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Scale 285: "Zaritonic"

Scale 285: Zaritonic, 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
Zaritonic
Dozenal
Bumian

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

{0,2,3,4,8}

Forte Number

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

5-13

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: 1809

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.

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: 279

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.

[2, 1, 1, 4, 4]

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, 3, 1, 1>

Interval Spectrum

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

pm3ns2d2t

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

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.

1.799

Polygon Perimeter

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

5.499

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.

(13, 7, 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 TriadsG♯{8,0,3}110.5
Augmented TriadsC+{0,4,8}110.5

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

Parsimonious Voice Leading Between Common Triads of Scale 285. Created by Ian Ring ©2019 C+ C+ G# G# C+->G#

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 285 can be rotated to make 4 other scales. The 1st mode is itself.

2nd mode:
Scale 1095
Scale 1095: Phrythitonic, Ian Ring Music TheoryPhrythitonic
3rd mode:
Scale 2595
Scale 2595: Rolitonic, Ian Ring Music TheoryRolitonic
4th mode:
Scale 3345
Scale 3345: Zylitonic, Ian Ring Music TheoryZylitonic
5th mode:
Scale 465
Scale 465: Zoditonic, Ian Ring Music TheoryZoditonic

Prime

The prime form of this scale is Scale 279

Scale 279Scale 279: Poditonic, Ian Ring Music TheoryPoditonic

Complement

The pentatonic modal family [285, 1095, 2595, 3345, 465] (Forte: 5-13) is the complement of the heptatonic modal family [375, 1815, 1905, 2235, 2955, 3165, 3525] (Forte: 7-13)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 285 is 1809

Scale 1809Scale 1809: Ranitonic, Ian Ring Music TheoryRanitonic

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 285 is chiral, and its enantiomorph is scale 1809

Scale 1809Scale 1809: Ranitonic, Ian Ring Music TheoryRanitonic

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> 285       T0I <11,0> 1809
T1 <1,1> 570      T1I <11,1> 3618
T2 <1,2> 1140      T2I <11,2> 3141
T3 <1,3> 2280      T3I <11,3> 2187
T4 <1,4> 465      T4I <11,4> 279
T5 <1,5> 930      T5I <11,5> 558
T6 <1,6> 1860      T6I <11,6> 1116
T7 <1,7> 3720      T7I <11,7> 2232
T8 <1,8> 3345      T8I <11,8> 369
T9 <1,9> 2595      T9I <11,9> 738
T10 <1,10> 1095      T10I <11,10> 1476
T11 <1,11> 2190      T11I <11,11> 2952
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 1305      T0MI <7,0> 789
T1M <5,1> 2610      T1MI <7,1> 1578
T2M <5,2> 1125      T2MI <7,2> 3156
T3M <5,3> 2250      T3MI <7,3> 2217
T4M <5,4> 405      T4MI <7,4> 339
T5M <5,5> 810      T5MI <7,5> 678
T6M <5,6> 1620      T6MI <7,6> 1356
T7M <5,7> 3240      T7MI <7,7> 2712
T8M <5,8> 2385      T8MI <7,8> 1329
T9M <5,9> 675      T9MI <7,9> 2658
T10M <5,10> 1350      T10MI <7,10> 1221
T11M <5,11> 2700      T11MI <7,11> 2442

The transformations that map this set to itself are: T0

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 287Scale 287: Gynimic, Ian Ring Music TheoryGynimic
Scale 281Scale 281: Lanic, Ian Ring Music TheoryLanic
Scale 283Scale 283: Aerylitonic, Ian Ring Music TheoryAerylitonic
Scale 277Scale 277: Mixolyric, Ian Ring Music TheoryMixolyric
Scale 269Scale 269: Bocian, Ian Ring Music TheoryBocian
Scale 301Scale 301: Raga Audav Tukhari, Ian Ring Music TheoryRaga Audav Tukhari
Scale 317Scale 317: Korimic, Ian Ring Music TheoryKorimic
Scale 349Scale 349: Borimic, Ian Ring Music TheoryBorimic
Scale 413Scale 413: Ganimic, Ian Ring Music TheoryGanimic
Scale 29Scale 29: Aduian, Ian Ring Music TheoryAduian
Scale 157Scale 157: Balian, Ian Ring Music TheoryBalian
Scale 541Scale 541: Demian, Ian Ring Music TheoryDemian
Scale 797Scale 797: Katocrimic, Ian Ring Music TheoryKatocrimic
Scale 1309Scale 1309: Pogimic, Ian Ring Music TheoryPogimic
Scale 2333Scale 2333: Stynimic, Ian Ring Music TheoryStynimic

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.