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Scale 229


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

41161837294116105072918310504116183
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).

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

{0,2,5,6,7}

Forte Number

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

5-14

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: 1249

Hemitonia

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

2 (dihemitonic)

Cohemitonia

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

1 (uncohemitonic)

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.

2

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: 167

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.

[2, 3, 1, 1, 5]

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.

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

Interval Spectrum

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

p3mns2d2t

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

Spectra Variation

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

3.6

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.

1.683

Polygon Perimeter

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

5.381

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

There are no common triads (major, minor, augmented and diminished) that can be formed using notes in this scale.

Modes

Modes are the rotational transformation of this scale. Scale 229 can be rotated to make 4 other scales. The 1st mode is itself.

2nd mode:
Scale 1081
Scale 1081, Ian Ring Music Theory
3rd mode:
Scale 647
Scale 647, Ian Ring Music Theory
4th mode:
Scale 2371
Scale 2371, Ian Ring Music Theory
5th mode:
Scale 3233
Scale 3233, Ian Ring Music Theory

Prime

The prime form of this scale is Scale 167

Scale 167Scale 167, Ian Ring Music Theory

Complement

The pentatonic modal family [229, 1081, 647, 2371, 3233] (Forte: 5-14) is the complement of the heptatonic modal family [431, 1507, 1933, 2263, 2801, 3179, 3637] (Forte: 7-14)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 229 is 1249

Scale 1249Scale 1249, Ian Ring Music Theory

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 229 is chiral, and its enantiomorph is scale 1249

Scale 1249Scale 1249, Ian Ring Music Theory

Transformations:

T0 229  T0I 1249
T1 458  T1I 2498
T2 916  T2I 901
T3 1832  T3I 1802
T4 3664  T4I 3604
T5 3233  T5I 3113
T6 2371  T6I 2131
T7 647  T7I 167
T8 1294  T8I 334
T9 2588  T9I 668
T10 1081  T10I 1336
T11 2162  T11I 2672

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 231Scale 231, Ian Ring Music Theory
Scale 225Scale 225, Ian Ring Music Theory
Scale 227Scale 227, Ian Ring Music Theory
Scale 233Scale 233, Ian Ring Music Theory
Scale 237Scale 237, Ian Ring Music Theory
Scale 245Scale 245: Raga Dipak, Ian Ring Music TheoryRaga Dipak
Scale 197Scale 197, Ian Ring Music Theory
Scale 213Scale 213, Ian Ring Music Theory
Scale 165Scale 165: Genus Primum, Ian Ring Music TheoryGenus Primum
Scale 101Scale 101, Ian Ring Music Theory
Scale 357Scale 357: Banitonic, Ian Ring Music TheoryBanitonic
Scale 485Scale 485: Stoptimic, Ian Ring Music TheoryStoptimic
Scale 741Scale 741: Gathimic, Ian Ring Music TheoryGathimic
Scale 1253Scale 1253: Zolimic, Ian Ring Music TheoryZolimic
Scale 2277Scale 2277: Kagimic, Ian Ring Music TheoryKagimic

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.