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Scale 3641: "Thocrian"

Scale 3641: Thocrian, 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
Thocrian

Analysis

Cardinality

Cardinality is the count of how many pitches are in the scale.

7 (heptatonic)

Pitch Class Set

The tones in this scale, expressed as numbers from 0 to 11

{0,3,4,5,9,10,11}

Forte Number

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

7-7

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: 911

Hemitonia

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

5 (multihemitonic)

Cohemitonia

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

3 (tricohemitonic)

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.

6

Prime Form

Describes if this scale is in prime form, using the Rahn/Ring formula.

no
prime: 463

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 Formula

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

[3, 1, 1, 4, 1, 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.

<5, 3, 2, 3, 5, 3>

Interval Spectrum

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

p5m3n2s3d5t3

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

Spectra Variation

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

2.571

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.

2.183

Polygon Perimeter

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

5.734

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.

(22, 27, 84)

Tertian Harmonic Chords

Tertian chords are made from alternating members of the scale, ie built from "stacked thirds". Not all scales lend themselves well to tertian harmony.

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 TriadsF{5,9,0}121
Minor Triadsam{9,0,4}210.67
Diminished Triads{9,0,3}121

The following pitch classes are not present in any of the common triads: {10,11}

Parsimonious Voice Leading Between Common Triads of Scale 3641. Created by Ian Ring ©2019 F F am am F->am a°->am

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.

Diameter2
Radius1
Self-Centeredno
Central Verticesam
Peripheral VerticesF, a°

Modes

Modes are the rotational transformation of this scale. Scale 3641 can be rotated to make 6 other scales. The 1st mode is itself.

2nd mode:
Scale 967
Scale 967: Mela Salaga, Ian Ring Music TheoryMela Salaga
3rd mode:
Scale 2531
Scale 2531: Danian, Ian Ring Music TheoryDanian
4th mode:
Scale 3313
Scale 3313: Aeolacrian, Ian Ring Music TheoryAeolacrian
5th mode:
Scale 463
Scale 463: Zythian, Ian Ring Music TheoryZythianThis is the prime mode
6th mode:
Scale 2279
Scale 2279: Dyrian, Ian Ring Music TheoryDyrian
7th mode:
Scale 3187
Scale 3187: Koptian, Ian Ring Music TheoryKoptian

Prime

The prime form of this scale is Scale 463

Scale 463Scale 463: Zythian, Ian Ring Music TheoryZythian

Complement

The heptatonic modal family [3641, 967, 2531, 3313, 463, 2279, 3187] (Forte: 7-7) is the complement of the pentatonic modal family [199, 451, 2147, 2273, 3121] (Forte: 5-7)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 3641 is 911

Scale 911Scale 911: Radian, Ian Ring Music TheoryRadian

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 3641 is chiral, and its enantiomorph is scale 911

Scale 911Scale 911: Radian, Ian Ring Music TheoryRadian

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> 3641       T0I <11,0> 911
T1 <1,1> 3187      T1I <11,1> 1822
T2 <1,2> 2279      T2I <11,2> 3644
T3 <1,3> 463      T3I <11,3> 3193
T4 <1,4> 926      T4I <11,4> 2291
T5 <1,5> 1852      T5I <11,5> 487
T6 <1,6> 3704      T6I <11,6> 974
T7 <1,7> 3313      T7I <11,7> 1948
T8 <1,8> 2531      T8I <11,8> 3896
T9 <1,9> 967      T9I <11,9> 3697
T10 <1,10> 1934      T10I <11,10> 3299
T11 <1,11> 3868      T11I <11,11> 2503
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 911      T0MI <7,0> 3641
T1M <5,1> 1822      T1MI <7,1> 3187
T2M <5,2> 3644      T2MI <7,2> 2279
T3M <5,3> 3193      T3MI <7,3> 463
T4M <5,4> 2291      T4MI <7,4> 926
T5M <5,5> 487      T5MI <7,5> 1852
T6M <5,6> 974      T6MI <7,6> 3704
T7M <5,7> 1948      T7MI <7,7> 3313
T8M <5,8> 3896      T8MI <7,8> 2531
T9M <5,9> 3697      T9MI <7,9> 967
T10M <5,10> 3299      T10MI <7,10> 1934
T11M <5,11> 2503      T11MI <7,11> 3868

The transformations that map this set to itself are: T0, T0MI

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 3643Scale 3643: Kydyllic, Ian Ring Music TheoryKydyllic
Scale 3645Scale 3645: Zycryllic, Ian Ring Music TheoryZycryllic
Scale 3633Scale 3633: Daptimic, Ian Ring Music TheoryDaptimic
Scale 3637Scale 3637: Raga Rageshri, Ian Ring Music TheoryRaga Rageshri
Scale 3625Scale 3625: Podimic, Ian Ring Music TheoryPodimic
Scale 3609Scale 3609, Ian Ring Music Theory
Scale 3673Scale 3673: Ranian, Ian Ring Music TheoryRanian
Scale 3705Scale 3705: Messiaen Mode 4 Inverse, Ian Ring Music TheoryMessiaen Mode 4 Inverse
Scale 3769Scale 3769: Eponyllic, Ian Ring Music TheoryEponyllic
Scale 3897Scale 3897: Kalyllic, Ian Ring Music TheoryKalyllic
Scale 3129Scale 3129, Ian Ring Music Theory
Scale 3385Scale 3385: Chromatic Phrygian, Ian Ring Music TheoryChromatic Phrygian
Scale 2617Scale 2617: Pylimic, Ian Ring Music TheoryPylimic
Scale 1593Scale 1593: Zogimic, Ian Ring Music TheoryZogimic

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.