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Scale 443: "Kothian"

Scale 443: Kothian, 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
Kothian
Dozenal
Cofian

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

{0,1,3,4,5,7,8}

Forte Number

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

7-Z37

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.

[4]

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.

no

Hemitonia

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

4 (multihemitonic)

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.

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.

6

Prime Form

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

yes

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.

[1, 2, 1, 1, 2, 1, 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.

<4, 3, 4, 5, 4, 1>

Interval Spectrum

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

p4m5n4s3d4t

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

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.

2.299

Polygon Perimeter

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

5.803

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.

[8]

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.

(34, 21, 84)

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 TriadsC{0,4,7}331.5
C♯{1,5,8}242
G♯{8,0,3}231.75
Minor Triadscm{0,3,7}242
c♯m{1,4,8}331.5
fm{5,8,0}231.75
Augmented TriadsC+{0,4,8}421.25
Diminished Triadsc♯°{1,4,7}231.75
Parsimonious Voice Leading Between Common Triads of Scale 443. Created by Ian Ring ©2019 cm cm C C cm->C G# G# cm->G# C+ C+ C->C+ c#° c#° C->c#° c#m c#m C+->c#m fm fm C+->fm C+->G# c#°->c#m C# C# c#m->C# C#->fm

view full size

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.

Diameter4
Radius2
Self-Centeredno
Central VerticesC+
Peripheral Verticescm, C♯

Modes

Modes are the rotational transformation of this scale. Scale 443 can be rotated to make 6 other scales. The 1st mode is itself.

2nd mode:
Scale 2269
Scale 2269: Pygian, Ian Ring Music TheoryPygian
3rd mode:
Scale 1591
Scale 1591: Rodian, Ian Ring Music TheoryRodian
4th mode:
Scale 2843
Scale 2843: Sorian, Ian Ring Music TheorySorian
5th mode:
Scale 3469
Scale 3469: Monian, Ian Ring Music TheoryMonian
6th mode:
Scale 1891
Scale 1891: Thalian, Ian Ring Music TheoryThalian
7th mode:
Scale 2993
Scale 2993: Stythian, Ian Ring Music TheoryStythian

Prime

This is the prime form of this scale.

Complement

The heptatonic modal family [443, 2269, 1591, 2843, 3469, 1891, 2993] (Forte: 7-Z37) is the complement of the pentatonic modal family [313, 551, 913, 2323, 3209] (Forte: 5-Z37)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 443 is 2993

Scale 2993Scale 2993: Stythian, Ian Ring Music TheoryStythian

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> 443       T0I <11,0> 2993
T1 <1,1> 886      T1I <11,1> 1891
T2 <1,2> 1772      T2I <11,2> 3782
T3 <1,3> 3544      T3I <11,3> 3469
T4 <1,4> 2993      T4I <11,4> 2843
T5 <1,5> 1891      T5I <11,5> 1591
T6 <1,6> 3782      T6I <11,6> 3182
T7 <1,7> 3469      T7I <11,7> 2269
T8 <1,8> 2843      T8I <11,8> 443
T9 <1,9> 1591      T9I <11,9> 886
T10 <1,10> 3182      T10I <11,10> 1772
T11 <1,11> 2269      T11I <11,11> 3544
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 2363      T0MI <7,0> 2963
T1M <5,1> 631      T1MI <7,1> 1831
T2M <5,2> 1262      T2MI <7,2> 3662
T3M <5,3> 2524      T3MI <7,3> 3229
T4M <5,4> 953      T4MI <7,4> 2363
T5M <5,5> 1906      T5MI <7,5> 631
T6M <5,6> 3812      T6MI <7,6> 1262
T7M <5,7> 3529      T7MI <7,7> 2524
T8M <5,8> 2963      T8MI <7,8> 953
T9M <5,9> 1831      T9MI <7,9> 1906
T10M <5,10> 3662      T10MI <7,10> 3812
T11M <5,11> 3229      T11MI <7,11> 3529

The transformations that map this set to itself are: T0, T8I

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 441Scale 441: Thycrimic, Ian Ring Music TheoryThycrimic
Scale 445Scale 445: Gocrian, Ian Ring Music TheoryGocrian
Scale 447Scale 447: Thyphyllic, Ian Ring Music TheoryThyphyllic
Scale 435Scale 435: Raga Purna Pancama, Ian Ring Music TheoryRaga Purna Pancama
Scale 439Scale 439: Bythian, Ian Ring Music TheoryBythian
Scale 427Scale 427: Raga Suddha Simantini, Ian Ring Music TheoryRaga Suddha Simantini
Scale 411Scale 411: Lygimic, Ian Ring Music TheoryLygimic
Scale 475Scale 475: Aeolygian, Ian Ring Music TheoryAeolygian
Scale 507Scale 507: Moryllic, Ian Ring Music TheoryMoryllic
Scale 315Scale 315: Stodimic, Ian Ring Music TheoryStodimic
Scale 379Scale 379: Aeragian, Ian Ring Music TheoryAeragian
Scale 187Scale 187: Bedian, Ian Ring Music TheoryBedian
Scale 699Scale 699: Aerothian, Ian Ring Music TheoryAerothian
Scale 955Scale 955: Ionogyllic, Ian Ring Music TheoryIonogyllic
Scale 1467Scale 1467: Spanish Phrygian, Ian Ring Music TheorySpanish Phrygian
Scale 2491Scale 2491: Layllic, Ian Ring Music TheoryLayllic

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.