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[[File:BP chord 357 just.png|thumb|right|Chord from just Bohlen–Pierce scale: C-G-A, tuned to harmonics 3, 5, and 7. "BP" above the clefs indicates Bohlen–Pierce notation. {{Audio|BP Just 357 chord.ogg|Play}}]]
{{No footnotes|date=September 2012}}
A '''random coil''' is a [[polymer]] [[Chemical structure|conformation]] where the [[monomer]] subunits are oriented [[randomness|randomly]] while still being [[chemical bond|bonded]] to [[graph (mathematics)|adjacent]] units. It is not one specific [[shape]], but a [[statistics|statistical]] distribution of shapes for all the chains in a [[statistical population|population]] of [[macromolecule]]s. The conformation's name is derived from the idea that, in the absence of specific, stabilizing interactions, a polymer backbone will "sample" all possible conformations randomly. Many linear, [[Branching (polymer chemistry)|unbranched]] [[homopolymer]]s — in solution, or above their [[glass transition temperature|melting temperature]]s — assume ([[approximation|approximate]]) random coils. Even [[copolymer]]s with [[monomers]] of unequal [[length]] will distribute in random coils if the subunits lack any specific interactions. The parts of branched polymers may also assume random coils.


The '''Bohlen–Pierce scale''' ('''BP scale''') is a musical [[Scale (music)|scale]] that offers an alternative to the [[octave]]-repeating scales typical in [[Classical music|Western]] and other musics, specifically the [[diatonic scale]].<ref>{{cite book | title = Music, Cognition, and Computerized Sound: An Introduction to Psychoacoustics | author = John R. Pierce | chapter = Consonance and scales | editor = Perry R. Cook | publisher = MIT Press | year = 2001 | isbn = 978-0-262-53190-0 | page = 183 | url = http://books.google.com/books?id=L04W8ADtpQ4C&pg=PA183&dq=%22Bohlen-Pierce+scale%22+13+octave&lr=&as_brr=0&as_pt=ALLTYPES&ei=2jhdSYDPMYnwkQSi1LXSAw }}</ref> Compared with octave-repeating scales, its [[interval (music)|interval]]s are more [[consonance|consonant]] with certain types of acoustic [[frequency spectrum|spectra]]. It was independently described by Heinz Bohlen,<ref>
Below their melting temperatures, most [[thermoplastic]] polymers ([[polyethylene]], [[nylon]], etc.) have [[amorphous solid|amorphous]] regions in which the chains approximate random coils, alternating with regions that are [[crystal]]line. The amorphous regions contribute [[elasticity (physics)|elasticity]] and the crystalline regions contribute strength and [[Stiffness|rigidity]].
http://www.huygens-fokker.org/bpsite/publication0178.html H. Bohlen, "13 Tonstufen in der Duodezime," ''Acoustica'' 39, 76-86 (1978).</ref> Kees van Prooijen<ref>
http://www.kees.cc/tuning/interface.html K. van Prooijen, "A Theory of Equal-Tempered Scales," ''Interface'' 7, 45-56 (1978).</ref> and [[John R. Pierce]]. Pierce, who, with [[Max Mathews]] and others, published his discovery in 1984,<ref>
M.V. Mathews, L.A. Roberts, and J.R. Pierce, "Four new scales based on nonsuccessive-integer-ratio chords," ''J. Acoust. Soc. Amer.'' 75, S10(A) (1984).</ref> renamed the '''Pierce 3579b scale''' and its chromatic variant the ''Bohlen–Pierce scale'' after learning of Bohlen's earlier publication. Bohlen had proposed the same scale based on consideration of the influence of [[combination tone]]s on the [[Gestalt psychology|Gestalt]] impression of intervals and chords.<ref name="Current Directions, p.167">
Max V. Mathews and John R. Pierce (1989). "The Bohlen–Pierce Scale", p.167. ''Current Directions in Computer Music Research'', Max V. Mathews and John R. Pierce, eds. MIT Press.</ref>


The intervals between BP scale [[pitch classes]] are based on odd [[integer]] [[frequency]] ratios, in contrast with the intervals in diatonic scales, which employ both odd and even ratios found in the [[Harmonic series (music)|harmonic series]]. Specifically, the BP scale steps are based on ratios of integers whose factors are 3, 5, and 7. Thus the scale contains consonant harmonies based on the odd [[harmonic]] overtones 3/5/7/9 ({{Audio|3579 Harmonic Chord.ogg|play}}). The chord formed by the ratio 3:5:7 ({{Audio|BP Just 357 chord.ogg|play}}) serves much the same role as the 4:5:6 chord (a major triad {{Audio|JI 456 chord.ogg|play}}) does in diatonic scales (3:5:7 = 1:1.66:2.33 and 4:5:6 = 2:2.5:3 = 1:1.25:1.5).
More complex polymers such as [[protein]]s, with various interacting chemical groups attached to their backbones, [[Molecular self-assembly|self-assemble]] into well-defined structures. But segments of proteins, and [[peptide|polypeptides]] that lack [[secondary structure]], are often assumed to exhibit a random-coil conformation in which the only fixed relationship is the joining of adjacent [[amino acid]] [[residue (chemistry)|residue]]s by a [[peptide bond]]. This is not actually the case, since the [[statistical ensemble (mathematical physics)|ensemble]] will be [[energy]] weighted due to interactions between amino acid [[Side chain|side-chains]], with lower-energy conformations being present more frequently. In addition, even arbitrary sequences of amino acids tend to exhibit some [[hydrogen bond]]ing and secondary structure. For this reason, the term "statistical coil" is occasionally preferred. The [[conformational entropy]] associated with the random-coil state significantly contributes to its energetic stabilization and accounts for much of the energy barrier to [[protein folding]].  


==Chords and modulation==
A random-coil conformation can be detected using spectroscopic techniques. The arrangement of the planar amide bonds results in a distinctive signal in [[circular dichroism]]. The [[chemical shift]] of amino acids in a random-coil conformation is well known in [[Protein NMR|nuclear magnetic resonance]] (NMR). Deviations from these signatures often indicates the presence of some secondary structure, rather than complete random coil. Furthermore, there are signals in multidimensional NMR experiments that indicate that stable, non-local amino acid interactions are absent for polypeptides in a random-coil conformation. Likewise, in the images produced by [[X-ray crystallography|crystallography]] experiments, segments of random coil result simply in a reduction in "electron density" or contrast. A randomly coiled state for any polypeptide chain can be attained by [[denaturation (biochemistry)|denaturing]] the system. However, there is evidence that proteins are never truly random coils, even when denatured (Shortle & Ackerman).
3:5:7's [[Intonation (music)#Intonation sensitivity|intonation sensitivity]] pattern is similar to 4:5:6's (the just major chord), more similar than that of the minor chord.<ref name="Current Directions, p.165-66">
Mathews and Pierce (1989). "The Bohlen–Pierce Scale", p.165-66.</ref> This similarity suggests that our ears will also perceive 3:5:7 as harmonic.


The 3:5:7 chord may thus be considered the major triad of the BP scale. It is approximated by an interval of 6 equal-tempered BP [[semitone]]s ({{Audio|BP ET half step.ogg|play one semitone}}) on bottom and an interval of 4 equal-tempered semitones on top (semitones: 0,6,10; {{Audio|BP ET 357.ogg|play}}). A minor triad is thus 6 semitones on top and 4 semitones on bottom (0,4,10; {{Audio|BP ET minor.ogg|play}}). 5:7:9 is the first inversion of the major triad (0,4,7; {{Audio|BP ET 579.ogg|play}}).<ref name="Current Directions, p.169">Mathews and Pierce (1989). "The Bohlen–Pierce Scale", p.169.</ref>
==Random walk model: The Gaussian chain==
{{main|Ideal chain}}
[[Image:Ideal chain random walk.png|thumb|200px|Short [[ideal chain|random chain]]]]


A study of chromatic triads formed from arbitrary combinations of the 13 tones of the chromatic scale among twelve musicians and twelve untrained listeners found 0,1,2 (semitones) to be the most dissonant chord ({{Audio|BP 012.ogg|play}}) but 0,11,13 ({{Audio|BP 0 11 13.ogg|play}}) was considered the most consonant by the trained subjects and 0,7,10 ({{Audio|BP 0 7 10.ogg|play}}) was judged most consonant by the untrained subjects.<ref name="Current Directions, p.171">
There are an enormous number of different [[Ludwig Boltzmann|ways]] in which a chain can be curled around in a relatively compact shape, like an unraveling ball of twine with lots of open [[space]], and comparatively few ways it can be more or less stretched out. So, if each conformation has an equal [[probability]] or [[statistics|statistical]] weight, chains are much more likely to be ball-like than they are to be extended — a purely [[entropy|entropic]] effect. In an [[statistical ensemble (mathematical physics)|ensemble]] of chains, most of them will, therefore, be loosely [[sphere|balled up]]. This is the kind of shape any one of them will have most of the time.
Mathews and Pierce (1989). "The Bohlen–Pierce Scale", p.171.</ref>


Every tone of the Pierce 3579b scale is in a major and minor triad except for tone II of the scale. There are thirteen possible keys. Modulation is possible through changing a single note, moving note II up one semitone causes the tonic to rise to what was note III (semitone: 3), which may be considered the [[dominant (music)|dominant]]. VIII (semitone: 10) may be considered the [[subdominant]].<ref name="Current Directions, p.169"/>
Consider a linear polymer to be a freely-jointed chain with ''N'' subunits, each of length <math>\scriptstyle\ell</math>, that occupy [[0 (number)|zero]] [[volume]], so that no part of the chain excludes another from any location. One can regard the segments of each such chain in an ensemble as performing a [[random walk]] (or "random flight") in three [[dimension]]s, limited only by the constraint that each segment must be joined to its neighbors. This is the ''[[ideal chain]]'' [[mathematical model]]. It is clear that the maximum, fully extended length ''L'' of the chain is <math>\scriptstyle N\,\times\,\ell</math>. If we assume that each possible chain conformation has an equal statistical weight, it can be [[ideal chain|shown]] that the probability ''P''(''r'') of a polymer chain in the [[statistical population|population]] to have distance ''r'' between the ends will obey a characteristic [[Probability distribution|distribution]] described by the formula


==Timbre and the tritave==
: <math>P(r) = \frac{4 \pi r^2}{(2/3\; \pi \langle r^2\rangle)^{3/2}} \;e^{-\,\frac{3r^2}{2\langle r^2\rangle}}</math>
3:1 serves as the fundamental harmonic ratio, replacing the diatonic scale's 2:1 (the [[octave]]). ({{Audio|Octave.ogg|play}}) This interval is a perfect twelfth in [[diatonic scale|diatonic]] nomenclature ([[perfect fifth]] when reduced by an octave), but as this terminology is based on step sizes and [[diatonic function|functions]] not used in the BP scale, it is often called by a new name, '''''tritave''''' ({{Audio|Tritave.ogg|play}}), in BP contexts, referring to its role as a [[pseudooctave]], and using the prefix "tri-" (three) to distinguish it from the octave. In conventional scales, if a given pitch is part of the system, then all pitches one or more octaves higher or lower also are part of the system and, furthermore, are considered [[octave equivalency|equivalent]]. In the BP scale, if a given pitch is present, then ''none'' of the pitches one or more octaves higher or lower are present, but ''all'' pitches one or more tritaves higher or lower are part of the system and are considered equivalent.


The BP scale's use of odd integer ratios is appropriate for timbres containing only odd harmonics. Because the [[clarinet]]'s spectrum (in the [[chalumeau]] register) consists of primarily the odd harmonics, and the instrument overblows at the twelfth (or tritave) rather than the octave as most other woodwind instruments do, there is a natural affinity between it and the Bohlen–Pierce scale. In early 2006 clarinet maker [[Stephen Fox (clarinet maker)|Stephen Fox]] began offering Bohlen–Pierce soprano clarinets for sale, and he produced the first BP tenor clarinet (six steps below the soprano) in 2010 and the first epsilon clarinet (four steps above the soprano) in 2011, while a contra clarinet (one tritave lower than the soprano) is under development.
The ''average'' ([[root mean square]]) end-to-end distance for the chain, <math>\scriptstyle \sqrt{\langle r^2\rangle}</math>, turns out to be <math>\scriptstyle\ell</math> times the square root of&nbsp;''N'' &mdash; in other words, the average distance scales with ''N''<sup>0.5</sup>.


==Just tuning==
Note that although this model is termed a "Gaussian chain", the distribution function is not a [[normal distribution|gaussian (normal) distribution]].  The end-to-end distance probability distribution function of a Gaussian chain is non-zero only for ''r''&nbsp;>&nbsp;0.
A diatonic Bohlen–Pierce scale may be constructed with the following just ratios (chart shows the "Lambda" scale):
<ref>In fact, the Gaussian chain's distribution function is also unphysical for real chains, because it has a non-zero probability for lengths that are larger than the extended chain.  This comes from the fact that, in strict terms, the formula is only valid for the limiting case of an infinite long chain.  However, it is not problematic since the probabilities are very small.</ref>


{| class="wikitable" style="text-align:center"
==Real polymers==
!
| colspan="2" | '''C'''
| colspan="2" | '''D'''
| colspan="2" | '''E'''
| colspan="2" | '''F'''
| colspan="2" | '''G'''
| colspan="2" | '''H'''
| colspan="2" | '''J'''
| colspan="2" | '''A'''
| colspan="2" | '''B'''
| colspan="2" | '''C'''
|-
! Ratio
| colspan="2" | 1/1
| colspan="2" | [[Semitone maximus|25/21]]
| colspan="2" | [[Septimal major third|9/7]]
| colspan="2" | [[Tritone|7/5]]
| colspan="2" | [[Major sixth|5/3]]
| colspan="2" | [[Minor seventh|9/5]]
| colspan="2" | [[Septimal diatonic semitone|15/7]]
| colspan="2" | [[Septimal minor third|7/3]]
| colspan="2" | [[Just chromatic semitone|25/9]]
| colspan="2" | [[Tritave|3/1]]
|-
! Step
|
| colspan="2" | T
| colspan="2" | s
| colspan="2" | s
| colspan="2" | T
| colspan="2" | s
| colspan="2" | T
| colspan="2" | s
| colspan="2" | T
| colspan="2" | s
|
|-
! Midi
| colspan="2" | {{Audio|BP Just C.ogg|C}}
| colspan="2" | {{Audio|BP Just D.ogg|D}}
| colspan="2" | {{Audio|BP Just E.ogg|E}}
| colspan="2" | {{Audio|BP Just F.ogg|F}}
| colspan="2" | {{Audio|BP Just G.ogg|G}}
| colspan="2" | {{Audio|BP Just H.ogg|H}}
| colspan="2" | {{Audio|BP Just J.ogg|J}}
| colspan="2" | {{Audio|BP Just A.ogg|A}}
| colspan="2" | {{Audio|BP Just B.ogg|B}}
| colspan="2" | {{Audio|BP Just High C.ogg|C}}
|}


{{Audio|BP Just Lambda Scale.ogg|play just Bohlen–Pierce "Lambda" scale}}
A real polymer is not freely-jointed. A -C-C- single [[chemical bond|bond]] has a fixed [[alkane#Molecular geometry|tetrahedral]] angle of 109.5 degrees. The value of ''L'' is well-defined for, say, a fully extended [[polyethylene]] or [[nylon]], but it is less than ''N''&nbsp;x&nbsp;''l'' because of the zig-zag backbone. There is, however, free rotation about many chain bonds. The model above can be enhanced. A longer, "effective" unit length can be defined such that the chain can be regarded as freely-jointed, along with a smaller ''N'', such that the constraint ''L''&nbsp;=&nbsp;''N''&nbsp;x&nbsp;''l'' is still obeyed. It, too, gives a Gaussian distribution. However, specific cases can also be precisely calculated. The average end-to-end distance for ''freely-rotating'' (not freely-jointed) polymethylene (polyethylene with each -C-C- considered as a subunit) is ''l'' times the square root of 2''N'', an increase by a factor of about 1.4. Unlike the zero volume assumed in a random walk calculation, all real polymers' segments occupy space because of the [[van der Waals radius|van der Waals radii]] of their atoms, including [[steric effects|bulky substituent groups]] that interfere with [[molecular geometry|bond rotations]]. This can also be taken into account in calculations. All such effects increase the mean end-to-end distance.
{{Audio|JI diatonic scale.ogg|contrast with just major diatonic scale}}


A just BP scale may be constructed from four overlapping 3:5:7 chords, for example, V, II, VI, and IV, though different chords may be chosen to produce a similar scale<ref name="Current Directions, p.170">Mathews and Pierce (1989). "The Bohlen–Pierce Scale", p.170.</ref>:
Because their polymerization is [[stochastic]]ally driven, chain lengths in any real population of [[chemical synthesis|synthetic]] polymers will obey a statistical distribution. In that case, we should take ''N'' to be an average value. Also, many polymers have random branching.
(5/3) (7/5)
V  IX  III
      |
    III VII I
        |
        VI I IV
          |
          IV VIII II


==Bohlen–Pierce temperament==
Even with corrections for local constraints, the random walk model ignores steric interference between chains, and between distal parts of the same chain. A chain often cannot move from a given conformation to a closely related one by a small displacement because one part of it would have to pass through another part, or through a neighbor. We may still hope that the ideal-chain, random-coil model will be at least a qualitative indication of the shapes and [[dimension]]s of real polymers in [[solution]], and in the amorphous state, as long as there are only weak [[intermolecular force|physicochemical interactions]] between the monomers. This model, and the [[Flory-Huggins Solution Theory]],<ref>Flory, P.J. (1953) ''Principles of Polymer Chemistry'', Cornell Univ. Press, ISBN 0-8014-0134-8</ref><ref>Flory, P.J. (1969) ''Statistical Mechanics of Chain Molecules'', Wiley, ISBN 0-470-26495-0; reissued 1989, ISBN 1-56990-019-1</ref> for which [[Paul Flory]] received the [[Nobel Prize in Chemistry]] in 1974, ostensibly apply only to [[ideal solution|ideal, dilute solutions]]. But there is reason to believe (e.g., [[neutron diffraction]] studies) that [[steric effects|excluded volume effects]] may cancel out, so that, under certain conditions, chain dimensions in amorphous polymers have approximately the ideal, calculated size <ref>"Conformations, Solutions, and Molecular Weight" from "Polymer Science & Technology"  courtesy of Prentice Hall Professional publications [http://www.informit.com/content/images/chap3_0130181684/elementLinks/chap3_0130181684.pdf]</ref>
Bohlen originally expressed the BP scale in both [[just intonation]] and [[equal temperament]]. The [[Musical temperament|tempered]] form, which divides the tritave into thirteen equal steps, has become the most popular form. Each step is <math>3^{1/13} = 1.08818...</math> above the next, or <math>1200\log_2( 3^{1/13} )= 146.3...</math> cents per step. The octave is divided into a fractional number of steps. Twelve equally tempered steps per octave are used in [[equal temperament|12-tet]]. The Bohlen–Pierce scale could be described as 8.202087-tet, because a full octave (1200 cents), divided by 146.3... cents per step, gives 8.202087 steps per octave.
When separate chains interact cooperatively, as in forming crystalline regions in [[solid]] thermoplastics, a different mathematical approach must be used.


Dividing the tritave into 13 equal steps tempers out, or reduces to a unison, both of the intervals 245/243 (about 14 cents, sometimes called the minor Bohlen–Pierce [[diesis]]) and 3125/3087 (about 21 cents, sometimes called the major Bohlen–Pierce diesis) in the same way that dividing the octave into 12 equal steps reduces both 81/80 ([[syntonic comma]]) and 128/125 (5-limit [[limma]]) to a unison. A [[regular temperament|7-limit linear temperament]] tempers out both of these intervals; the resulting ''Bohlen–Pierce temperament'' no longer has anything to do with tritave equivalences or non-octave scales, beyond the fact that it is well adapted to using them. A tuning of [[41 equal temperament|41 equal steps to the octave]] (1200/41 = 29.27 cents per step) would be quite logical for this temperament. In such a tuning, a tempered perfect twelfth (1902.4 [[cent (music)|cents]], about a half cent larger than a just twelfth) is divided into 65 equal steps, resulting in a seeming paradox: Taking every fifth degree of this octave-based scale yields an excellent approximation to the non-octave-based equally tempered BP scale. Furthermore, an interval of five such steps generates (octave-based) [[Generated collection|MOS]]es with 8, 9, or 17 notes, and the 8-note scale (comprising degrees 0, 5, 10, 15, 20, 25, 30, and 35 of the 41-equal scale) could be considered the octave-equivalent version of the Bohlen–Pierce scale.
Stiffer polymers such as [[alpha helix|helical]] polypeptides, [[Kevlar]], and double-stranded [[DNA]] can be treated by the [[worm-like chain]] model.


==Intervals and scale diagrams==
==See also==
The following are the thirteen notes in the scale (cents rounded to nearest whole number):
*[[protein folding]]
*[[native state]]
*[[molten globule]]
*[[probability theory]]


'''Justly tuned'''
==References==
{| class="wikitable"
{{Reflist}}
|align=center bgcolor="#ffeeee"|'''Interval (cents)'''
|
|colspan=2 align=center bgcolor="#ffeeee"|133
|colspan=2 align=center bgcolor="#ffeeee"|169
|colspan=2 align=center bgcolor="#ffeeee"|133
|colspan=2 align=center bgcolor="#ffeeee"|148
|colspan=2 align=center bgcolor="#ffeeee"|154
|colspan=2 align=center bgcolor="#ffeeee"|147
|colspan=2 align=center bgcolor="#ffeeee"|134
|colspan=2 align=center bgcolor="#ffeeee"|147
|colspan=2 align=center bgcolor="#ffeeee"|154
|colspan=2 align=center bgcolor="#ffeeee"|148
|colspan=2 align=center bgcolor="#ffeeee"|133
|colspan=2 align=center bgcolor="#ffeeee"|169
|colspan=2 align=center bgcolor="#ffeeee"|133
|
|-
|align=center bgcolor="#fffbee"|'''Note name'''
|colspan=2 align=center bgcolor="#fffbee"|C
|colspan=2 align=center bgcolor="#fffbee"|D♭
|colspan=2 align=center bgcolor="#fffbee"|D
|colspan=2 align=center bgcolor="#fffbee"|E
|colspan=2 align=center bgcolor="#fffbee"|F
|colspan=2 align=center bgcolor="#fffbee"|G♭
|colspan=2 align=center bgcolor="#fffbee"|G
|colspan=2 align=center bgcolor="#fffbee"|H
|colspan=2 align=center bgcolor="#fffbee"|J♭
|colspan=2 align=center bgcolor="#fffbee"|J
|colspan=2 align=center bgcolor="#fffbee"|A
|colspan=2 align=center bgcolor="#fffbee"|B♭
|colspan=2 align=center bgcolor="#fffbee"|B
|colspan=2 align=center bgcolor="#fffbee"|C
|-
|align=center bgcolor="#eeeeff"|'''Note (cents)'''
|colspan=2 align=center bgcolor="#eeeeff"|&nbsp;&nbsp;0&nbsp;&nbsp;
|colspan=2 align=center bgcolor="#eeeeff"|&nbsp;133&nbsp;
|colspan=2 align=center bgcolor="#eeeeff"|302
|colspan=2 align=center bgcolor="#eeeeff"|435
|colspan=2 align=center bgcolor="#eeeeff"|583
|colspan=2 align=center bgcolor="#eeeeff"|737
|colspan=2 align=center bgcolor="#eeeeff"|884
|colspan=2 align=center bgcolor="#eeeeff"|<small>1018</small>
|colspan=2 align=center bgcolor="#eeeeff"|<small>1165</small>
|colspan=2 align=center bgcolor="#eeeeff"|<small>1319</small>
|colspan=2 align=center bgcolor="#eeeeff"|<small>1467</small>
|colspan=2 align=center bgcolor="#eeeeff"|<small>1600</small>
|colspan=2 align=center bgcolor="#eeeeff"|<small>1769</small>
|colspan=2 align=center bgcolor="#eeeeff"|<small>1902</small>
|}
 
'''Equal-tempered'''
{| class="wikitable"
|align=center bgcolor="#ffeeee"|'''Interval (cents)'''
|
|colspan=2 align=center bgcolor="#ffeeee"|146
|colspan=2 align=center bgcolor="#ffeeee"|146
|colspan=2 align=center bgcolor="#ffeeee"|146
|colspan=2 align=center bgcolor="#ffeeee"|146
|colspan=2 align=center bgcolor="#ffeeee"|146
|colspan=2 align=center bgcolor="#ffeeee"|146
|colspan=2 align=center bgcolor="#ffeeee"|146
|colspan=2 align=center bgcolor="#ffeeee"|146
|colspan=2 align=center bgcolor="#ffeeee"|146
|colspan=2 align=center bgcolor="#ffeeee"|146
|colspan=2 align=center bgcolor="#ffeeee"|146
|colspan=2 align=center bgcolor="#ffeeee"|146
|colspan=2 align=center bgcolor="#ffeeee"|146
|
|-
|align=center bgcolor="#fffbee"|'''Note name'''
|colspan=2 align=center bgcolor="#fffbee"|C
|colspan=2 align=center bgcolor="#fffbee"|D♭
|colspan=2 align=center bgcolor="#fffbee"|D
|colspan=2 align=center bgcolor="#fffbee"|E
|colspan=2 align=center bgcolor="#fffbee"|F
|colspan=2 align=center bgcolor="#fffbee"|G♭
|colspan=2 align=center bgcolor="#fffbee"|G
|colspan=2 align=center bgcolor="#fffbee"|H
|colspan=2 align=center bgcolor="#fffbee"|J♭
|colspan=2 align=center bgcolor="#fffbee"|J
|colspan=2 align=center bgcolor="#fffbee"|A
|colspan=2 align=center bgcolor="#fffbee"|B♭
|colspan=2 align=center bgcolor="#fffbee"|B
|colspan=2 align=center bgcolor="#fffbee"|C
|-
|align=center bgcolor="#eeeeff"|'''Note (cents)'''
|colspan=2 align=center bgcolor="#eeeeff"|&nbsp;&nbsp;0&nbsp;&nbsp;
|colspan=2 align=center bgcolor="#eeeeff"|&nbsp;146&nbsp;
|colspan=2 align=center bgcolor="#eeeeff"|293
|colspan=2 align=center bgcolor="#eeeeff"|439
|colspan=2 align=center bgcolor="#eeeeff"|585
|colspan=2 align=center bgcolor="#eeeeff"|732
|colspan=2 align=center bgcolor="#eeeeff"|878
|colspan=2 align=center bgcolor="#eeeeff"|<small>1024</small>
|colspan=2 align=center bgcolor="#eeeeff"|<small>1170</small>
|colspan=2 align=center bgcolor="#eeeeff"|<small>1317</small>
|colspan=2 align=center bgcolor="#eeeeff"|<small>1463</small>
|colspan=2 align=center bgcolor="#eeeeff"|<small>1609</small>
|colspan=2 align=center bgcolor="#eeeeff"|<small>1756</small>
|colspan=2 align=center bgcolor="#eeeeff"|<small>1902</small>
|}
 
{{Audio|BP ET lambda scale.ogg|play equal tempered Bohlen–Pierce scale}}
 
{| frame="box" rules="all" cellpadding="4" style="text-align:center" align=center
|- bgcolor=#DDDDFF
!Steps
!EQ interval
!Cents in EQ
!Just intonation interval
!Traditional name
!Cents in just intonation
!Difference
|-
|0
|<math>3^\frac{0}{13}</math> = 1.00
| 0.00
|<math>\begin{matrix} \frac{1}{1} \end{matrix}</math> = 1.00
| Unison
| 0.00
| 0.00
|-
|1
|<math>3^\frac{1}{13}</math> = 1.09
| 146.30
|<math>\begin{matrix} \frac{27}{25} \end{matrix}</math> = 1.08
| Great limma
| 133.24
| 13.06
|-
|2
|<math>3^\frac{2}{13}</math> = 1.18
| 292.61
|<math>\begin{matrix} \frac{25}{21} \end{matrix}</math> = 1.19
| Quasi-tempered minor third
| 301.85
| -9.24
|-
|3
|<math>3^\frac{3}{13}</math> = 1.29
| 438.91
|<math>\begin{matrix} \frac{9}{7} \end{matrix}</math> = 1.29
| Septimal major third
| 435.08
| 3.83
|-
|4
|<math>3^\frac{4}{13}</math> = 1.40
| 585.22
|<math>\begin{matrix} \frac{7}{5} \end{matrix}</math> = 1.4
| Lesser septimal tritone
| 582.51
| 2.71
|-
|5
|<math>3^\frac{5}{13}</math> = 1.53
| 731.52
|<math>\begin{matrix} \frac{75}{49} \end{matrix}</math> = 1.53
| BP fifth
| 736.93
| -5.41
|-
|6
|<math>3^\frac{6}{13}</math> = 1.66
| 877.83
|<math>\begin{matrix} \frac{5}{3} \end{matrix}</math> = 1.67
| Just major sixth
| 884.36
| -6.53
|-
|7
|<math>3^\frac{7}{13}</math> = 1.81
| 1024.13
|<math>\begin{matrix} \frac{9}{5} \end{matrix}</math> = 1.8
| Greater just minor seventh
| 1017.60
| 6.53
|-
|8
|<math>3^\frac{8}{13}</math> = 1.97
| 1170.44
|<math>\begin{matrix} \frac{49}{25} \end{matrix}</math> = 1.96
| BP eighth
| 1165.02
| 5.42
|-
|9
|<math>3^\frac{9}{13}</math> = 2.14
| 1316.74
|<math>\begin{matrix} \frac{15}{7} \end{matrix}</math> = 2.14
| Septimal minor ninth
| 1319.44
| -2.70
|-
|10
|<math>3^\frac{10}{13}</math> = 2.33
| 1463.05
|<math>\begin{matrix} \frac{7}{3} \end{matrix}</math> = 2.33
| Septimal minimal tenth
| 1466.87
| -3.82
|-
|11
|<math>3^\frac{11}{13}</math> = 2.53
| 1609.35
|<math>\begin{matrix} \frac{63}{25} \end{matrix}</math> = 2.52
| Quasi-tempered major tenth
| 1600.11
| 9.24
|-
|12
|<math>3^\frac{12}{13}</math> = 2.76
| 1755.66
|<math>\begin{matrix} \frac{25}{9} \end{matrix}</math> = 2.78
| Classic augmented eleventh
| 1768.72
| -13.06
|-
|13
|<math>3^\frac{13}{13}</math> = 3.00
| 1901.96
|<math>\begin{matrix} \frac{3}{1} \end{matrix}</math> = 3.00
| Just twelfth, "Tritave"
| 1901.96
| 0.00
|}
 
==Music and composition==
What does music using a Bohlen–Pierce scale sound like, [[aesthetics of music|aesthetically]]? Dave Benson suggests it helps to use only sounds with only odd harmonics, including clarinets or synthesized tones, but argues that because "some of the intervals sound a bit like intervals in [the more familiar] [[chromatic scale|twelve-tone scale]], but badly [[Musical tuning#Tuning practice|out of tune]]," the average listener will continually feel "that something isn't quite right," due to [[social conditioning]].<ref>
Benson, Dave. "Musical scales and the Baker’s Dozen", p.16, ''Musik og Matematik'' 28/06.</ref>
 
Mathews and Pierce conclude that clear and memorable melodies may be composed in the BP scale, that "counterpoint sounds all right," and that "chordal passages sound like harmony," presumably meaning [[chord progression|progression]], "but without any great tension or sense of resolution."<ref name="Current Directions, p.172">
Mathews and Pierce (1989). "The Bohlen–Pierce Scale", p.172.</ref> In their 1989 study of consonance judgment, both intervals of the five chords rated most consonant by trained musicians are approximately diatonic intervals, suggesting that their training influenced their selection and that similar experience with the BP scale would similarly influence their choices.<ref name="Current Directions, p.171"/>
 
Compositions using the Bohlen–Pierce scale include "Purity", the first movement of [[Curtis Roads]]' ''Clang-Tint''.<ref>
"Synthèse 96: The 26th International Festival of Electroacoustic Music", p.91. Michael Voyne Thrall. ''Computer Music Journal'', Vol. 21, No. 2 (Summer, 1997), pp. 90-92.</ref> Other computer composers to use the BP scale include [[Jon Appleton]], Richard Boulanger (''Solemn Song for Evening'' (1990)), [[Georg Hajdu]], and Juan Reyes' ''[http://ccrma.stanford.edu/~juanig/descrips/ppPdesc.html ppP]'' (1999-2000).<ref>"John Pierce (1910-2002)". ''Computer Music Journal'', Vol. 26, No. 4, Languages and Environments for Computer Music (Winter, 2002), pp. 6-7.</ref> Also Charles Carpenter (''Frog à la Pêche'' (1994) & ''Splat'').<ref>d'Escrivan, Julio (2007). ''The Cambridge Companion to Electronic Music'', p.229. Nick Collins, ed. ISBN 9780521868617.</ref><ref>Benson, Dave (2006). ''Music: A Mathematical Offering'', p.237. ISBN 9780521853873.</ref>
 
==Symposium==
A first Bohlen–Pierce symposium  took place in Boston on March 7 to 9, 2010, produced by composer [[Georg Hajdu]] ([[Hochschule für Musik und Theater Hamburg]]) and the Boston Microtonal Society. Co-organizers were the Boston [[Goethe Institut]]e, the [[Berklee College of Music]], the Northeastern University and the [[New England Conservatory]] of Music. The symposium participants, which included Heinz Bohlen, Max Mathews, Clarence Barlow, [[Curtis Roads]], David Wessel, Psyche Loui, Richard Boulanger, [[Georg Hajdu]], [[Paul Erlich]], [[Ron Sword]], Julia Werntz, Larry Polansky, Manfred Stahnke, Stephen Fox, Elaine Walker, Todd Harrop, Gayle Young, Johannes Kretz, Arturo Grolimund, Kevin Foster, presented 20 papers on history and properties of the Bohlen–Pierce scale, performed more than 40 compositions in the novel system and introduced several new musical instruments.
Performers included German musicians Nora-Louise Müller and Ákos Hoffman on Bohlen-Pierce clarinets and Arturo Grolimund on Bohlen-Pierce pan flute as well as Canadian ensemble tranSpectra, and US American xenharmonic band ZIA.
 
==Other unusual tunings or scales==
Other non-octave tunings investigated by Bohlen include twelve steps in the tritave, named A12 by Enrique Moreno <ref>
Moreno, Enrique Ignacio: Embedding Equal Pitch Spaces and The Question of Expanded Chromas: An Experimental Approach. Dissertation, Stanford University, Dec. 1995, pp. 12 - 22. Cited in [http://www.huygens-fokker.org/bpsite/otherscales.html "Other Unusual Scales"], ''The Bohlen–Pierce Site''.</ref> and based on the 4:7:10 chord {{audio|A12 4 7 10 on C.mid|Play}}, seven steps in the octave ([[7-tet]]) or similar 11 steps in the tritave, and eight steps in the octave, based on 5:7:9 {{audio|5 7 9 chord on E.mid|Play}} and of which only the just version would be used.<ref>
Bohlen, Heinz: 13 Tonstufen in der Duodezime. Acustica, vol.39 no. 2, S. Hirzel Verlag, Stuttgart, 1978, pp. 76 - 86. Cited in [http://www.huygens-fokker.org/bpsite/otherscales.html "Other Unusual Scales"], ''The Bohlen–Pierce Site''.</ref> The Bohlen 833 cents scale is based on the [[Fibonacci sequence]], although it was created from [[combination tone]]s, and contains a complex network of harmonic relations due to the inclusion of coinciding harmonics of stacked 833 cent intervals. For example, "step 10 turns out to be identical with the octave (1200 cents) to the base tone, at the same time featuring the [[Golden Ratio]] to step 3".<ref>
http://www.huygens-fokker.org/bpsite/833cent.html "An 833 Cents Scale", ''The Bohlen–Pierce Site''.</ref>
 
An expansion of the Bohlen–Pierce tritave from 13 equal steps to 39 equal steps, proposed by Paul Erlich, gives additional odd harmonics. The 13-step scale hits the odd harmonics 3/1; 5/3, 7/3; 7/5, 9/5; 9/7, and 15/7; while the 39-step scale includes all of those and many more (11/5, 13/5; 11/7, 13/7; 11/9, 13/9; 13/11, 15/11, 21/11, 25/11, 27/11; 15/13, 21/13, 25/13, 27/13, 33/13, and 35/13), while still missing almost all of the even harmonics (including 2/1; 3/2, 5/2; 4/3, 8/3; 6/5, 8/5; 9/8, 11/8, 13/8, and 15/8). The size of this scale is about 25 equal steps to a ratio slightly larger than an octave, so each of the 39 equal steps is slightly smaller than half of one of the 12 equal steps of the standard scale.<ref>
http://www.huygens-fokker.org/bpsite/scales.html "BP Scale Structures", ''The Bohlen–Pierce Site''.</ref>
 
Alternate scales may be specified by indicating the size of equal tempered steps, for example [[Wendy Carlos]]' 78 cent [[alpha scale]] and 63.8 cent [[beta scale]], and Gary Morrison's 88 cent scale (13.64 steps per octave or 14 per 1232 cent stretched octave).<ref>Sethares, William (2004). ''Tuning, Timbre, Spectrum, Scale'', p.60. ISBN 1-85233-797-4.</ref> This gives the alpha scale 15.39 steps per octave and the beta scale 18.75 steps per octave.<ref>Carlos, Wendy (2000/1986). "Liner notes", ''Beauty in the Beast''. ESD 81552.</ref>
 
See also: [[Delta scale]], [[Gamma scale]].
 
==Footnotes==
{{reflist|2}}


==External links==
==External links==
* [http://www.ziaspace.com/elaine/BP/ Bohlen–Pierce Scale Research by Elaine Walker]
*[http://arjournals.annualreviews.org/doi/pdf/10.1146/annurev.pc.25.100174.001143 polymer statistical mechanics]
* [http://www.sfoxclarinets.com/BP_sale.htm Bohlen–Pierce clarinets by Stephen Fox]
*[http://www.iop.org/EJ/abstract/0305-4470/20/12/040/ A topological problem in polymer physics: configurational and mechanical properties of a random walk enclosing a constant are]
* [http://www.huygens-fokker.org/bpsite/ The Bohlen–Pierce Site: Web place of an alternative harmonic scale]
*[http://www.sciencemag.org/cgi/content/abstract/293/5529/487?view=abstract D. Shortle and M. Ackerman, Persistence of native-like topology in a denatured protein in 8 M urea, Science 293 (2001), pp. 487–489]
* [http://www.kees.cc/music/scale13/scale13.html Kees van Prooijen's BP page]
*[http://phptr.com/content/images/chap3_0130181684/elementLinks/chap3_0130181684.pdf Sample chapter "Conformations, Solutions, and Molecular Weight" from "Polymer Science & Technology"  courtesy of Prentice Hall Professional publications]
* [http://www.ziaspace.com/ZIA/mp3s/LoveSong_BP_EW.mp3 song in Bohlen Pierce Scale]
* [http://bohlen-pierce-conference.org/ Bohlen–Pierce symposium]
{{scales}}
{{musical tuning}}
 
{{DEFAULTSORT:Bohlen–Pierce Scale}}
[[Category:Microtonality]]
[[Category:Musical scales]]
[[Category:Just tunings]]
[[Category:Musical temperaments]]


[[de:Bohlen-Pierce-Skala]]
{{DEFAULTSORT:Random Coil}}
[[nl:Bohlen-Pierce-schaal]]
[[Category:Polymer physics]]
[[Category:Physical chemistry]]

Revision as of 10:12, 11 August 2014

Template:No footnotes A random coil is a polymer conformation where the monomer subunits are oriented randomly while still being bonded to adjacent units. It is not one specific shape, but a statistical distribution of shapes for all the chains in a population of macromolecules. The conformation's name is derived from the idea that, in the absence of specific, stabilizing interactions, a polymer backbone will "sample" all possible conformations randomly. Many linear, unbranched homopolymers — in solution, or above their melting temperatures — assume (approximate) random coils. Even copolymers with monomers of unequal length will distribute in random coils if the subunits lack any specific interactions. The parts of branched polymers may also assume random coils.

Below their melting temperatures, most thermoplastic polymers (polyethylene, nylon, etc.) have amorphous regions in which the chains approximate random coils, alternating with regions that are crystalline. The amorphous regions contribute elasticity and the crystalline regions contribute strength and rigidity.

More complex polymers such as proteins, with various interacting chemical groups attached to their backbones, self-assemble into well-defined structures. But segments of proteins, and polypeptides that lack secondary structure, are often assumed to exhibit a random-coil conformation in which the only fixed relationship is the joining of adjacent amino acid residues by a peptide bond. This is not actually the case, since the ensemble will be energy weighted due to interactions between amino acid side-chains, with lower-energy conformations being present more frequently. In addition, even arbitrary sequences of amino acids tend to exhibit some hydrogen bonding and secondary structure. For this reason, the term "statistical coil" is occasionally preferred. The conformational entropy associated with the random-coil state significantly contributes to its energetic stabilization and accounts for much of the energy barrier to protein folding.

A random-coil conformation can be detected using spectroscopic techniques. The arrangement of the planar amide bonds results in a distinctive signal in circular dichroism. The chemical shift of amino acids in a random-coil conformation is well known in nuclear magnetic resonance (NMR). Deviations from these signatures often indicates the presence of some secondary structure, rather than complete random coil. Furthermore, there are signals in multidimensional NMR experiments that indicate that stable, non-local amino acid interactions are absent for polypeptides in a random-coil conformation. Likewise, in the images produced by crystallography experiments, segments of random coil result simply in a reduction in "electron density" or contrast. A randomly coiled state for any polypeptide chain can be attained by denaturing the system. However, there is evidence that proteins are never truly random coils, even when denatured (Shortle & Ackerman).

Random walk model: The Gaussian chain

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Short random chain

There are an enormous number of different ways in which a chain can be curled around in a relatively compact shape, like an unraveling ball of twine with lots of open space, and comparatively few ways it can be more or less stretched out. So, if each conformation has an equal probability or statistical weight, chains are much more likely to be ball-like than they are to be extended — a purely entropic effect. In an ensemble of chains, most of them will, therefore, be loosely balled up. This is the kind of shape any one of them will have most of the time.

Consider a linear polymer to be a freely-jointed chain with N subunits, each of length , that occupy zero volume, so that no part of the chain excludes another from any location. One can regard the segments of each such chain in an ensemble as performing a random walk (or "random flight") in three dimensions, limited only by the constraint that each segment must be joined to its neighbors. This is the ideal chain mathematical model. It is clear that the maximum, fully extended length L of the chain is . If we assume that each possible chain conformation has an equal statistical weight, it can be shown that the probability P(r) of a polymer chain in the population to have distance r between the ends will obey a characteristic distribution described by the formula

The average (root mean square) end-to-end distance for the chain, , turns out to be times the square root of N — in other words, the average distance scales with N0.5.

Note that although this model is termed a "Gaussian chain", the distribution function is not a gaussian (normal) distribution. The end-to-end distance probability distribution function of a Gaussian chain is non-zero only for r > 0. [1]

Real polymers

A real polymer is not freely-jointed. A -C-C- single bond has a fixed tetrahedral angle of 109.5 degrees. The value of L is well-defined for, say, a fully extended polyethylene or nylon, but it is less than N x l because of the zig-zag backbone. There is, however, free rotation about many chain bonds. The model above can be enhanced. A longer, "effective" unit length can be defined such that the chain can be regarded as freely-jointed, along with a smaller N, such that the constraint L = N x l is still obeyed. It, too, gives a Gaussian distribution. However, specific cases can also be precisely calculated. The average end-to-end distance for freely-rotating (not freely-jointed) polymethylene (polyethylene with each -C-C- considered as a subunit) is l times the square root of 2N, an increase by a factor of about 1.4. Unlike the zero volume assumed in a random walk calculation, all real polymers' segments occupy space because of the van der Waals radii of their atoms, including bulky substituent groups that interfere with bond rotations. This can also be taken into account in calculations. All such effects increase the mean end-to-end distance.

Because their polymerization is stochastically driven, chain lengths in any real population of synthetic polymers will obey a statistical distribution. In that case, we should take N to be an average value. Also, many polymers have random branching.

Even with corrections for local constraints, the random walk model ignores steric interference between chains, and between distal parts of the same chain. A chain often cannot move from a given conformation to a closely related one by a small displacement because one part of it would have to pass through another part, or through a neighbor. We may still hope that the ideal-chain, random-coil model will be at least a qualitative indication of the shapes and dimensions of real polymers in solution, and in the amorphous state, as long as there are only weak physicochemical interactions between the monomers. This model, and the Flory-Huggins Solution Theory,[2][3] for which Paul Flory received the Nobel Prize in Chemistry in 1974, ostensibly apply only to ideal, dilute solutions. But there is reason to believe (e.g., neutron diffraction studies) that excluded volume effects may cancel out, so that, under certain conditions, chain dimensions in amorphous polymers have approximately the ideal, calculated size [4] When separate chains interact cooperatively, as in forming crystalline regions in solid thermoplastics, a different mathematical approach must be used.

Stiffer polymers such as helical polypeptides, Kevlar, and double-stranded DNA can be treated by the worm-like chain model.

See also

References

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External links

  1. In fact, the Gaussian chain's distribution function is also unphysical for real chains, because it has a non-zero probability for lengths that are larger than the extended chain. This comes from the fact that, in strict terms, the formula is only valid for the limiting case of an infinite long chain. However, it is not problematic since the probabilities are very small.
  2. Flory, P.J. (1953) Principles of Polymer Chemistry, Cornell Univ. Press, ISBN 0-8014-0134-8
  3. Flory, P.J. (1969) Statistical Mechanics of Chain Molecules, Wiley, ISBN 0-470-26495-0; reissued 1989, ISBN 1-56990-019-1
  4. "Conformations, Solutions, and Molecular Weight" from "Polymer Science & Technology" courtesy of Prentice Hall Professional publications [1]