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Scale 797: "Katocrimic"

Scale 797: Katocrimic, 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
Katocrimic
Dozenal
FAFian

Analysis

Cardinality

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

 6 (hexatonic)

Pitch Class Set

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

 {0,2,3,4,8,9}

Forte Number

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

 6-Z17

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: 1817

Hemitonia

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

 3 (trihemitonic)

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 includes the scale itself, so the number is usually the same as its cardinality; unless there are rotational symmetries then there are fewer modes.

 6

Prime Form

Describes if this scale is in prime form, using the Starr/Rahn algorithm.

 no
prime: 407

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, 1, 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.

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

Proportional Saturation Vector

First described by Michael Buchler (2001), this is a vector showing the prominence of intervals relative to the maximum and minimum possible for the scale's cardinality. A saturation of 0 means the interval is present minimally, a saturation of 1 means it is the maximum possible.

<0.6, 0.333, 0.4, 0.25, 0.6, 0.667>

Interval Spectrum

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

 p3m3n2s2d3t2

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

Spectra Variation

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

 2.667

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.

2.116

Polygon Perimeter

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

5.699

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.

(12, 10, 57)

Coherence Quotient

The Coherence Quotient is a score between 0 and 1, indicating the proportion of coherence failures (ambiguity or contradiction) in the scale, against the maximum possible for a cardinality. A high coherence quotient indicates a less complex scale, whereas a quotient of 0 indicates a maximally complex scale.

0.662

Sameness Quotient

The Sameness Quotient is a score between 0 and 1, indicating the proportion of differences in the heteromorphic profile, against the maximum possible for a cardinality. A higher quotient indicates a less complex scale, whereas a quotient of 0 indicates a scale with maximum complexity.

0.24

Generator

This scale has no generator.

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 Triadsa°{9,0,3}221

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

Parsimonious Voice Leading Between Common Triads of Scale 797. Created by Ian Ring ©2019 C+ C+ G# G# C+->G# am am C+->am a° a° 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 797 can be rotated to make 5 other scales. The 1st mode is itself.

2nd mode:
Scale 1223		Scale 1223: Phryptimic, Ian Ring Music TheoryPhryptimic
3rd mode:
Scale 2659		Scale 2659: Katynimic, Ian Ring Music TheoryKatynimic
4th mode:
Scale 3377		Scale 3377: Phralimic, Ian Ring Music TheoryPhralimic
5th mode:
Scale 467		Scale 467: Raga Dhavalangam, Ian Ring Music TheoryRaga Dhavalangam
6th mode:
Scale 2281		Scale 2281: Rathimic, Ian Ring Music TheoryRathimic

Prime

The prime form of this scale is Scale 407

Scale 407Scale 407: All-Trichord Hexachord, Ian Ring Music TheoryAll-Trichord Hexachord

Complement

The hexatonic modal family [797, 1223, 2659, 3377, 467, 2281] (Forte: 6-Z17) is the complement of the hexatonic modal family [359, 907, 1649, 2227, 2501, 3161] (Forte: 6-Z43)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 797 is 1817

Scale 1817Scale 1817: Phrythimic, Ian Ring Music TheoryPhrythimic

Hierarchizability

Based on the work of Niels Verosky, hierarchizability is the measure of repeated patterns with "place-finding" remainder bits, applied recursively to the binary representation of a scale. For a full explanation, read Niels' paper, Hierarchizability as a Predictor of Scale Candidacy. The variable k is the maximum number of remainders allowed at each level of recursion, for them to count as an increment of hierarchizability. A high hierarchizability score is a good indicator of scale candidacy, ie a measure of usefulness for producing pleasing music. There is a strong correlation between scales with maximal hierarchizability and scales that are in popular use in a variety of world musical traditions.

kHierarchizabilityBreakdown PatternDiagram
11101110001100797k = 1h = 1
21101110001100797k = 2h = 1
31101110001100797k = 3h = 1
42101(1100)0(1100)797k = 4h = 2
52101(1100)0(1100)797k = 5h = 2

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 797 is chiral, and its enantiomorph is scale 1817

Scale 1817Scale 1817: Phrythimic, Ian Ring Music TheoryPhrythimic

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. A note about the multipliers: multiplying by 1 changes nothing, multiplying by 11 produces the same result as inversion. 5 is the only non-degenerate multiplier, with the multiplier 7 producing the inverse of 5.

Abbrev Operation Result Abbrev Operation Result
T0 <1,0> 797       T0I <11,0> 1817
T1 <1,1> 1594      T1I <11,1> 3634
T2 <1,2> 3188      T2I <11,2> 3173
T3 <1,3> 2281      T3I <11,3> 2251
T4 <1,4> 467      T4I <11,4> 407
T5 <1,5> 934      T5I <11,5> 814
T6 <1,6> 1868      T6I <11,6> 1628
T7 <1,7> 3736      T7I <11,7> 3256
T8 <1,8> 3377      T8I <11,8> 2417
T9 <1,9> 2659      T9I <11,9> 739
T10 <1,10> 1223      T10I <11,10> 1478
T11 <1,11> 2446      T11I <11,11> 2956
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 1817      T0MI <7,0> 797
T1M <5,1> 3634      T1MI <7,1> 1594
T2M <5,2> 3173      T2MI <7,2> 3188
T3M <5,3> 2251      T3MI <7,3> 2281
T4M <5,4> 407      T4MI <7,4> 467
T5M <5,5> 814      T5MI <7,5> 934
T6M <5,6> 1628      T6MI <7,6> 1868
T7M <5,7> 3256      T7MI <7,7> 3736
T8M <5,8> 2417      T8MI <7,8> 3377
T9M <5,9> 739      T9MI <7,9> 2659
T10M <5,10> 1478      T10MI <7,10> 1223
T11M <5,11> 2956      T11MI <7,11> 2446

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 799Scale 799: Lolian, Ian Ring Music TheoryLolian
Scale 793Scale 793: Mocritonic, Ian Ring Music TheoryMocritonic
Scale 795Scale 795: Aeologimic, Ian Ring Music TheoryAeologimic
Scale 789Scale 789: Zogitonic, Ian Ring Music TheoryZogitonic
Scale 781Scale 781: ETOian, Ian Ring Music TheoryETOian
Scale 813Scale 813: Larimic, Ian Ring Music TheoryLarimic
Scale 829Scale 829: Lygian, Ian Ring Music TheoryLygian
Scale 861Scale 861: Rylian, Ian Ring Music TheoryRylian
Scale 925Scale 925: Chromatic Hypodorian, Ian Ring Music TheoryChromatic Hypodorian
Scale 541Scale 541: DEMian, Ian Ring Music TheoryDEMian
Scale 669Scale 669: Gycrimic, Ian Ring Music TheoryGycrimic
Scale 285Scale 285: Zaritonic, Ian Ring Music TheoryZaritonic
Scale 1309Scale 1309: Pogimic, Ian Ring Music TheoryPogimic
Scale 1821Scale 1821: Aeradian, Ian Ring Music TheoryAeradian
Scale 2845Scale 2845: Baptian, Ian Ring Music TheoryBaptian

This scale analysis was created by Ian Ring, Canadian Composer of works for Piano, and total music theory nerd. Scale notation generated by VexFlow and Lilypond, graph visualization by Graphviz, audio by TiMIDIty and FFMPEG. 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.

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