Interval String Table for the Identification of Chords, Modes,

Scales, and Melodies

Larry J Solomon

History
Historically, the work on Interval String Theory (IST) can be traced to the early twentieth
century, in 1917 Ernst Lecher Bacon published "Our Musical Idiom" in The Monist (see
References). Bacon's work contains a list of interval strings. Later, in 1960, Howard Hanson
used interval strings in his book, Harmonic Materials of Twentieth Century Music.
In 1973, Yale University Press published Allen Forte's The Structure of Atonal Music
(SAM), which became the de facto standard for musical set theory. SAM contains a list of
pitch set classes but it does not address interval strings. The title "atonal" with which SAM
confines itself remains undefined. Atonality was considered nonexistent by Schoenberg and
others who regarded it as a poor, derogatory term invented by critics. At the very least,
"atonality" seems to be an arbitrary and subjective rubric. IST provides an alternative to
SAM, especially for those who would like a theory that accounts for the difference between
major and minor chords, as well as all other inversionally related chords. IST is not
restricted to atonal or any other style of music. IST is comprehensive for all tone
combinations in the twelve-tone equal-tempered system.

Interval Strings, Modes, and Scales

Modes and scales are different concepts, although the terms are used loosely and
interchangeably in conversation. A scale is here defined as a series of pitches, notes, or
pith classes arranged in ascending and/or descending order. CDEFGABC is a scale. A
mode is an interval series (interval string) used to construct a class of scales. While a scale
contains specific notes, pitches, or pcs, a mode does not. The major mode can be used to
construct any major scale, on any tonic. IST uses a system that is similar to the traditional
way of classifying modes. For instance, the major mode is TTSTTTS. The equivalent in IST
notation would be 2212221, where each number in the string indicates the number of
semitones. No commas or other delimiters are used between the numbers because they
are all single digits. The same system is used for chords; therefore, a major chord becomes
435, i.e., 4 semitones, then 3 semitones, followed by 5 semitones. The intervals are ordered
and cyclic. IST completes the octave in the same way as modes and scales. So, a major
chord is not simply 4 semitones, then 3 semitones, but completes the octave by adding 5
more semitones. Therefore IS (interval string/s) are normally cyclic; 435 can become 354 or
543 (chord inversions) but not 345 (chromatic inversion), the minor triad, in IST. The IS is
distinct for major and cannot be cycled to be equivalent to minor. However, retrograding a
string yields its chromatic inversion.
The "major mode" example, 221222, considered cyclically, is actually a class of
modes, because it can be cycled to become 2122212, 1222122, 2221221, 2212212,
2122122, or 1221222. Therefore, the cyclic IS embraces the Dorian, Phrygian, Lydian,
Mixolydian, Aoelian, and Locrian modes, i.e., all the medieval church modes. Combined,
they are called the diatonic mode, which is actually a class of modes. A table could be
constructed, which would be much larger, in which IS is not cyclic. It would separate
various modes, but would still not have specific tonics. Only the more general cyclic table is
shown here. IST does have a general application to modes and scales as well as chords.
Some scales and modes are tonicized, while others are not. The diatonic mode is an
example of a non-tonicized mode, while the Mixolydian mode implies a variable tonic.
Similarly, the chromatic scale is non-tonicized, whereas a G major scale is specifically
tonicized.
Melodies
Melodies can also be expressed as an interval string. For example, P: 07020-2.2010202.
(where P means pitch string) represents "Twinkle, Twinkle, Little Star" in semitonal
notation. The "0" refers to a repetition of notes (no interval motion). A minus sign indicates a
change of direction downward, and a plus sign indicates a change upward (none in this
tune). A period refers to a pause or cadence.
Time or rhythm can also be represented as an IS of time values. For the above tune the
time string would be T: 1111112.1111112 (where T: means time string). The number "1"
represents the value of quantization, the shortest time value in the tune. The other values
are relative multiples of this value. Therefore, if "1" is given the value of a quarter note, "2"
is a half note, etc.

Chords
IST provides a powerful way to identify any chord structure by using the same semitonal
notation. It is not intended to displace traditional chord nomenclature systems, e.g., C#7,
D+, Dm7, V7, etc. Instead, it embraces and supplements these in a more general system,
but gives up some specificity in order to be comprehensive. IS are especially useful when
the traditional nomenclature breaks down or does not work. For example, there is no
traditional chord name for C F# B. How, then, can this chord be identified? One way is to
use SAM, although SAM does not distinguish between major and minor chords (as well as
many other chords and scales) and makes an arbitrary distinction between tonal and atonal
music. IST provides a complete catalog of interval combinations, including those used in
chords and non-tonicized modes. Furthermore, it distinguishes major from minor.
A major chord has no specific pitch content; i.e., it can be any major chord. E major,
C major, F# major, etc. chords are recognized as major, regardless of the positions,
spacings, roots, or doublings. IST accounts for the factor makes them all major.
Additionally, we recognize minor chords as distinct from major, regardless of positions,
spacings, doublings, or roots. Differing major chords have different notes or pitches or pcs
demonstrating that the quality of major does not depend upon pitch. Therefore, a pitch or
pc designation for a chord type (or set class) does not account for the essential aspect that
determines its quality; i.e., major, minor, diminished, etc. However, all major chords have an
IS=435. It is this that remains constant, regardless of the roots, the positions, spacings, or
doublings. The ear and brain must recognize the IS to determine the quality of a chord,
because it is the only constant. It seems more appropriate and logical, therefore, to
designate chords by IS rather than by pc numbers.

Explanation of The Table of Interval Strings

The table contains an identification number for each set in the Catalog Number (Cat#). The
next column has the Interval String notation for each set. A set may be identified as the IS,
without a need for set-names, prime pitch forms, or other table dependence. Any major
chord is identified as simply 435. Most of the rest of the table serves as a cross reference
to other systems. The prime forms are in column 3, The SAM names are shown in column
4, interval vectors are in column 5, the common or descriptive names are shown in the last
column. Chords with twelve-tone applications are shown with their hexachordal
combinatorial properties in the last column. The penultimate column simply indicates mirror
sets (symmetric about an axis in the cyclic set) with an "*".
The Null Set, Unison, and other interval-sets are included in the table for
completeness, as are 10- to 12-note sets. The order of the sets in the table is determined
by the normal form or prime of the IS within each cardinality. So, the ordering is different
from that in SAM. It is also, of course, a larger table with 352 sets, because all inversionally
related sets are considered distinct.
Interval String Primes from a Keyboard
The keyboard of a piano, organ, or other electronic keyboard (imagined or played), can be used as
a convenient and familiar device to simplify the determination of an IS prime for any chord or pitch
set. For example, a dominant seventh chord, e.g., C7, can be seen on a keyboard in four possible
configurations in close position.

(1) (2) (3) (4)

These are the cyclical rotations of this set, commonly known as root, first, second, and third
inversions. From these, choose the most compact form, i.e., number 2, which encompasses the
smallest interval of a minor sixth or 8 semitones. Using this form, begin with the lowest key and
count the semitones to the next key marked, then to the next, etc. Finally, complete the octave. The
IS prime in this example is therefore 3324. This simple method can be used for any set. If two or
more forms compete with the smallest span, choose the one with the smallest interval from the
bass to the next note above. Finding the IS in this way eliminates the need for a computer or
mathematics.

The master table provides more information besides common or descriptive names.
Some sets are named with the suffix "-chord" and others with "-mode" (which actually
represents a mode-class) depending on how the set is more commonly known in the
literature. Generally, sets with cardinality less than 5 are called chords, whereas larger
cardinalities are more often considered modes (or scales). However, this distinction is
somewhat arbitrary. None of the IS in this table are restricted to a temporal order. Since
modes consist of IS and scales consist of pitches or pcs, the suffix "mode" is used here for
a scale-like IS.

The table uses hexadecimal number notation: 0,1,2,3,4,5,6,7,8,9,A,B,C, where

A=10, B=11, and C=12 in equivalent decimals.(Hexadecimal also has D, E, and F digits, but
they are not used here.) Thus it is possible to express any IS without delimiters between the
numbers; e.g., Cat#002 the designation "1B", means 1 semitone followed by 11 semitones.
Cat#026, 1119, cannot be confused with 11,1,9 or any other grouping. Cat#008, 11A, could
be rendered 1,1,10 in decimal, but then delimiters are required. Only a few of the IS at the
beginning of the table have hexadecimal numbers beyond 9, so that almost all of the
numbers in the table are equivalent to the more familiar decimal notation. The prime forms
are also in hexadecimal for concision; those containing numbers beyond "9" appear only
near the end of the table. The single digit string makes a more compact and elegant format.
SAM does not include the first eight sets and those with cardinalities greater than 9; neither
does it include any set-name with a "b" ending.

Table of Interval Strings: a comprehensive cross-referenced list

Cat# Interval String Prime Set- IV mirror Common or descriptive name and
(IS) name (vector) * any hexachordal combinatorial properties
**
000 00 empty 0-1 000000 * Null set
001 0C 0 1-1 000000 * Unison
002 1B 01 2-1 100000 * Semitone
003 2A 02 2-2 010000 * Whole-tone
004 39 03 2-3 001000 * Minor third
005 48 04 2-4 000100 * Major third
006 57 05 2-5 000010 * Perfect fourth
007 66 06 2-6 000001 * Tritone
008 11A 012 3-1 210000 * BACH or chromatic trimode
009 129 013 3-2 111000 Phrygian trimode
010 138 014 3-3 101100 Major+minor trichord.1
011 147 015 3-4 100110 Incomplete major-seventh chord.1
012 156 016 3-5 100011 Tritone+P4.1
013 219 023 3-2b 111000 Minor trimode
014 228 024 3-6 020100 * Whole-tone trimode
015 237 025 3-7 011010 Incomplete minor-seventh chord
Incomplete dominant-seventh
016 246 026 3-8 010101
chord.1/Italian-sixth
017 255 027 3-9 010020 * Quartal trichord
018 318 034 3-3b 101100 * Major+minor trichord.2
019 327 035 3-7b 011010 Incomplete dominant-seventh chord.2
020 336 036 3-10 002001 Diminished chord
021 345 037 3-11 001110 Minor chord
022 417 045 3-4b 100110 Incomplete major-seventh chord.2
023 426 046 3-8b 010101 Incomplete half-dim-seventh chord
024 435 047 3-11b 001110 Major chord
025 444 048 3-12 000300 augmented chord
026 516 056 3-5b 100011 Tritone+P4.2
027 1119 0123 4-1 321000 * BACH or chromatic tetramode
028 1128 0124 4-2 221100
029 1137 0125 4-4 211110
030 1146 0126 4-5 210111
031 1155 0127 4-6 210021 *
032 1218 0134 4-3 212100 * alternating tetramode
033 1227 0135 4-11 121110 Phrygian tetramode
034 1236 0136 4-13 112011
035 1245 0137 4-Z29 111111 all-interval tetrachord.3
036 1317 0145 4-7 201210 *
037 1326 0146 4-Z15 111111 all-interval tetrachord.1
038 1335 0147 4-18 102111
039 1344 0148 4-19 101310
040 1416 0156 4-8 200121 *
041 1425 0157 4-16 110121
042 1434 0158 4-20 101220 * Major-seventh chord
043 1515 0167 4-9 200022
044 2118 0234 4-2b 221100
045 2127 0235 4-10 122010 * Minor tetramode
046 2136 0236 4-12 112101 Harmonic-minor tetramode
047 2145 0237 4-14 111120
048 2217 0245 4-11b 121110 Major tetramode
049 2226 0246 4-21 030201 * Whole-tone tetramode
050 2235 0247 4-22 021120
051 2244 0248 4-24 020301 * augmented seventh chord
4-
052 2316 0256 111111 all-interval tetrachord.2
Z15b
053 2325 0257 4-23 021030 * Quartal tetrachord
054 2334 0258 4-27 012111 Half-diminished seventh chord
055 2415 0267 4-16b 110121
056 2424 0268 4-25 020202 * French-sixth chord
057 3117 0345 4-4b 211110
058 3126 0346 4-12b 112101
059 3135 0347 4-17 102210 * Major-minor tetrachord
060 3144 0348 4-19b 101310
061 3216 0356 4-13b 112011
062 3225 0357 4-22b 021120
063 3234 0358 4-26 012120 * Minor-seventh chord
064 3315 0367 4-18b 102111
065 3324 0368 4-27b 012111 Dominant-seventh/German-sixth chord
066 3333 0369 4-28 004002 * Diminished-seventh chord
067 4116 0456 4-5b 210111
068 4125 0457 4-14b 111120
4-
069 4215 0467 111111 all-interval tetrachord.4
Z29b
070 11118 01234 5-1 432100 * Chromatic pentamode
071 11127 01235 5-2 332110
072 11136 01236 5-4 322111 Blues pentamode
073 11145 01237 5-5 321121
074 11217 01245 5-2 322210
075 11226 01246 5-9 231211
076 11235 01247 5-Z36 222121
077 11244 01248 5-13 221311
078 11316 01256 5-6 311221
079 11325 01257 5-14 221131
080 11334 01258 5-Z38 212221
081 11415 01267 5-7 310132
082 11424 01268 5-15 220222 *
083 12117 01345 5-3b 322210
084 12126 01346 5-10 223111 alternating pentamode.1
085 12135 01347 5-16 213211
086 12144 01348 5-Z17 212320 *
087 12216 01356 5-Z12 222121 * Locrian pentamode
088 12225 01357 5-24 131221 Phrygian pentamode
089 12234 01358 5-27 122230 Major-ninth chord
090 12315 01367 5-19 212122
091 12324 01368 5-29 122131
092 12333 01369 5-31 114112
093 12414 01378 5-20 211231 Pelog pentatonic mode
094 13116 01456 5-6b 311221
095 13125 01457 5-Z18 212221 Gypsy pentamode.1
096 13134 01458 5-21 202420
097 13215 01467 5-19b 212122 Balinese pentamode
098 13224 01468 5-30 121321 Enigmatic pentamode.1
099 13233 01469 5-32 113221 Neapolitan pentamode.1
100 13314 01478 5-22 202321 *
101 13323 01479 5-32b 113221 Neapolitan pentamode.2
102 14115 01567 5-7b 310132
103 14214 01578 5-20b 211231 Hirajoshi pentatonic mode
104 21117 02345 5-2b 332110
105 21126 02346 5-8 232201 *
106 21135 02347 5-11 222220
107 21144 02348 5-13b 221311
108 21216 02356 5-10b 223111 alternating pentamode.2
109 21225 02357 5-23 132130 Minor pentamode
110 21234 02358 5-25 123121
5-
111 21315 02367 212221 Gypsy pentamode.2
Z18b
112 21324 02368 5-28 122212 French-sixth pentachord.1
113 21333 02369 5-31b 114112 Ranjani raga/Flat-ninth pentachord
114 22116 02456 5-9b 231211
115 22125 02457 5-23b 132130 Major pentamode
116 22134 02458 5-26 122311
117 22215 02467 5-24b 131221 Lydian pentamode
118 22224 02468 5-33 040402 * Whole-tone pentamode
* Dominant-ninth/major-minor/Prometheus
119 22233 02469 5-34 032221
pentachord
120 22314 02478 5-30b 121321 Enigmatic pentamode.2
* Pentatonic/Slendro/Bilahari raga/Quartal
121 22323 02479 5-35 032140
pentachord
122 23115 02567 5-14b 221131
123 23124 02568 5-28b 122212
124 23214 02578 5-29b 122131 Kumoi pentamode.1
125 31116 03456 5-4b 322111
126 31125 03457 5-11b 222220
127 31134 03458 5-Z37 212320
128 31215 03467 5-16b 213211
129 31224 03468 5-26b 122311
130 31314 03478 5-21b 202420
5-
131 32115 03567 222121
Z36b
132 32124 03568 5-25b 123121
133 32214 03578 5-27b 122230 Minor-ninth chord
 5-
134 33114 03678 212221
Z38b
135 41115 04567 5-5b 321121
* Chromatic hexamode/1st ordall-
136 111117 012345 6-1 543210
comb.#P06/=I05+I11
137 111126 012346 6-2 443211 Comb.#I11
138 111135 012347 6-Z36 433221
139 111144 012348 6-Z37 432321 * comb.=I04
140 111216 012356 6-Z3 433221
141 111225 012357 6-9 342231 comb.#I11
142 111234 012358 6-Z40 333231
143 111315 012367 6-5 422232 comb.I11
144 111324 012368 6-Z41 332232
145 111333 012369 6-Z42 324222 * comb.=I03
146 111414 012378 6-Z38 421242 * comb.=I03
147 112116 012456 6-Z4 432321 comb.=I06
148 112125 012457 6-Z11 333231
149 112134 012458 6-15 323421 comb.#I11
150 112215 012467 6-Z12 332232
151 112224 012468 6-22 241422 comb.#I11
152 112233 012469 6-Z46 233331
153 112314 012478 6-Z17 322332
154 112323 012479 6-Z47 233241
155 113115 012567 6-Z6 421242
156 113124 012568 6-Z43 322332
157 113133 012569 6-Z44 313431 Schoenberg anagram hexachord
158 113214 012578 6-18 322242 comb.#I11
159 113223 012579 6-Z48 232341 * comb.=I02
6-
160 113313 012589 313431 Bauli raga descending mode
Z44b
* 2nd ord. all-
161 114114 012678 6-7 420243
comb.#P03+P09+I05/=P06+I02+I08
162 121116 013456 6-Z3b 433221
163 121125 013457 6-Z10 333321
164 121134 013458 6-Z14 323430 comb.#P06
165 121215 013467 6-Z13 324222 * alternating hexamode/comb.I07
166 121224 013468 6-Z24 233331
167 121233 013469 6-27 225222 comb.#I11
168 121314 013478 6-Z19 313431
169 121323 013479 6-Z49 224322 * Prometheus Neapolitan mode/comb.=I04
6-
170 122115 013567 332232
Z12b
Locrian hexamode/Suddha Saveri raga
171 122124 013568 6-Z25 233241
mode
172 122133 013569 6-Z28 224322 * comb.=I06
173 122214 013578 6-Z26 232341 * Phrygian hexamode/comb.=I08
Scriabin's 'mystic' or Prometheus
174 122223 013579 6-34 142422
hexachord/comb.#I11
175 122313 013589 6-31 223431 comb.#I07
176 123114 013678 6-18b 322242 comb.#I05
177 123123 013679 6-30 224223 comb.=P06/#I05+I11
178 123213 013689 6-Z29 224232 comb.=I09
179 131115 014567 6-5b 422232 comb.#I03
180 131124 014568 6-16 322431 comb.#I03
6-
181 131214 014578 313431 Gypsy mode
Z19b
182 131313 014589 6-20 303630 * 3rd ord all-comb.
6-
183 132114 014678 322332
Z17b
184 132123 014679 6-Z50 224232 * comb.=I01
185 132213 014689 6-31b 223431 comb.#I11
186 211116 023456 6-2b 443211 Comb.#I01
187 211125 023457 6-8 343230 * 1st ordall-comb.#P06+I01/=I07
188 211134 023458 6-Z39 333321
6-
189 211215 023467 333321
Z10b
190 211224 023468 6-21 242412 comb.#I01
191 211233 023469 6-Z45 234222 * comb.=I06
192 211314 023478 6-16b 322431 Megha or "Cloud raga mode/comb.#I01
6-
193 211323 023479 233241
Z47b
6-
194 212115 023567 333231
Z11b
195 212124 023568 6-Z23 234222 * Super-Locrian hexamode/comb.=I08
196 212133 023569 6-27b 225222 comb.#I01
6-
197 212214 023578 233241 Minor hexamode
Z25b
198 212223 023579 6-33 143241 Dorian hexamode/comb.#I01
6-
199 213114 023678 322332
Z43b
200 213213 023689 6-30b 224223 comb.=P06/#I01+I07
201 221115 024567 6-9b 342231 comb.#I03
202 221124 024568 6-21b 242412 comb.#I03
6-
203 221133 024569 233331
Z46b
6-
204 221214 024578 233331
Z24b
* 1st ord.all-
205 221223 024579 6-32 143250 comb.#P06+I03/=I09/major/quartal
hexamode
206 222114 024678 6-22b 241422 comb.#I05
Dominant-eleventh chord/Lydian
207 222123 024679 6-33b 143241
hexamode/comb.#I05
Harmonic-overtone hexachord/aug-
208 222213 024689 6-34b 142422
11th/comb.#I07
209 222222 02468A 6-35 60603 * Wholetone mode/6th ord all comb.
6-
210 231114 025678 332232
Z41b
6-
211 311115 034567 433221
Z36b
6-
212 311124 034568 333321
Z39b
6-
213 311214 034578 323430 comb.#P06
Z14b
214 312114 034678 6-15b 323421 comb.#I05
6-
215 321114 035678 333231
Z40b
216 1111116 0123456 7-1 654321 * Chromatic heptamode
217 1111125 0123457 7-2 554331
218 1111134 0123458 7-3 544431
219 1111215 0123467 7-4 544332
220 1111224 0123468 7-9 453432
221 1111233 0123469 7-10 445332
222 1111314 0123478 7-6 533442
223 1111323 0123479 7-Z12 444342 * Blues mode
224 1112115 0123567 7-5 543342
225 1112124 0123568 7-Z36 444342
226 1112133 0123569 7-16 435432
227 1112214 0123578 7-14 443352
228 1112223 0123579 7-24 353442
229 1112313 0123589 7-Z18 434442
230 1113114 0123678 7-7 532353
231 1113123 0123679 7-19 434343
232 1113213 0123689 7-19b 434343
233 1121115 0124567 7-5b 543342
234 1121124 0124568 7-13 443532
235 1121133 0124569 7-Z17 434541 *
23 6 1121214 0124578 7-Z38 434442
237 1121223 0124579 7-27 344451
238 1121313 0124589 7-21 424641
239 1122114 0124678 7-15 442443 *
240 1122123 0124679 7-29 344352
241 1122213 0124689 7-30 343542 Neapolitan-minor mode
 * Neapolitan-major/Major Locrian/Leading-
242 1122222 012468A 7-33 262623
Whole-tone mode/
243 1123113 0124789 7-20 433452
244 1131114 0125678 7-7b 532353
* Hungarian minor/double-harm.
245 1131213 0125689 7-22 424542
mode/Mayamdavagaula raga mode
246 1132113 0125789 7-20b 433452 Pantuvarali raga mode
247 1211115 0134567 7-4b 544332
248 1211124 0134568 7-11 444441
249 1211133 0134569 7-16b 435432
250 1211214 0134578 7-Z37 434541 *
251 1211223 0134579 7-26 344532
252 1211313 0134589 7-21b 434641
7-
253 1212114 0134678 434442
Z38b
254 1212123 0134679 7-31 336333 alternating heptamode.1
255 1212213 0134689 7-32 335442 harmonic-minor heptamode
* harmonic/Super-Locrian/aug-13th
256 1212222 013468A 7-34 254442
heptamode
257 1221114 0135678 7-14b 443352
258 1221123 0135679 7-28 344433
259 1221213 0135689 7-32b 335442 Dharmavati mode
260 1221222 013568A 7-35 254361 * diatonic heptamode/Dominant-13th
261 1222113 0135789 7-30b 343542
262 1311114 0145678 7-6b 533442
7-
263 1321113 0146789 434442
Z18b
264 2111115 0234567 7-2b 554331
265 2111124 0234568 7-8 454422 *
266 2111133 0234569 7-10b 445332
267 2111214 0234578 7-11b 444441
268 2111223 0234579 7-23 354351
269 2112114 0234678 7-13b 443532
270 2112123 0234679 7-25 345342
271 2112213 0234689 7-28b 344433
7-
272 2121114 0235678 444342
Z36b
273 2121123 0235679 7-25b 345342
alternating heptamode.2/Hungarian major
274 2121213 0235689 7-31b 336333
mode
275 2122113 0235789 7-29b 344352
276 2211114 0245678 7-9b 453432
277 2211123 0245679 7-23b 354351
278 2211213 0245689 7-26b 344532
279 2212113 0245789 7-27b 344451
280 2221113 0246789 7-24b 353442 Enigmatic heptamode
281 3111114 0345678 7-3b 544431
282 11111115 01234567 8-1 765442 * chromatic octamode
283 11111124 01234568 8-2 665542
284 11111133 01234569 8-3 656542 *
285 11111214 01234578 8-4 655552
286 11111223 01234579 8-11 565552
287 11111313 01234589 8-7 645652 *
288 11112114 01234678 8-5 654553
289 11112123 01234679 8-13 445453
290 11112213 01234689 8-Z15 555553
291 11112222 0123468A 8-21 474643 *
292 11113113 01234789 8-8 644563 *
293 11121114 01235678 8-6 654463 *
294 11121123 01235679 8-Z29 555553
295 11121213 01235689 8-18 546553
296 11121222 0123568A 8-22 465562
297 11122113 01235789 8-16 554563
298 11122122 0123578A 8-23 465472 * quartal octamode
299 11122212 0123579A 8-22b 465562 Spanish octatonic mode
300 11131113 01236789 8-9 644464 *
301 11211114 01245678 8-5b 654553
302 11211123 01245679 8-14 555562
303 11211213 01245689 8-19 545752
304 11211222 0124568A 8-24 464743 *
305 11212113 01245789 8-20 545662 *
306 11212122 0124578A 8-27 456553 *
307 11212212 0124579A 8-26 456562 *
308 11221113 01246789 8-16b 554563
309 11221122 0124678A 8-25 464644 *
310 11221212 0124679A 8-27b 456553
311 12111114 01345678 8-4b 655552
312 12111123 01345679 8-12 556543
313 12111213 01345689 8-17 546652 *
314 12112113 01345789 8-19b 545752
315 12121113 01346789 8-18b 546553
316 12121212 0134679A 8-28 448444 * alternating octatonic or diminished mode
8-
317 12211113 01356789 555553
Z15b
318 21111114 02345678 8-2b 665542
319 21111123 02345679 8-10 566452 *
320 21111213 02345689 8-12b 556543
321 21112113 02345789 8-14b 555562
8-
322 21121113 02346789 555553
Z29b
323 21211113 02356789 8-13b 556453
324 22111113 02456789 8-11b 565552
325 111111114 012345678 9-1 876663 * chromatic nonamode
326 111111123 012345679 9-2 777663
327 111111213 012345689 9-3 767763
328 111111222 01234568A 9-6 686763 *
329 111112113 012345789 9-4 766773
330 111112122 01234578A 9-7 677673 Blues mode
331 111112212 01234579A 9-7b 677673
332 111121113 012346789 9-5 766674
333 111121122 01234678A 9-8 676764
334 111121212 01234679A 9-10 668664 *
335 111122112 01234689A 9-8b 676764
336 111211113 012356789 9-5b 766674
337 111211122 01235678A 9-9 676683 *
338 111211212 01235679A 9-11 667773
339 111212112 01235689A 9-11b 667773 Diminishing nonamode
340 112111113 012456789 9-4b 766773
341 112112112 01245689A 9-12 666963 *
342 121111113 013456789 9-3b 767763
343 211111113 023456789 9-2b 777663
344 1111111113 0123456789 10-1 988884 * Chromatic decamode
345 1111111122 012345678A 10-2 898884 *
346 1111111212 012345679A 10-3 889884 *
347 1111112112 012345689A 10-4 888984 *
348 1111121112 012345789A 10-5 888894 *
349 1111211112 012346789A 10-6 888885 *
350 11111111112 0123456789A 11-1 AAAAA5 * Chromatic undecamode
BBBBB *
351 111111111111 0123456789AB 12-1 Chromatic mode/dodecamode
6

* an asterisk indicates that a set is a mirror, i.e., an axis of symmetry exists somewhere in
the set.
** For SAM system, ignore sets with b endings and cardinalities less than 3 and greater
than 9.

Conversing with Interval Strings

Conversing with, remembering, or designating interval strings can be daunting for the
longer strings, but this can be simplified by using groups of numbers up to four at a time.
For example, Cat#27, 1119 can be designated in conversation as "eleven-nineteen". Cat
#313 of cardinality 8, can be rendered as "twelve-eleven, twelve-thirteen”.

31
12111213
3

Cat# 65, the dominant seventh, can be called "thirty-three, twenty-four”.

332
65
4

An IS of odd numbers can be grouped into three or four digits plus the remainder; e.g., the
following IS is "two-twenty-two, thirty three”.

11 2223
9 3

References
Bacon, Ernst Lecher, "Our Musical Idiom", The Monist 27:1 (October 1917)
Chrisman, Richard, "Describing Structural Aspects of Pitch-Sets Using Successive Interval
Arrays", Journal of Music Theory 21:1 (Spring 1977)
Forte, Allen. The Structure of Atonal Music (New Haven CT, 1973)
Hanson, Howard. Harmonic Materials of Twentieth-Century Music (New York:Appleton-
Century_Crofts, 1960)
Regener, Eric, "On Allen Forte's Theory of Chords", Perspectives of New Music 13:1 (1974)
Solomon, Larry, "The List of Chords, Their Properties, and Uses", Journal of New Music
Research 11:2 (1982)