The Exciting Universe Of Music Theory

presents

more than you ever wanted to know about...

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 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).

- Zeitler
- Epygitonic

Cardinality | 5 (pentatonic) |
---|---|

Pitch Class Set | {0,4,5,8,10} |

Forte Number | 5-30 |

Rotational Symmetry | none |

Reflection Axes | none |

Palindromic | no |

Chirality | yes enantiomorph: 405 |

Hemitonia | 1 (unhemitonic) |

Cohemitonia | 0 (ancohemitonic) |

Imperfections | 3 |

Modes | 4 |

Prime? | no prime: 339 |

Deep Scale | no |

Interval Vector | 121321 |

Interval Spectrum | p^{2}m^{3}ns^{2}dt |

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

Spectra Variation | 2 |

Maximally Even | no |

Maximal Area Set | no |

Interior Area | 2.049 |

Myhill Property | no |

Balanced | no |

Ridge Tones | none |

Propriety | Proper |

Heliotonic | no |

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 Type | Triad^{*} | Pitch Classes | Degree | Eccentricity | Closeness Centrality |
---|---|---|---|---|---|

Minor Triads | fm | {5,8,0} | 1 | 1 | 0.5 |

Augmented Triads | C+ | {0,4,8} | 1 | 1 | 0.5 |

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.

Diameter | 1 |
---|---|

Radius | 1 |

Self-Centered | yes |

Modes are the rotational transformation of this scale. Scale 1329 can be rotated to make 4 other scales. The 1st mode is itself.

2nd mode: Scale 339 | Zaptitonic | This is the prime mode | |||

3rd mode: Scale 2217 | Kagitonic | ||||

4th mode: Scale 789 | Zogitonic | ||||

5th mode: Scale 1221 | Epyritonic |

The prime form of this scale is Scale 339

Scale 339 | Zaptitonic |

The pentatonic modal family [1329, 339, 2217, 789, 1221] (Forte: 5-30) is the complement of the heptatonic modal family [855, 1395, 1485, 1845, 2475, 2745, 3285] (Forte: 7-30)

The inverse of a scale is a reflection using the root as its axis. The inverse of 1329 is 405

Scale 405 | Raga Bhupeshwari |

Only scales that are chiral will have an enantiomorph. Scale 1329 is chiral, and its enantiomorph is scale 405

Scale 405 | Raga Bhupeshwari |

T_{0} | 1329 | T_{0}I | 405 | |||||

T_{1} | 2658 | T_{1}I | 810 | |||||

T_{2} | 1221 | T_{2}I | 1620 | |||||

T_{3} | 2442 | T_{3}I | 3240 | |||||

T_{4} | 789 | T_{4}I | 2385 | |||||

T_{5} | 1578 | T_{5}I | 675 | |||||

T_{6} | 3156 | T_{6}I | 1350 | |||||

T_{7} | 2217 | T_{7}I | 2700 | |||||

T_{8} | 339 | T_{8}I | 1305 | |||||

T_{9} | 678 | T_{9}I | 2610 | |||||

T_{10} | 1356 | T_{10}I | 1125 | |||||

T_{11} | 2712 | T_{11}I | 2250 |

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 1331 | Raga Vasantabhairavi | |||

Scale 1333 | Lyptimic | |||

Scale 1337 | Epogimic | |||

Scale 1313 | ||||

Scale 1321 | Blues Minor | |||

Scale 1297 | Aeolic | |||

Scale 1361 | Bolitonic | |||

Scale 1393 | Mycrimic | |||

Scale 1457 | Raga Kamalamanohari | |||

Scale 1073 | ||||

Scale 1201 | Mixolydian Pentatonic | |||

Scale 1585 | Raga Khamaji Durga | |||

Scale 1841 | Thogimic | |||

Scale 305 | Gonic | |||

Scale 817 | Zothitonic | |||

Scale 2353 | Raga Girija | |||

Scale 3377 | Phralimic |

This scale analysis was created by Ian Ring, Canadian Composer of works for Piano, and total music theory nerd. The software used to generate this analysis is an open source project at GitHub. Scale notation generated by VexFlow, graph visualization by Graphviz, and MIDI playback by MIDI.js. 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.