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Scale 1233: "Ionoditonic"

Scale 1233: Ionoditonic, 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
Ionoditonic
Dozenal
Homian

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

{0,4,6,7,10}

Forte Number

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

5-28

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: 357

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: 333

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.

[4, 2, 1, 3, 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, 2, 1, 2>

Interval Spectrum

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

pm2n2s2dt2

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> = {3,4,5,6}
<3> = {6,7,8,9}
<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.

2.4

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.

(2, 8, 36)

Common Triads

These are the common triads (major, minor, augmented and diminished) that you can create from members of this scale.

* Pitches are shown with C as the root

Triad TypeTriad*Pitch ClassesDegreeEccentricityCloseness Centrality
Major TriadsC{0,4,7}110.5
Diminished Triads{4,7,10}110.5

The following pitch classes are not present in any of the common triads: {6}

Parsimonious Voice Leading Between Common Triads of Scale 1233. Created by Ian Ring ©2019 C C C->e°

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

Diameter1
Radius1
Self-Centeredyes

Modes

Modes are the rotational transformation of this scale. Scale 1233 can be rotated to make 4 other scales. The 1st mode is itself.

2nd mode:
Scale 333
Scale 333: Bogitonic, Ian Ring Music TheoryBogitonicThis is the prime mode
3rd mode:
Scale 1107
Scale 1107: Mogitonic, Ian Ring Music TheoryMogitonic
4th mode:
Scale 2601
Scale 2601: Raga Chandrakauns, Ian Ring Music TheoryRaga Chandrakauns
5th mode:
Scale 837
Scale 837: Epaditonic, Ian Ring Music TheoryEpaditonic

Prime

The prime form of this scale is Scale 333

Scale 333Scale 333: Bogitonic, Ian Ring Music TheoryBogitonic

Complement

The pentatonic modal family [1233, 333, 1107, 2601, 837] (Forte: 5-28) is the complement of the heptatonic modal family [747, 1431, 1629, 1881, 2421, 2763, 3429] (Forte: 7-28)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 1233 is 357

Scale 357Scale 357: Banitonic, Ian Ring Music TheoryBanitonic

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 1233 is chiral, and its enantiomorph is scale 357

Scale 357Scale 357: Banitonic, Ian Ring Music TheoryBanitonic

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> 1233       T0I <11,0> 357
T1 <1,1> 2466      T1I <11,1> 714
T2 <1,2> 837      T2I <11,2> 1428
T3 <1,3> 1674      T3I <11,3> 2856
T4 <1,4> 3348      T4I <11,4> 1617
T5 <1,5> 2601      T5I <11,5> 3234
T6 <1,6> 1107      T6I <11,6> 2373
T7 <1,7> 2214      T7I <11,7> 651
T8 <1,8> 333      T8I <11,8> 1302
T9 <1,9> 666      T9I <11,9> 2604
T10 <1,10> 1332      T10I <11,10> 1113
T11 <1,11> 2664      T11I <11,11> 2226
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 2373      T0MI <7,0> 1107
T1M <5,1> 651      T1MI <7,1> 2214
T2M <5,2> 1302      T2MI <7,2> 333
T3M <5,3> 2604      T3MI <7,3> 666
T4M <5,4> 1113      T4MI <7,4> 1332
T5M <5,5> 2226      T5MI <7,5> 2664
T6M <5,6> 357      T6MI <7,6> 1233
T7M <5,7> 714      T7MI <7,7> 2466
T8M <5,8> 1428      T8MI <7,8> 837
T9M <5,9> 2856      T9MI <7,9> 1674
T10M <5,10> 1617      T10MI <7,10> 3348
T11M <5,11> 3234      T11MI <7,11> 2601

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

Nearby Scales:

These are other scales that are similar to this one, created by adding a tone, removing a tone, or moving one note up or down a semitone.

Scale 1235Scale 1235: Messiaen Truncated Mode 2, Ian Ring Music TheoryMessiaen Truncated Mode 2
Scale 1237Scale 1237: Salimic, Ian Ring Music TheorySalimic
Scale 1241Scale 1241: Pygimic, Ian Ring Music TheoryPygimic
Scale 1217Scale 1217: Hician, Ian Ring Music TheoryHician
Scale 1225Scale 1225: Raga Samudhra Priya, Ian Ring Music TheoryRaga Samudhra Priya
Scale 1249Scale 1249: Howian, Ian Ring Music TheoryHowian
Scale 1265Scale 1265: Pynimic, Ian Ring Music TheoryPynimic
Scale 1169Scale 1169: Raga Mahathi, Ian Ring Music TheoryRaga Mahathi
Scale 1201Scale 1201: Mixolydian Pentatonic, Ian Ring Music TheoryMixolydian Pentatonic
Scale 1105Scale 1105: Messiaen Truncated Mode 6 Inverse, Ian Ring Music TheoryMessiaen Truncated Mode 6 Inverse
Scale 1361Scale 1361: Bolitonic, Ian Ring Music TheoryBolitonic
Scale 1489Scale 1489: Raga Jyoti, Ian Ring Music TheoryRaga Jyoti
Scale 1745Scale 1745: Raga Vutari, Ian Ring Music TheoryRaga Vutari
Scale 209Scale 209: Birian, Ian Ring Music TheoryBirian
Scale 721Scale 721: Raga Dhavalashri, Ian Ring Music TheoryRaga Dhavalashri
Scale 2257Scale 2257: Lydian Pentatonic, Ian Ring Music TheoryLydian Pentatonic
Scale 3281Scale 3281: Raga Vijayavasanta, Ian Ring Music TheoryRaga Vijayavasanta

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.