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Scale 1101: "Stothitonic"

Scale 1101: Stothitonic, 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
Stothitonic
Dozenal
Amoian

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

{0,2,3,6,10}

Forte Number

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

5-26

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: 1605

Hemitonia

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

1 (unhemitonic)

Cohemitonia

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

0 (ancohemitonic)

Imperfections

An imperfection is a tone which does not have a perfect fifth above it in the scale. This value is the quantity of imperfections in this scale.

4

Modes

Modes are the rotational transformations of this scale. This number does not include the scale itself, so the number is usually one less than its cardinality; unless there are rotational symmetries then there are even fewer modes.

4

Prime Form

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

no
prime: 309

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.

[2, 1, 3, 4, 2]

Interval Vector

Describes the intervallic content of the scale, read from left to right as the number of occurences of each interval size from semitone, up to six semitones.

<1, 2, 2, 3, 1, 1>

Interval Spectrum

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

pm3n2s2dt

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> = {1,2,3,4}
<2> = {3,4,6,7}
<3> = {5,6,8,9}
<4> = {8,9,10,11}

Spectra Variation

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

2.8

Maximally Even

A scale is maximally even if the tones are optimally spaced apart from each other.

no

Maximal Area Set

A scale is a maximal area set if a polygon described by vertices dodecimetrically placed around a circle produces the maximal interior area for scales of the same cardinality. All maximally even sets have maximal area, but not all maximal area sets are maximally even.

no

Interior Area

Area of the polygon described by vertices placed for each tone of the scale dodecimetrically around a unit circle, ie a circle with radius of 1.

2.049

Polygon Perimeter

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

5.664

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.

(5, 7, 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
Minor Triadsd♯m{3,6,10}210.67
Augmented TriadsD+{2,6,10}121
Diminished Triads{0,3,6}121
Parsimonious Voice Leading Between Common Triads of Scale 1101. Created by Ian Ring ©2019 d#m d#m c°->d#m D+ D+ D+->d#m

Above is a graph showing opportunities for parsimonious voice leading between triads*. Each line connects two triads that have two common tones, while the third tone changes by one generic scale step.

Diameter2
Radius1
Self-Centeredno
Central Verticesd♯m
Peripheral Verticesc°, D+

Modes

Modes are the rotational transformation of this scale. Scale 1101 can be rotated to make 4 other scales. The 1st mode is itself.

2nd mode:
Scale 1299
Scale 1299: Aerophitonic, Ian Ring Music TheoryAerophitonic
3rd mode:
Scale 2697
Scale 2697: Katagitonic, Ian Ring Music TheoryKatagitonic
4th mode:
Scale 849
Scale 849: Aerynitonic, Ian Ring Music TheoryAerynitonic
5th mode:
Scale 309
Scale 309: Palitonic, Ian Ring Music TheoryPalitonicThis is the prime mode

Prime

The prime form of this scale is Scale 309

Scale 309Scale 309: Palitonic, Ian Ring Music TheoryPalitonic

Complement

The pentatonic modal family [1101, 1299, 2697, 849, 309] (Forte: 5-26) is the complement of the heptatonic modal family [699, 1497, 1623, 1893, 2397, 2859, 3477] (Forte: 7-26)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 1101 is 1605

Scale 1605Scale 1605: Zanitonic, Ian Ring Music TheoryZanitonic

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 1101 is chiral, and its enantiomorph is scale 1605

Scale 1605Scale 1605: Zanitonic, Ian Ring Music TheoryZanitonic

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> 1101       T0I <11,0> 1605
T1 <1,1> 2202      T1I <11,1> 3210
T2 <1,2> 309      T2I <11,2> 2325
T3 <1,3> 618      T3I <11,3> 555
T4 <1,4> 1236      T4I <11,4> 1110
T5 <1,5> 2472      T5I <11,5> 2220
T6 <1,6> 849      T6I <11,6> 345
T7 <1,7> 1698      T7I <11,7> 690
T8 <1,8> 3396      T8I <11,8> 1380
T9 <1,9> 2697      T9I <11,9> 2760
T10 <1,10> 1299      T10I <11,10> 1425
T11 <1,11> 2598      T11I <11,11> 2850
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 1101       T0MI <7,0> 1605
T1M <5,1> 2202      T1MI <7,1> 3210
T2M <5,2> 309      T2MI <7,2> 2325
T3M <5,3> 618      T3MI <7,3> 555
T4M <5,4> 1236      T4MI <7,4> 1110
T5M <5,5> 2472      T5MI <7,5> 2220
T6M <5,6> 849      T6MI <7,6> 345
T7M <5,7> 1698      T7MI <7,7> 690
T8M <5,8> 3396      T8MI <7,8> 1380
T9M <5,9> 2697      T9MI <7,9> 2760
T10M <5,10> 1299      T10MI <7,10> 1425
T11M <5,11> 2598      T11MI <7,11> 2850

The transformations that map this set to itself are: T0, T0M

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 1103Scale 1103: Lynimic, Ian Ring Music TheoryLynimic
Scale 1097Scale 1097: Aeraphic, Ian Ring Music TheoryAeraphic
Scale 1099Scale 1099: Dyritonic, Ian Ring Music TheoryDyritonic
Scale 1093Scale 1093: Lydic, Ian Ring Music TheoryLydic
Scale 1109Scale 1109: Kataditonic, Ian Ring Music TheoryKataditonic
Scale 1117Scale 1117: Raptimic, Ian Ring Music TheoryRaptimic
Scale 1133Scale 1133: Stycrimic, Ian Ring Music TheoryStycrimic
Scale 1037Scale 1037: Warao Tetratonic, Ian Ring Music TheoryWarao Tetratonic
Scale 1069Scale 1069: Goqian, Ian Ring Music TheoryGoqian
Scale 1165Scale 1165: Gycritonic, Ian Ring Music TheoryGycritonic
Scale 1229Scale 1229: Raga Simharava, Ian Ring Music TheoryRaga Simharava
Scale 1357Scale 1357: Takemitsu Linea Mode 2, Ian Ring Music TheoryTakemitsu Linea Mode 2
Scale 1613Scale 1613: Thylimic, Ian Ring Music TheoryThylimic
Scale 77Scale 77: Alvian, Ian Ring Music TheoryAlvian
Scale 589Scale 589: Ionalitonic, Ian Ring Music TheoryIonalitonic
Scale 2125Scale 2125: Nadian, Ian Ring Music TheoryNadian
Scale 3149Scale 3149: Phrycrimic, Ian Ring Music TheoryPhrycrimic

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.