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# Scale 1301: "Koditonic"

### 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).

### Keyboard Diagram

Other diagrams coming soon!

## Common Names

Names are messy, inconsistent, polysemic, and non-bijective. If you see a name with lots of citations beside it, that's a good measure of credulity.

• #### Unsorted

• Augmented Ninth Mode I[0]

• ITWian[1]
• #### Zeitler

• Koditonic[2]
##### Name Sources
• [0] Cochrane, Rich: Arpeggio and Scale Resources, a Guitar Encyclopedia. Big Noise Publishing, London UK.
• [1] Pecot, Justin: The Dozenal Standard, 2nd editon. Available from justinpecot.com.
• [2] Zeitler, William: "all the scales". https://allthescales.org. Retrieved April 2024

## 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

{0,2,4,8,10}

#### Forte Number

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

5-33

#### 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.

[0]

#### Palindromicity

A palindromic scale has the same pattern of intervals both ascending and descending.

yes

#### Chirality

A chiral scale can not be transformed into its inverse by rotation. If a scale is chiral, then it has an enantiomorph.

no

#### Hemitonia

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

0 (anhemitonic)

#### 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.

5

#### Modes

Modes are the rotational transformations of this scale. This number includes the scale itself, so the number is usually the same as its cardinality; unless there are rotational symmetries then there are fewer modes.

5

#### Prime Form

Describes if this scale is in prime form, using the Starr/Rahn algorithm.

no
prime: 341

#### Generator

Indicates if the scale can be constructed using a generator, and an origin.

generator: 2
origin: 8

#### Deep Scale

A deep scale is one where the interval vector has 6 different digits, an indicator of maximum hierarchization.

no

#### Interval Structure

Defines the scale as the sequence of intervals between one tone and the next.

[2, 2, 4, 2, 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.

<0, 4, 0, 4, 0, 2>

#### Proportional Saturation Vector

First described by Michael Buchler (2001), this is a vector showing the prominence of intervals relative to the maximum and minimum possible for the scale's cardinality. A saturation of 0 means the interval is present minimally, a saturation of 1 means it is the maximum possible.

<0, 1, 0, 1, 0, 1>

#### Interval Spectrum

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

m4s4t2

#### 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> = {2,4}
<2> = {4,6}
<3> = {6,8}
<4> = {8,10}

#### Spectra Variation

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

1.6

#### 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.

2.165

#### Polygon Perimeter

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

5.732

#### Myhill Property

A scale has Myhill Property if the Distribution Spectra have exactly two specific intervals for every generic interval.

yes

#### Centre of Gravity Distance

When tones of a scale are imagined as physical objects of equal weight arranged around a unit circle, this is the distance from the center of the circle to the center of gravity for all the tones. A perfectly balanced scale has a CoG distance of zero.

0.2

#### 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.

[0]

#### 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".

Proper

#### 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.

(0, 10, 20)

#### Coherence Quotient

The Coherence Quotient is a score between 0 and 1, indicating the proportion of coherence failures (ambiguity or contradiction) in the scale, against the maximum possible for a cardinality. A high coherence quotient indicates a less complex scale, whereas a quotient of 0 indicates a maximally complex scale.

0.6

#### Sameness Quotient

The Sameness Quotient is a score between 0 and 1, indicating the proportion of differences in the heteromorphic profile, against the maximum possible for a cardinality. A higher quotient indicates a less complex scale, whereas a quotient of 0 indicates a scale with maximum complexity.

0.5

## Generator

This scale has a generator of 2, originating on 8.

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

The following pitch classes are not present in any of the common triads: {2,10}

Since there is only one common triad in this scale, there are no opportunities for parsimonious voice leading between triads.

## Modes

Modes are the rotational transformation of this scale. Scale 1301 can be rotated to make 4 other scales. The 1st mode is itself.

 2nd mode:Scale 1349 Tholitonic 3rd mode:Scale 1361 Ngapauk auk Pyan 4th mode:Scale 341 Bothitonic This is the prime mode 5th mode:Scale 1109 Kataditonic

## Prime

The prime form of this scale is Scale 341

 Scale 341 Bothitonic

## Complement

The pentatonic modal family [1301, 1349, 1361, 341, 1109] (Forte: 5-33) is the complement of the heptatonic modal family [1367, 1373, 1397, 1493, 1877, 2731, 3413] (Forte: 7-33)

## Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 1301 is itself, because it is a palindromic scale!

 Scale 1301 Koditonic

## Interval Matrix

Each row is a generic interval, cells contain the specific size of each generic. Useful for identifying contradictions and ambiguities.

## Hierarchizability

Based on the work of Niels Verosky, hierarchizability is the measure of repeated patterns with "place-finding" remainder bits, applied recursively to the binary representation of a scale. For a full explanation, read Niels' paper, Hierarchizability as a Predictor of Scale Candidacy. The variable k is the maximum number of remainders allowed at each level of recursion, for them to count as an increment of hierarchizability. A high hierarchizability score is a good indicator of scale candidacy, ie a measure of usefulness for producing pleasing music. There is a strong correlation between scales with maximal hierarchizability and scales that are in popular use in a variety of world musical traditions.

kHierarchizabilityBreakdown PatternDiagram
11101010001010
231([01][01]0)0([01][01]0)
331([01][01]0)0([01][01]0)
431([01][01]0)0([01][01]0)
531([01][01]0)0([01][01]0)

## Center of Gravity

If tones of the scale are imagined as identical physical objects spaced around a unit circle, the center of gravity is the point where the scale is balanced.

Position with origin in the center (0, -0.2) 0.2 0 0

## 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. A note about the multipliers: multiplying by 1 changes nothing, multiplying by 11 produces the same result as inversion. 5 is the only non-degenerate multiplier, with the multiplier 7 producing the inverse of 5.

Abbrev Operation Result Abbrev Operation Result
T0 <1,0> 1301       T0I <11,0> 1301
T1 <1,1> 2602      T1I <11,1> 2602
T2 <1,2> 1109      T2I <11,2> 1109
T3 <1,3> 2218      T3I <11,3> 2218
T4 <1,4> 341      T4I <11,4> 341
T5 <1,5> 682      T5I <11,5> 682
T6 <1,6> 1364      T6I <11,6> 1364
T7 <1,7> 2728      T7I <11,7> 2728
T8 <1,8> 1361      T8I <11,8> 1361
T9 <1,9> 2722      T9I <11,9> 2722
T10 <1,10> 1349      T10I <11,10> 1349
T11 <1,11> 2698      T11I <11,11> 2698
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 1301       T0MI <7,0> 1301
T1M <5,1> 2602      T1MI <7,1> 2602
T2M <5,2> 1109      T2MI <7,2> 1109
T3M <5,3> 2218      T3MI <7,3> 2218
T4M <5,4> 341      T4MI <7,4> 341
T5M <5,5> 682      T5MI <7,5> 682
T6M <5,6> 1364      T6MI <7,6> 1364
T7M <5,7> 2728      T7MI <7,7> 2728
T8M <5,8> 1361      T8MI <7,8> 1361
T9M <5,9> 2722      T9MI <7,9> 2722
T10M <5,10> 1349      T10MI <7,10> 1349
T11M <5,11> 2698      T11MI <7,11> 2698

The transformations that map this set to itself are: T0, T0I, T0M, T0MI

## 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 1303 Epolimic Scale 1297 Aeolic Scale 1299 Aerophitonic Scale 1305 Phrygian Pentatonic 4 Scale 1309 Pogimic Scale 1285 HUSian Scale 1293 HUXian Scale 1317 Chaio Scale 1333 Lyptimic Scale 1365 Whole Tone Scale 1429 Bythimic Scale 1045 GIBian Scale 1173 Dominant Pentatonic Scale 1557 JOVian Scale 1813 Katothimic Scale 277 Mixolyric Scale 789 Common Pentatonic 5 Scale 2325 Pynitonic Scale 3349 Aeolocrimic

This scale analysis was created by Ian Ring, Canadian Composer of works for Piano, and total music theory nerd. Scale notation generated by Lilypond, graph visualization by Graphviz, audio by TiMIDIty and FFMPEG. All other diagrams and visualizations are © Ian Ring. Some scale names used on this and other pages were invented by living persons, and used here with permission where required.

Pitch spelling algorithm employed here is adapted from a method by Uzay Bora, Baris Tekin Tezel, and Alper Vahaplar. (DOI, Patent owner: Dokuz Eylül University, Used with Permission.

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 naming the Carnatic ragas. Thanks to Niels Verosky for collaborating on the Hierarchizability diagrams. Thanks to u/howaboot for inventing the Center of Gravity metrics.