"The diatonicism of Le Sacre du printemps should not be understood in the restrictive sense of the major/minor system, but in terms of something more basic. Like the symmetrical partitionings of the twelve-tone scale in Le Sacre, its diatonicism may also be explained in terms of interval cycles--more simply and coherently, in fact, than in terms of the traditional modes and scales. With the single exception of interval[-class] 5, every interval[-class] from 1 through 6 will partition the space of an octave into equal segments. A seven-note segment of the interval-5 cycle [C5], telescoped into the compass of an octave, divides the octave into unequal intervals--'whole-steps' and 'half-steps.'"