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Scale 3141: "Kanitonic"

Scale 3141: Kanitonic, 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
Kanitonic
Dozenal
Toxian

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

{0,2,6,10,11}

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: 1095

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 Starr/Rahn algorithm.

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, an indicator of maximum hierarchization.

no

Interval Structure

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

[2, 4, 4, 1, 1]

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 Distribution Spectra have 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
Minor Triadsbm{11,2,6}110.5
Augmented TriadsD+{2,6,10}110.5

The following pitch classes are not present in any of the common triads: {0}

Parsimonious Voice Leading Between Common Triads of Scale 3141. Created by Ian Ring ©2019 D+ D+ bm bm D+->bm

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 3141 can be rotated to make 4 other scales. The 1st mode is itself.

2nd mode:
Scale 1809
Scale 1809: Ranitonic, Ian Ring Music TheoryRanitonic
3rd mode:
Scale 369
Scale 369: Laditonic, Ian Ring Music TheoryLaditonic
4th mode:
Scale 279
Scale 279: Poditonic, Ian Ring Music TheoryPoditonicThis is the prime mode
5th mode:
Scale 2187
Scale 2187: Ionothitonic, Ian Ring Music TheoryIonothitonic

Prime

The prime form of this scale is Scale 279

Scale 279Scale 279: Poditonic, Ian Ring Music TheoryPoditonic

Complement

The pentatonic modal family [3141, 1809, 369, 279, 2187] (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 3141 is 1095

Scale 1095Scale 1095: Phrythitonic, Ian Ring Music TheoryPhrythitonic

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 3141 is chiral, and its enantiomorph is scale 1095

Scale 1095Scale 1095: Phrythitonic, Ian Ring Music TheoryPhrythitonic

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

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 3143Scale 3143: Polimic, Ian Ring Music TheoryPolimic
Scale 3137Scale 3137: Tovian, Ian Ring Music TheoryTovian
Scale 3139Scale 3139: Towian, Ian Ring Music TheoryTowian
Scale 3145Scale 3145: Stolitonic, Ian Ring Music TheoryStolitonic
Scale 3149Scale 3149: Phrycrimic, Ian Ring Music TheoryPhrycrimic
Scale 3157Scale 3157: Zyptimic, Ian Ring Music TheoryZyptimic
Scale 3173Scale 3173: Zarimic, Ian Ring Music TheoryZarimic
Scale 3077Scale 3077: Tekian, Ian Ring Music TheoryTekian
Scale 3109Scale 3109: Tidian, Ian Ring Music TheoryTidian
Scale 3205Scale 3205: Utwian, Ian Ring Music TheoryUtwian
Scale 3269Scale 3269: Raga Malarani, Ian Ring Music TheoryRaga Malarani
Scale 3397Scale 3397: Sydimic, Ian Ring Music TheorySydimic
Scale 3653Scale 3653: Sathimic, Ian Ring Music TheorySathimic
Scale 2117Scale 2117: Raga Sumukam, Ian Ring Music TheoryRaga Sumukam
Scale 2629Scale 2629: Raga Shubravarni, Ian Ring Music TheoryRaga Shubravarni
Scale 1093Scale 1093: Lydic, Ian Ring Music TheoryLydic

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.