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Scale 793: "Mocritonic"

Scale 793: Mocritonic, 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
Mocritonic
Dozenal
Facian

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

{0,3,4,8,9}

Forte Number

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

5-22

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.

[0]

Palindromicity

A palindromic scale has the same pattern of intervals both ascending and descending.

yes

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.

2 (dihemitonic)

Cohemitonia

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

0 (ancohemitonic)

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.

4

Prime Form

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

no
prime: 403

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.

[3, 1, 4, 1, 3]

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, 0, 2, 3, 2, 1>

Interval Spectrum

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

p2m3n2d2t

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

Spectra Variation

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

2

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.

1.933

Polygon Perimeter

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

5.596

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.

yes

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.

[0]

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".

Proper

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.

(0, 5, 32)

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}221
Minor Triadsam{9,0,4}221
Augmented TriadsC+{0,4,8}221
Diminished Triads{9,0,3}221
Parsimonious Voice Leading Between Common Triads of Scale 793. Created by Ian Ring ©2019 C+ C+ G# G# C+->G# am am C+->am G#->a° 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
Radius2
Self-Centeredyes

Modes

Modes are the rotational transformation of this scale. Scale 793 can be rotated to make 4 other scales. The 1st mode is itself.

2nd mode:
Scale 611
Scale 611: Anchihoye, Ian Ring Music TheoryAnchihoye
3rd mode:
Scale 2353
Scale 2353: Raga Girija, Ian Ring Music TheoryRaga Girija
4th mode:
Scale 403
Scale 403: Raga Reva, Ian Ring Music TheoryRaga RevaThis is the prime mode
5th mode:
Scale 2249
Scale 2249: Raga Multani, Ian Ring Music TheoryRaga Multani

Prime

The prime form of this scale is Scale 403

Scale 403Scale 403: Raga Reva, Ian Ring Music TheoryRaga Reva

Complement

The pentatonic modal family [793, 611, 2353, 403, 2249] (Forte: 5-22) is the complement of the heptatonic modal family [871, 923, 1651, 2483, 2509, 2873, 3289] (Forte: 7-22)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 793 is itself, because it is a palindromic scale!

Scale 793Scale 793: Mocritonic, Ian Ring Music TheoryMocritonic

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> 793       T0I <11,0> 793
T1 <1,1> 1586      T1I <11,1> 1586
T2 <1,2> 3172      T2I <11,2> 3172
T3 <1,3> 2249      T3I <11,3> 2249
T4 <1,4> 403      T4I <11,4> 403
T5 <1,5> 806      T5I <11,5> 806
T6 <1,6> 1612      T6I <11,6> 1612
T7 <1,7> 3224      T7I <11,7> 3224
T8 <1,8> 2353      T8I <11,8> 2353
T9 <1,9> 611      T9I <11,9> 611
T10 <1,10> 1222      T10I <11,10> 1222
T11 <1,11> 2444      T11I <11,11> 2444
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 793       T0MI <7,0> 793
T1M <5,1> 1586      T1MI <7,1> 1586
T2M <5,2> 3172      T2MI <7,2> 3172
T3M <5,3> 2249      T3MI <7,3> 2249
T4M <5,4> 403      T4MI <7,4> 403
T5M <5,5> 806      T5MI <7,5> 806
T6M <5,6> 1612      T6MI <7,6> 1612
T7M <5,7> 3224      T7MI <7,7> 3224
T8M <5,8> 2353      T8MI <7,8> 2353
T9M <5,9> 611      T9MI <7,9> 611
T10M <5,10> 1222      T10MI <7,10> 1222
T11M <5,11> 2444      T11MI <7,11> 2444

The transformations that map this set to itself are: T0, T0I, T0M, 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 795Scale 795: Aeologimic, Ian Ring Music TheoryAeologimic
Scale 797Scale 797: Katocrimic, Ian Ring Music TheoryKatocrimic
Scale 785Scale 785: Aeoloric, Ian Ring Music TheoryAeoloric
Scale 789Scale 789: Zogitonic, Ian Ring Music TheoryZogitonic
Scale 777Scale 777: Empian, Ian Ring Music TheoryEmpian
Scale 809Scale 809: Dogitonic, Ian Ring Music TheoryDogitonic
Scale 825Scale 825: Thyptimic, Ian Ring Music TheoryThyptimic
Scale 857Scale 857: Aeolydimic, Ian Ring Music TheoryAeolydimic
Scale 921Scale 921: Bogimic, Ian Ring Music TheoryBogimic
Scale 537Scale 537: Atuian, Ian Ring Music TheoryAtuian
Scale 665Scale 665: Raga Mohanangi, Ian Ring Music TheoryRaga Mohanangi
Scale 281Scale 281: Lanic, Ian Ring Music TheoryLanic
Scale 1305Scale 1305: Dynitonic, Ian Ring Music TheoryDynitonic
Scale 1817Scale 1817: Phrythimic, Ian Ring Music TheoryPhrythimic
Scale 2841Scale 2841: Sothimic, Ian Ring Music TheorySothimic

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.