined independently not only oC the C major scale but also oC both the Pythagorean and equitempered systems as being any synthetic musical scale oC eight degrees that comprises a chain of undiminished seconds. Of course the synthetic scale restriction Impltcttty assumes a 2: I octave ratio still. Since the undiminished seconds can be shown to correspond to I-values -S. 2. 9. 16. 23. 30. and so on (see Refe renee 3). an equivalent definition may be stated as follows: A Busoni scale is any ascending sequence of eight tones whose adjacent notes bear interval relationships with I-value labels equal to -S, 2, 9. 16. 23. 30, and so on.

2 + 2 + I + 2 + 2 + 2 + 1 • 12.

(2)

Thus. equation 2 must be interpreted from the standpoint of equitem pe rame nt,

For present purposes. it is better to re-express equation 2 as:

in order not to introduce equitemperament. The zero on the right-hand side oC equation 3 now represents the ~ctave CC in the same fashion as a zero residue represents an tntege r multiple of the modulus in an arithmetic congruence. Now some of the integers in equation 3 bear algebraic signs. This results from the fact that equation 3 refers to a series of tones in Pythagorean temperament and is therefore not the same as equation 2 in equitemperament.

Recalling that the Pythagorean system is based upon the octave and the fifth using the ratios 2: 1 Cor the octave and 3:2 Cor the fifth. it is possible to express the frequency ratio f(T) of an arbitrary Pythagorean tone T aa the number f(T) .. 2S(3/2)t:l" 28(3/2)t. where sand t are suitably chosen integers and ~he basic reference frequency is unity. The set of all tones beanng the same note name T has the set oC associated frequencies:

•••• 2-2(3/2)t. 2-1(3/2)t. (3/2)t. 21(3/2)t. 22(3/2)t .....

Restating the conditions of this definition mathematically reveals that the Busoni scales are related to. and in fact structurally specified by solutions oC the following partition equation:

0" NI(-S) + N2(2) + N3(9) + N4(16) + NS(23)+ NS(30) + .... (4)

This set forms an equivalence class with respect to the relation of octave congruence. so that the whole class can be representetd by a single member. which for convenience is taken to be (3/2) • In other words. the appropriate variable Cactor 2s is suppressed whUe the tones with the same value oC t are lumped together. Hence. the frequency ratio of a given interval XY can be written as:

where the coefficients of the I-values <that is. the Ni) are nonnegative integers that together total seven. Obviously. Cor the major scale. N 1 .. 2. N2 II 5. and Cor i> 2. Ni .. O. But there are other solutions to this partition equation corresponding to other Busonl scales. Interest consequently centers on all possible sets of coeCClcients Ni that will satisfy equation 4.

m n m-n

R" f(Y)/f(X) • (3/2) :(3/2) .. (3/2) : 1.

To find these solution sets it is best to start out by giving successive integral values to NI beginning with the smallest admissible. It is soon obvious that no solution exists Cor N 1

93

equal to either 0'01' 1. It follows that all Busoni scales must contain at least two minor seconds. Also evident is the fact that no solutions are possible for Nl greater than 6. Consequently all Busoni scales are devoid of intervals stretched beyond the quadruply augmented mark. (See Reference 2b.)

Each row of Chart 1 contains a set of coefficients Ni that balances the partition equation. equation 4. To illustrate the meaning of the entries in this chart. the fourth solution says that

4(5-) + 2(2) + 1(16) • o.

This equality impUes that many different Busoni scale structures 01' modes exist (the exact number being 7! 1(4! 2!) .. 105) that are formed by arranging four minor seconds (m 2nd). two major seconds (M 2nd). and one doubly augmented second (++ 2nd) in every possible way. The factorial expressions on the right state the number of interval permutations that are possible for each combination of intervals specified by the N·s. Barbour established the total to be 462 heptatonic modes. As a check. this result can be shown to agree with the coefficient of the zero-th power term in the expansion of the associated generat10g function: *4

(5)

The number of different Busoni scale structures. 462. when divided by the number of modal variants for a heptatonic scale. 7. y.ields the number of harmonically distinct seven-tone scales that are theoretically possible. 66.

Before attempting to count the Busoni scales themselves. it is advisable to digress brieny for a discussion of literal notation and a review of matrix algebra.

Literal Notation

Consider two sets. a set of letters A. B. C. D. E. F. G called L and a set of 1onections •••• x.l. _. ~. ~~. . .. called I. Modern musical notation is based on a new set made up of ordered pairs produced by choosing the first element of the pair from L and the second from I. 10 that order. This so-called ·Cartesian product- set. written L x I (read ·L cross Ia). Is termed a literal alphabet. U the set I is restricted to an odd number of infiections centered on -. the resulting truncated literal al-

99

CHART

1

~ II, II, Ifo II, .." II. -"'-
'-.'- _ ...........
0..1 t t t!- tl
0-11 , , I ,~,,-ltO
0-111 • I , .!!.-Iot
O-IV • t 0 1 !-Ia
o..v , 0 1 I ; - 41
O-VI , 1 0 • I ii - ot
o..VII • • • 0 0 I " f
ii-
1-"" • tool .,.001 ..... ++'001 - .... - .... T .... , ...
............ 100

phabet is said to be "balanced".

The musicalsymbolism required for the remainder of this discussion is customary and consists of two balanced literal alphabets that are obtained by taking two particular subsets of L x I. These subsets are based on three and five inflections and contain twenty-one and thirty-!ive literals. respectively. Graphically. the two literal alphabets may be depicted as sets of points on a planar lattice. as shown in Figure 1.

The following brief review of the simple mathematical elements called "matrtces" is included here to facilitate the mathematically untrained musical reader's understanding of the subsequent material.

Matrix Algebra

First of all, a matrix P is deCined as a rectangular array of numbers p, which may be represented as follows:

Pu P12· •• Pin P21 P22· •• P2n

(6)

By convention the !irst subscript on p denotes the row in which that p occurs. the second subscript denotes the column. The next paragraph explains what is meant by "matrix multiplication· •

Provided that the matrix Q has exactly as many rows as the matrix P has columns. the product of P and Q may be deCined to be another matrix R:

R II PQ.

Otherwise. the operation of matrix multiplication is undefined. The element rij appearing in the Uh row and jth column of the product matriX R is obtained as follows: Multiply the first element in the ith row of P by the first element in the jth column ot Q. then the second element in the ith row of P by the second element in the jth column of Q. and so on. The sum of all these products.

FIGURE

1

101

LI,erai Alphabet.

III

.. I

! ~

, .

II

.,. .. : .. _'__:._: __ ~_': __ ._ ...... f"UII.'" 14.,".'

",' • • • • ell G 0 X..... II "Ifl"'" ALI'MUl1

, .

/ ...... 0--.--.--.-0--.-0 .. , \

, , , .

, , I

I • • • • • • • • I ,

\ \, 0 • • • • • • .-t',' "

, ,________________ I

, ,

''III ••• 0 • • • ,,'

.. ------------------~

. . . . . . .

L- --~+_~~~~------------~

• • c • • • •

L.l,n.,

102

103

U(VW) " (UV)W

U(V + W) : UV + UW

ASSOCIA TIVE LAW DISTRIBUTIVE LAW

(Sa) (Sb)

immediately before tone Ej in any sc:ale. then t.he element in the ith row and the jth column of P, 1. e •• PU' is set equal to one. Ie tone Ei is not struck immediately berore tone Ej. this element is assigned the value zero.

Now if a 1 appears in the ith row and the jth column of a given precedence matrix. then a 0 must appear in the jth t_'ow and ith column of the same matrix. since usually if something immediately precedes something else. it cannot also immediately Collow. By the same token. all the elements in the ith row and the ith column (that is. the elements PU' P22' •••• PH' • '. " p ) must be zero, because in normal circumstances somethmg c~~not immediately precede itse1£.

n

rij = PUqlj + Pi 2q2j + ••• + Pinqnj " ~ Pikqkj • (8)

is the element required to occupy the ith row and jth column oC the product matrix R.

This definition implies that matrix multiplication is associative and distributive, but not commutative. These terms mean that for any three matrices Cor which multiplication is possible. say U, V. W, it is always true that:

UV 1 VU

FAILURE OF COMMUTATIVE LAW

(9c)

Example

Consider the direct precedences deCining the ascending C major scale (see equation 1). which constrain the scale steps to be taken in a fixed order. Thus. if "<" denotes "must immediately precede ", the C major scale is defined by these precedence relations

and it is often true that

Ie P and Q denote the same matrix. then formula 8 gives its second power or square. In this case. however. the number of rows m must equal the number of columns n for the multiplication to be deCined (see equation 6). The square of the matrix P is denoted by

C.::D. D<E, E<F. F<G. G<A. A<B. and B<C.

(11)

p2 " (P)P .. P(P).

The precedence matrix for the C major scale. therefore. is constructed as follows. (Recall that an entry of 1 is going to indicate that the note designating the row in which the I appears immediately precedes the note designating the column in which the same I appeara.)

SucceSSively higher positive integral powers oC a matrix can be defined recursively. so that

(10)

Columns
....----..,
CDEFGAB
C 0 100 000
D o 0 I 000 0
E 000 1 000
III (12)
~ F 0000100
0
a: G o 0 0 0 0 1 0
A 000 000 1
B I 0 0 0 0 0 0 and. in general.

Precedence Matrices

In general a "precedence matrix" is defined to be a square array (m .. n) of zeros and ones. such that the entry in the ith row and the jth column equals 1 if a corresponding precedence relation holds. and the entry equals 0 otherwise. A precedence matrix P is a mathematical way 01 showning. for example. how certain events (the soundings of tones) EI' E2' •• " En are ordered in time (when a scale is played). If tone Ei is struck

The 1 at the intersection of the C row and the D column of expression 12 means that in the corresponding C major scale

104

-note C immediately precedes note 0·; the 1 at the intersection of the F column and the E row means that in this same scale "note F immediately follows note E-.

The Three-Inflectional Case

To apply the previous ideas to Busoni's problem. it is necessary to work with larger matrices. The matrix P for the threeinflectional case (see Figure 2) is constructed as follows. First. the twenty-one literals of the alphabet are listed both across the top and down the left-hand side of the matrix. A given literal designates the same row and the same column. For example. O~ designates row four and column four in the chosen matrix. Subject to this single restriction. the literals may be assigned arbitrarily. *5 From Barbour's point of view, these twenty-one designations are the various notes of the harp.

Second, each pair of literals having a direct precedence is entered into the matrix by the following rule of construction:

Whenever the interval relationship between the lower note (labeling row U and the upper note (labeling column j) is an undiminished second, the element Pij occuring in the ith row and the jth column of the matrix P is assigned the value 1; otherwise this element is assigned the value Z~l"O.

Precedence matrices are useful not only because they represent the sequence in which steps must be taken, but also because their powers have an interesting interpretation. To Ulustrate, if Z denotes a precedence matrix, the entry in the ith row and the jth column of Z2 gives the number of second-order precedences implicit in Z. The next few paragraphs describe the formation of p2.

A precedence matrix Is squared by multiplying it by itself using the row-by-column rule given before for ordinary matrix multiplication (see equation 8). As it now stands. however, the matrix P(Figure 2)1s too large to handle conveniently. Luckily the calculation can be simplified by a mathematical trick. The details of the trick are as follows: Let x and y denote the follOwing 8ubmatrices of P:

11 1 11

111

011

11 1 11

o 1 1 •

001

(13)

and y a

x =

Then the matrix P may be written more compactly as follows:

lOS

FIGURE

2 Tbe P matMx - a precedence matrix for BUllonl lleale. ba.ed on a twenty-one IIter21 alphabet. (z.ero element. are .uppre .. ed.)

C~ C CI D~ D Of D E EI n r

'I C~

c ce A~ A AI

_~ I •

B I -I

• I •

• I

I

106

107

o x 00000 r 1 !I I~ 1 ~ I
o 0 x 0 000 xy 1 1 1
o 0 0 y 0 0 0 o 1 0
P ::: o 0 0 0 x 0 0 (t.1)
o 0 0 0 0 x 0 r 1 1111 1 ! I
o 000 0 0 x yx ::: o 1 1 1 1
Y 0 0 0 000 o 0 101 " I~ ~ ~I'

012

( 17b)

" I~ ~ ~I'

011

(t 7c)

The resulting seven by seven ·partitioned matr-ix" is a symbolf c e~pression of the original twenty-one by twenty-one matrix (Figure 2). Note that each 0 in the compact expression really stands for a submatrix of zeros:

(Note Crom equations 17b and 17 c that yx ~ xy; this illustrates the behavior expressed in 9c.) As an example oC the interpretation of 17a, consider the position of x2 in the top part oC p2:

o ::: I~ ~ ~I·

000

E~ E E'

(15)

C C

C'

2 3 3 2 3 3 2 2

Partitioned matrices are multiplied in the normal way by treati?g the submatrices as if they were elements. For multiplication oC partitioned matrices to be possible, the Cirst matrix must be partitioned as to columns in the same way that the second matrix is partitioned as to rows. By matrix multiplication. succeesive powers of P, in its partitioned form, can be determined easily.

This portion of p2 shows that there are just two three-tone fragments connecting note C to note E~. These are, of course, CD~E~ and CDE~. (See Reference 2a; in particular, Table 1.) The corresponding entry oC p3 must be zero because there are no four-tone fragments connecting note C to note E~. The product matrix p3 is multiplied again by P and the process continues until the seventh power is formed. Discussion of these powers is postponed until a later section.

When the precedence matrix P is squared. the elemer.ts in the resulting product matrix show the number oC Barbour's threetone fragments. For clarity,

The Five-Inflectional Case

o x o 0 000 2 0 o x2 0 0 0 0
o 0 x 0 0 0 0 0 0 o xy 0 0 0
o 0 0 y 0 0 0 0 0 0 o yx 0 0
000 0 x 0 0 .. 0 0 0 0 o x2 0
,
0 o 0 0 0 x 0 0 0 0 0 0 o x2
000 o 0 0 x xy 0 0 0 0 0 0
y 0 0 000 0 o yx 0 0 0 0 0 The precedence matrix Q for Busoni's problem in the fiveinJlectional case is shown in Figure 3. Let x and y now stand for the following submatrices of Q:

(16)

1 1 1 1 1 1 x" 01111 00111 o 0 0 1 1

and y "

1 1 1 1 1

o 1 1 1

o 0 1

o 0 0 1 I

o 000 1

(18)

where the particular submatrlces are calculated as follows:

Then Q has the form symbolic of P and its first seven powers can be determined easily.

1 1 1111

1 1 1 1

o 1 1 0

1 11

1 1

1 1

•

12 3 31

2 3 3 ,

122

(17a)

Technically there are Inconsistencies in both P and Q, because In every Busoni scale the penultimate tone leads once again to the starting tone. *6 As an example, the leading tone B oC the scale of C major returns to the tonic C, which was the starting point. These inconsistencies are permissible because such loops are legitimate and it is only in the seventh powers oC P

103

and Q that they manifest themselves for the first time.

Complete Listing of Busoni Scales

Table 1 t gives an exhaustive presentation of the 1254 Busoni scales possible with five inflect ions, The 363 synthetic musical scales counted by Barbour are embedded in this catalog and are marked by asterisks. Each arrowhead indicates the entrance oC a new scale structure and the beginning of a family of heptatonic scales related by transposition. These 66 Busoni scale families are categorized completely by the following index, which gives the line number 1 oC the first scale in each family to have the designatton h for every characteristic harmony of cardinality seven. *7

..l!...._I_ .JL_1_ .JL_I_ .JL_I_ .JL_I _ _ h_-L
12'1 0003 3'19 tl18 487 1029 671 0864 749 0935 875 08'15
191 0370 381 0057 491 1213 687 ll78 755 0990 877 073;
223 0209 415 0234 493 ll54 695 0945 757 0473 885 0155
239 1086 431 1220 499 07ll 699 0800 823 0627 925 1107
247 0952 439 0306 501 0111 701 1246 827 0601 939 0427
251 0759 443 0899 505 0825 719 0590 829 1069 941 1239
253 0175 445 0439 607 0325 727 1195 847 0779 949 1t88
319 0129 463 0972 623 0539 731 0257 855 1t43 981 0197
351 0843 471 1016 631 1047 733 0392 859 0912 1367 0092
367 0403 475 0648 635 0479 743 0674 861 0683 1371 0452
375 0564 477 0034 637 0350 747 0287 871 0513 1387 1252 Tables 2 and 3 contain numerical data about the many scales listed in Table 1. These data were found by evaluating the successive powers of matrices P and Q. Table 2 displays the sum

(19)

obtained by adding the corresponding elements of each or these seven matrices. Similarly, Table 3 displays the sum

(20)

By summing in this way, the information contained in each power matrix is condensed without disturbance.

There are three kinds or numbers in Tables 2 and 3. Those along the main diagonal (bold) show at a glance the number or

t All Tables have been placed at the end of the article. - ed.

FIGURE

109

3

The Q matrix - a precedence matrix Cor BUllonl scales based on a thlrty- rive literal alphabet. (Z" ro elementll are suppressed.)

I I'll

• t 1'1 I I I I I I I I I

c •• o c

CI

C.

D"

Do

D

..

D'

'"

If

,

II

I'

n.

n

,

II

,.

c ..

co

c

q

ex

.....

....

..

AI

....

an. I 1'1 a. I I I I

a I I I

It I •

a. I

I I I I I

• I I. I I II I I I I I I

I I I I I I I I I I I I I I

11' I I

• I. I • I I I I I II I I

I II I I I I I I I I I I I II I I I

I II I I II I I I I I I I I I I I I

11 0

111

complete Busoni modes that correspond to the row or column label. Those in boxes along the main diagonal (i tattc), excluding main diagonal entries (bold). relate to two-octave Busoni scales and thus should be regarded as spurious solutions. And those situated elsewhere (roman) reveal the number of fragments that radiate from the corresponding row label as keynote Or lead into the corresponding column label as endnote.

Busoni Mode Names

Focusing attention on Table 2. the sequence of entries reading from lert to right along the bottom row of 521 states that there is a unique two-tone fl'agment Crom B' to C,. Building upon that. there is a single three-tone fragment ending on 0 and another ending on D'. Continuing in the same direction. there is just one four-tone fragment from B' to E~, although there are two of them from BI to E and from B' to E'. Moreover, there are a total of nine five-tone fragments with keynote B#. (Actually 1 + 3 + 5 is a row sum of p4; column sums have a meaningful interpretation too.) Likewise, there are 22 six-tone Cragments starting on BI. of which four terminate on G~, and there are 57 seven-tone fragments starting on B'. of which 13 terminate on A~. Again. there are 92 attempts (35 + 57) to Corm Busoni scales starting on B' that failed because the endnotes (B~ and B, respectively) do not match the keynote. Finally. there are 57 successful attempts to form Busoni scales start ing on Bf.

The first family of scales set off by arrowheads in Table 1 occupies lines 0001 to 0029 inclusive. Undoubtedly the scales in this first section are harmonically equivalent because they are modal variants of the major scale. To speak in precise terms. when the tone in the r-ui column of the first section is taken to be the keynote of the scale. the scales In this equivalence class are named as follows:

!. !!!2!!!:.
Lydian.
2 Mixolydian,
3 Aeolian.
4 Locrian,
5 Major.
6 Dorian; and
7 Phrygian. The numbers (bold) generated along the main diagonals of Tables 2 and 3 - that is. along a straight line extending from the top left to the bottom right corner of 521 and 535 - comprise an enumeration of complete Busonl modes originating and terminating at notes labeling the row or column in which they appear. If these diagonal elements are summed the result is called a -trace-. In mathematical notation the trace of either 521 or S35 may be represented by the same formula.

Convenient mode names for the rernauung scales of Table 1 (that is. lines 0030 to 125'!) can be created simply by attaching the prefix • co-" to the mode name for section one corresponding to the column containing the keynote. For example. the C harmonic scale (line 0488. r .. 3) would be in the co-Aeolian mode.

Conclusion

The Busoni scales within the first section are enharmonicaHy identical in accordance with the collowing chart.

or tr S ..

~s •.• f,;r. lJ

j"i

(21)

0001 • 0013 .. 0025 0002 a 0014 .. 0026 0003 .. 0015 a 0027 0004 • 0016 .. 0028 0005 .. 0017 .. 0029 0006 .. 0018

0007 • 0019

0008 .. 0020

0009 .. 0021

0010 .. 0022

0011 .. 0023

0012 • 0024

Since tr S21 " 2541 .. 7 X 363. there are 2541 Busoni modes and 363 Busoni scales based on the twenty-one literal alphabet. Similarly. since tr S35 a 8778" 7 X 1254. there are 8778 Busonl modes and 1254 Busoni scales based on the thirty-five literal alphabet.

112

Referring again to Table 1. it is apparent that within any sec. tion listing more than twelve Busoni scales those scales in lines N and N + 12 are enharmonically identical. A close look. however. shows that not all sections list thirteen or more scales. Some Busoni scales remain to be found.

As previously indicated. several conclusions can be drawn Crom an inspection of Table I.

(a) An alphabet having only three inflections ( •• q. ~) - as implicit in Barbour's earlier study - is insufficient to yield a Busoni scale to represent each oC the sixty·six possible harmonically distinct classes oC heptatonic scales.

(b) An alphabet having five inflections (x.,. \~. ~~). although sufficient to yield at least five representatives. nevertheless is insuCClcient to ensure that all twelve enharmonically distinct Busoni scales in each such class appear at least once in the list.

(c) An extension of Table 1 to alphabets having six or more inflections is trivial.

Enlarging upon conclusion (c). the shortest section in Table 1 extends from line 1250 to Une 1254 inclusive. As this section is incomplete. it.readily suggests seven harmonically equivalent heptatonic scales that cannot be written as Busoni 'scales using only a thirty-five literal alphabet. An example of such a scale. which is of interest because it cannot be written with just th~Cive inflections x, C. t ". H without having to use some one of the letters A. B, C. D, E. F. G more than once. is to be found by taking, say. the seven leftmost tones of Figure 4. Obviously the letter A cannot appear in any trial spelling oC this scale, and therefore. oC necessity. one oC the remainlng letters must be repeated. By introducing a sixth inflection. say a triple sharp. * .. x' " • II. a definitive solution to Busoni's problem can be obtained. This small luxury permits the last ·sectionof Table 1 to be continued in the manner shown in Chart 2. *8 Other short sections can be continued in the same way.

The remarks of the preceding paragraph lead to the following two theorems.

THEOREM 1: An alphabet having six inflections is bothnecessary and sufficient to ensure that all twelve enharmonically distinct Busoni scales in each of the Sixty-six possible harmonically distinct classes of heptatonic scales appear at least

11 J

FIGURE

4

E_rmoRlc: mapplnll or the thlny-rtve literal alphabet onto the twelve-tone equilempe red system.

To,,"

0 I Z S .. S 6 7 II 9 10 II
- Ix ex - ox - Ex fx - ex - AX
I, Q - Of - II F, - Cf - AI -
C - 0 - E f - e - A - B
- O~ - E~ n - e~ - A~ - I. C~
D~. - EH F •• - e~. - A •• - B •• O. - CHART

2

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lUI en o. It " G At ...
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lUI ... ,- ,. e, • •• Ct
11M At • •• C. D, • • G.
II"~ D' ,. G' ., • C D'
lIM" • ••• c· D' ., ., G ••
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1- Ct D. •• r- e, • ..
I_II co ". •• c. DI • ,
l- ao a. ,. Ca ~ • C
'_11 .. •• C • 0- It .. G 114

115

once in the list analogous to Table 1. TABLE
THEOREM 2: Every scale that has seven or fewer tones can 1
be written without using any letter more than once, although to
do so may require as many as six infiections.
Thus, it may be said that harmonies containing seven or fewer
distinct tones are ·weakly diatontc ",
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124

TABLE

2

THI MAnlXS..

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II> I. ., 101 If '''1'' • I I I I S S • 9 II Il r. til til
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I • II Nit II at rJIU.JJ 0 I I I I S S I • II ..
II s I .. .. 14 I. " If H 0 0 I 0 I I I I S S I
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~ I .1 II .. " II n .... " III ,.. I I I S S S • •
, I I I to to H II .. .. H ISS 0 I I I t I I I
GO I I • f II II " " "" II .. II ,71 ,71 I I I I , I
:. f I • f II II n " Ifn II .. " In '71 I I I 1 I I
I I I • • • II n n II SS I' .. tt, III 0 • I I I I
At I 1 f I • • • II II • I. II II 11 n I" IT' ." I ,I I
!. I 1 I I I • • II II • " It '1 n n 'Of In '" I I I
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I 0 I I I I I I I I I • IS .. " " SS II ill H III '"
.. • • I 0 • I I I 1 I I I • • • II n n " I' " 125

3

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• ··-"-----·i!i!'!I:!'!!IZ~I~a!·:!·-= "" .. -o---oaii!;:i!!§Z&==~~·e~!·-··--o 3 ---OO--OOOi='~·11:1·==:·-···-O~"-OO

.\ -----!!'~!iiiitJI!=21==~!:·~~~·-.,.·- .. - a -----2l1:~:iial!!=~~,:I~·~~!·-~·- .. -

o ----Q'i!~~ •• ~,:;;~~:aaa~·~~·--···-g a ---oe~!!tt=!.:.· =~;;:.!!!!!! .. _ •• __ o_ .. _oo

i --.o·:=~=~s=~·-:~~·-~~·-o .. -oo .. -ooo

4 !!~ii==I!ai!·=:a';II:~e:··-~··~-----

i-a----.,~-II-II-~~=····o.- •• -------o

o _!~~= •• -~-. :- •• - ---

u ;il!:ii=;:I.=:"I.:~ •••• ·---"-·---oo

a !!!~.al.a·==:·-:%··- o_--oo--ooo

o '~'~ ••• :.-~ •• _ ••• R_ •• __ .O __ OOO_ ••• O

126

R

E

E

c

s

E

F

R

N

E

Bllsonl. Ferrucclo. Entwurf elner neuen Aesthellk der Tonkunst 11907). EnlIIsh tranD. by Th. Baker (New York: G. Schirmer. Inc •• 19111. pp. 29-30.

:I Baroour. J. M.

(al "Syntheltc Mu.lcal Scalell". 1'h e American Mathematical Monthly. 36 (March 19291. pp.155-160.

(bl "Mullcal Scalee and their Clasalflcatlon·, The Journal of the Acoustical Society of America. 21/6 (Nov. 19491. pp.586-589.

3 Malian. R. M. ·A Formula. MODDliram. and Tables for Determining MUlllcal Interval Relaltonships·. Journal of Research In Music Education, 15/2(5ummer 19671. pp. 1t0-1t9.

4 By subatltutlns x • u 7 lind usinl the Identity:

I - xn 2 n-I r:a-11"x"x ....... x •

the leneraltnl function may be put In the form: '1.-511 _ '1.6)'.

It _ xl'

Now by IIs1nl the identlty:

I • I .. (n. .. (ot-I, 2 .. I I I

~ I'x 2 x .... x cr,

the problem ta reduced to flndlnS the coefficient of '1.5 In the expansiOn!

11 - '1.6,' t (7+r-I'xr•

reO r

If the tirot fac:tor of this expression Is expanded. aU but the first term hall x to a hltr,er power than 5 and can be Millected. Therefore. the required coefftclent Is ( 5) • 462.

5 In order to Kenerate the elements of the matrix more easUy on a dilital computer. an arranlement of the literals as they oceur In a chair. of perfect !lith. would be favored. Alternatively. the present arranlement 10 suitable for hand calculation and leads to a more readable tabular presentatlol"

• .. Hanry. Frank. ·On the Conalstency of Precedence Matricee·. Journal of the A_soclatlon for Computlnl Machinery. 711 9601. pp.255-259.

, Mason, R. M. -An Encodlne Aleorlthm and Tables tor the Dlettal Analy_ls of HarmoD1·. Journal of Reeeareb In Mu_Ic EducatiOn! m 17/3 (Fall 19891. pp. 286-300. un 1'/4 (Winter 19891. pp.389-387.

B The Imaelnary unit I hae been Introduced here merely to obtain additional numerical labele with which to identity the many BUDonl keys (that Ie. Busonl modee a' filled pitch-Ieve'" that are not explicitly Uated In. but rather faU IOKlcally between certain llnee of. Table I. To elaborale. the Husonl key defined by the literal sequence Cx of £ F Cl~ A~~ Blolo~ would be labeled In accordance with this scheme by the expresalon -1250 - 1. co-Mlxolldlan·. where the prior

127

BOOK

REVIEWS

THE PRACTICA MUSICAE OF FttANCHINUS GAFURIUS Translated and Edited witn musical transcriptions

by Irwin Young

MADISON: UNIVERSITY OF WISCONSIN PRESS. 1969

REVIEWER

Lawrence Gushee

If some things which you perhaps believe are necessary both for ecclesiastical and mensural instruction seem to be omitted here. consider that this is done on purpose. 1 rely on the dUigence of my readers - who. I believe. will ignore nothing which pertains to this discipline - to study my books industriously. It is difficult for things that are known not to be left out by people. of course. to whom the whole matter. or much of it. is verywellknown. (GafuriusYoung. p, 120)

Inasmuch as the initial lament of Albert Seay's double review which deals with Irwin Young's translation along with yet lAnother by Clement Miller (Rome: American Institute of Musit'olopv. 1968) i~ rli reeted at the absurdity of duolieation of effort