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Scale 1673: "Thocritonic"

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: Thocritonic

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	{0,3,7,9,10}
Forte Number A code assigned by theorist Allen Forte, for this pitch class set and all of its transpositional (rotation) and inversional (reflection) transformations.	5-25
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: 557
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.	3
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: 301
Deep Scale A deep scale is one where the interval vector has 6 different digits.	no
Interval Formula Defines the scale as the sequence of intervals between one tone and the next.	[3, 4, 2, 1, 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, 3, 1, 2, 1>
Interval Spectrum The same as the Interval Vector, but expressed in a syntax used by Howard Hanson.	p²mn³s²dt
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> = {3,5,6,7} <3> = {5,6,7,9} <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

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 Type	Triad^*	Pitch Classes	Degree	Eccentricity	Closeness Centrality
Major Triads	D♯	{3,7,10}	1	2	1
Minor Triads	cm	{0,3,7}	2	1	0.67
Diminished Triads	a°	{9,0,3}	1	2	1

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	2
Radius	1
Self-Centered	no
Central Vertices	cm
Peripheral Vertices	D♯, a°

Modes

Modes are the rotational transformation of this scale. Scale 1673 can be rotated to make 4 other scales. The 1st mode is itself.

2nd mode: Scale 721	Raga Dhavalashri
3rd mode: Scale 301	Raga Audav Tukhari	This is the prime mode
4th mode: Scale 1099	Dyritonic
5th mode: Scale 2597	Raga Rasranjani

Prime

The prime form of this scale is Scale 301

Scale 301

Raga Audav Tukhari

Complement

The pentatonic modal family [1673, 721, 301, 1099, 2597] (Forte: 5-25) is the complement of the heptatonic modal family [733, 1207, 1769, 1867, 2651, 2981, 3373] (Forte: 7-25)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 1673 is 557

Scale 557

Raga Abhogi

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 1673 is chiral, and its enantiomorph is scale 557

Scale 557

Raga Abhogi

Transformations:

T₀	1673	T₀I	557
T₁	3346	T₁I	1114
T₂	2597	T₂I	2228
T₃	1099	T₃I	361
T₄	2198	T₄I	722
T₅	301	T₅I	1444
T₆	602	T₆I	2888
T₇	1204	T₇I	1681
T₈	2408	T₈I	3362
T₉	721	T₉I	2629
T₁₀	1442	T₁₀I	1163
T₁₁	2884	T₁₁I	2326

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 1675				Raga Salagavarali
Scale 1677				Raga Manavi
Scale 1665
Scale 1669				Raga Matha Kokila
Scale 1681				Raga Valaji
Scale 1689				Lorimic
Scale 1705				Raga Manohari
Scale 1737				Raga Madhukauns
Scale 1545
Scale 1609				Thyritonic
Scale 1801
Scale 1929				Aeolycrimic
Scale 1161				Bi Yu
Scale 1417				Raga Shailaja
Scale 649				Byptic
Scale 2697				Katagitonic
Scale 3721				Phragimic

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. 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.