The Exciting Universe Of Music Theory
presents

more than you ever wanted to know about...

Scale 85

Scale 85, 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).

Analysis

Cardinality

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

4 (tetratonic)

Pitch Class Set

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

{0,2,4,6}

Forte Number

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

4-21

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.

[3]

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.

0 (anhemitonic)

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.

3

Prime Form

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

yes

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.

[2, 2, 2, 6]

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.

<0, 3, 0, 2, 0, 1>

Interval Spectrum

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

m2s3t

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> = {2,6}
<2> = {4,8}
<3> = {6,10}

Spectra Variation

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

3

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.

1.299

Polygon Perimeter

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

5

Myhill Property

A scale has Myhill Property if the Interval Spectra has exactly two specific intervals for every generic interval.

yes

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.

[6]

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

Common Triads

There are no common triads (major, minor, augmented and diminished) that can be formed using notes in this scale.

Modes

Modes are the rotational transformation of this scale. Scale 85 can be rotated to make 3 other scales. The 1st mode is itself.

2nd mode:
Scale 1045
Scale 1045, Ian Ring Music Theory
3rd mode:
Scale 1285
Scale 1285, Ian Ring Music Theory
4th mode:
Scale 1345
Scale 1345, Ian Ring Music Theory

Prime

This is the prime form of this scale.

Complement

The tetratonic modal family [85, 1045, 1285, 1345] (Forte: 4-21) is the complement of the octatonic modal family [1375, 1405, 1525, 2005, 2735, 3415, 3755, 3925] (Forte: 8-21)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 85 is 1345

Scale 1345Scale 1345, Ian Ring Music Theory

Transformations:

T0 85  T0I 1345
T1 170  T1I 2690
T2 340  T2I 1285
T3 680  T3I 2570
T4 1360  T4I 1045
T5 2720  T5I 2090
T6 1345  T6I 85
T7 2690  T7I 170
T8 1285  T8I 340
T9 2570  T9I 680
T10 1045  T10I 1360
T11 2090  T11I 2720

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 87Scale 87, Ian Ring Music Theory
Scale 81Scale 81, Ian Ring Music Theory
Scale 83Scale 83, Ian Ring Music Theory
Scale 89Scale 89, Ian Ring Music Theory
Scale 93Scale 93, Ian Ring Music Theory
Scale 69Scale 69, Ian Ring Music Theory
Scale 77Scale 77, Ian Ring Music Theory
Scale 101Scale 101, Ian Ring Music Theory
Scale 117Scale 117, Ian Ring Music Theory
Scale 21Scale 21, Ian Ring Music Theory
Scale 53Scale 53, Ian Ring Music Theory
Scale 149Scale 149: Eskimo Tetratonic, Ian Ring Music TheoryEskimo Tetratonic
Scale 213Scale 213, Ian Ring Music Theory
Scale 341Scale 341: Bothitonic, Ian Ring Music TheoryBothitonic
Scale 597Scale 597: Kung, Ian Ring Music TheoryKung
Scale 1109Scale 1109: Kataditonic, Ian Ring Music TheoryKataditonic
Scale 2133Scale 2133: Raga Kumurdaki, Ian Ring Music TheoryRaga Kumurdaki

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. 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.