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Scale 841: "Phrothitonic"

Scale 841: Phrothitonic, 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
Phrothitonic
Dozenal
Fegian

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

{0,3,6,8,9}

Forte Number

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

5-31

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: 601

Hemitonia

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

1 (unhemitonic)

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.

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 Rahn/Ring formula.

no
prime: 587

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, 3, 2, 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.

<1, 1, 4, 1, 1, 2>

Interval Spectrum

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

pmn4sdt2

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

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.

2.183

Polygon Perimeter

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

5.76

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".

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, 10, 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}221.2
Diminished Triads{0,3,6}221.2
d♯°{3,6,9}221.2
f♯°{6,9,0}221.2
{9,0,3}221.2
Parsimonious Voice Leading Between Common Triads of Scale 841. Created by Ian Ring ©2019 d#° d#° c°->d#° G# G# c°->G# f#° f#° d#°->f#° f#°->a° G#->a°

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

2nd mode:
Scale 617
Scale 617: Katycritonic, Ian Ring Music TheoryKatycritonic
3rd mode:
Scale 589
Scale 589: Ionalitonic, Ian Ring Music TheoryIonalitonic
4th mode:
Scale 1171
Scale 1171: Raga Manaranjani I, Ian Ring Music TheoryRaga Manaranjani I
5th mode:
Scale 2633
Scale 2633: Bartók Beta Chord, Ian Ring Music TheoryBartók Beta Chord

Prime

The prime form of this scale is Scale 587

Scale 587Scale 587: Pathitonic, Ian Ring Music TheoryPathitonic

Complement

The pentatonic modal family [841, 617, 589, 1171, 2633] (Forte: 5-31) is the complement of the heptatonic modal family [731, 1627, 1739, 1753, 2413, 2861, 2917] (Forte: 7-31)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 841 is 601

Scale 601Scale 601: Bycritonic, Ian Ring Music TheoryBycritonic

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 841 is chiral, and its enantiomorph is scale 601

Scale 601Scale 601: Bycritonic, Ian Ring Music TheoryBycritonic

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> 841       T0I <11,0> 601
T1 <1,1> 1682      T1I <11,1> 1202
T2 <1,2> 3364      T2I <11,2> 2404
T3 <1,3> 2633      T3I <11,3> 713
T4 <1,4> 1171      T4I <11,4> 1426
T5 <1,5> 2342      T5I <11,5> 2852
T6 <1,6> 589      T6I <11,6> 1609
T7 <1,7> 1178      T7I <11,7> 3218
T8 <1,8> 2356      T8I <11,8> 2341
T9 <1,9> 617      T9I <11,9> 587
T10 <1,10> 1234      T10I <11,10> 1174
T11 <1,11> 2468      T11I <11,11> 2348
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 601      T0MI <7,0> 841
T1M <5,1> 1202      T1MI <7,1> 1682
T2M <5,2> 2404      T2MI <7,2> 3364
T3M <5,3> 713      T3MI <7,3> 2633
T4M <5,4> 1426      T4MI <7,4> 1171
T5M <5,5> 2852      T5MI <7,5> 2342
T6M <5,6> 1609      T6MI <7,6> 589
T7M <5,7> 3218      T7MI <7,7> 1178
T8M <5,8> 2341      T8MI <7,8> 2356
T9M <5,9> 587      T9MI <7,9> 617
T10M <5,10> 1174      T10MI <7,10> 1234
T11M <5,11> 2348      T11MI <7,11> 2468

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 843Scale 843: Molimic, Ian Ring Music TheoryMolimic
Scale 845Scale 845: Raga Neelangi, Ian Ring Music TheoryRaga Neelangi
Scale 833Scale 833: Febian, Ian Ring Music TheoryFebian
Scale 837Scale 837: Epaditonic, Ian Ring Music TheoryEpaditonic
Scale 849Scale 849: Aerynitonic, Ian Ring Music TheoryAerynitonic
Scale 857Scale 857: Aeolydimic, Ian Ring Music TheoryAeolydimic
Scale 873Scale 873: Bagimic, Ian Ring Music TheoryBagimic
Scale 777Scale 777: Empian, Ian Ring Music TheoryEmpian
Scale 809Scale 809: Dogitonic, Ian Ring Music TheoryDogitonic
Scale 905Scale 905: Bylitonic, Ian Ring Music TheoryBylitonic
Scale 969Scale 969: Ionogimic, Ian Ring Music TheoryIonogimic
Scale 585Scale 585: Diminished Seventh, Ian Ring Music TheoryDiminished Seventh
Scale 713Scale 713: Thoptitonic, Ian Ring Music TheoryThoptitonic
Scale 329Scale 329: Mynic 2, Ian Ring Music TheoryMynic 2
Scale 1353Scale 1353: Raga Harikauns, Ian Ring Music TheoryRaga Harikauns
Scale 1865Scale 1865: Thagimic, Ian Ring Music TheoryThagimic
Scale 2889Scale 2889: Thoptimic, Ian Ring Music TheoryThoptimic

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.