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Scale 1305: "Dynitonic"

Scale 1305: Dynitonic, 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
Dynitonic
Dozenal
Iphian

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

{0,3,4,8,10}

Forte Number

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

5-30

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: 789

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.

3

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: 339

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, 1, 4, 2, 2]

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, 2, 1, 3, 2, 1>

Interval Spectrum

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

p2m3ns2dt

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> = {4,5,6}
<3> = {6,7,8}
<4> = {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

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.

2.049

Polygon Perimeter

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

5.664

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, 5, 34)

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}110.5
Augmented TriadsC+{0,4,8}110.5

The following pitch classes are not present in any of the common triads: {10}

Parsimonious Voice Leading Between Common Triads of Scale 1305. Created by Ian Ring ©2019 C+ C+ G# G# C+->G#

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.

Diameter1
Radius1
Self-Centeredyes

Modes

Modes are the rotational transformation of this scale. Scale 1305 can be rotated to make 4 other scales. The 1st mode is itself.

2nd mode:
Scale 675
Scale 675: Altered Pentatonic, Ian Ring Music TheoryAltered Pentatonic
3rd mode:
Scale 2385
Scale 2385: Aeolanitonic, Ian Ring Music TheoryAeolanitonic
4th mode:
Scale 405
Scale 405: Raga Bhupeshwari, Ian Ring Music TheoryRaga Bhupeshwari
5th mode:
Scale 1125
Scale 1125: Ionaritonic, Ian Ring Music TheoryIonaritonic

Prime

The prime form of this scale is Scale 339

Scale 339Scale 339: Zaptitonic, Ian Ring Music TheoryZaptitonic

Complement

The pentatonic modal family [1305, 675, 2385, 405, 1125] (Forte: 5-30) is the complement of the heptatonic modal family [855, 1395, 1485, 1845, 2475, 2745, 3285] (Forte: 7-30)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 1305 is 789

Scale 789Scale 789: Zogitonic, Ian Ring Music TheoryZogitonic

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 1305 is chiral, and its enantiomorph is scale 789

Scale 789Scale 789: Zogitonic, Ian Ring Music TheoryZogitonic

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> 1305       T0I <11,0> 789
T1 <1,1> 2610      T1I <11,1> 1578
T2 <1,2> 1125      T2I <11,2> 3156
T3 <1,3> 2250      T3I <11,3> 2217
T4 <1,4> 405      T4I <11,4> 339
T5 <1,5> 810      T5I <11,5> 678
T6 <1,6> 1620      T6I <11,6> 1356
T7 <1,7> 3240      T7I <11,7> 2712
T8 <1,8> 2385      T8I <11,8> 1329
T9 <1,9> 675      T9I <11,9> 2658
T10 <1,10> 1350      T10I <11,10> 1221
T11 <1,11> 2700      T11I <11,11> 2442
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 285      T0MI <7,0> 1809
T1M <5,1> 570      T1MI <7,1> 3618
T2M <5,2> 1140      T2MI <7,2> 3141
T3M <5,3> 2280      T3MI <7,3> 2187
T4M <5,4> 465      T4MI <7,4> 279
T5M <5,5> 930      T5MI <7,5> 558
T6M <5,6> 1860      T6MI <7,6> 1116
T7M <5,7> 3720      T7MI <7,7> 2232
T8M <5,8> 3345      T8MI <7,8> 369
T9M <5,9> 2595      T9MI <7,9> 738
T10M <5,10> 1095      T10MI <7,10> 1476
T11M <5,11> 2190      T11MI <7,11> 2952

The transformations that map this set to itself are: T0

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 1307Scale 1307: Katorimic, Ian Ring Music TheoryKatorimic
Scale 1309Scale 1309: Pogimic, Ian Ring Music TheoryPogimic
Scale 1297Scale 1297: Aeolic, Ian Ring Music TheoryAeolic
Scale 1301Scale 1301: Koditonic, Ian Ring Music TheoryKoditonic
Scale 1289Scale 1289: Huvian, Ian Ring Music TheoryHuvian
Scale 1321Scale 1321: Blues Minor, Ian Ring Music TheoryBlues Minor
Scale 1337Scale 1337: Epogimic, Ian Ring Music TheoryEpogimic
Scale 1369Scale 1369: Boptimic, Ian Ring Music TheoryBoptimic
Scale 1433Scale 1433: Dynimic, Ian Ring Music TheoryDynimic
Scale 1049Scale 1049: Gidian, Ian Ring Music TheoryGidian
Scale 1177Scale 1177: Garitonic, Ian Ring Music TheoryGaritonic
Scale 1561Scale 1561: Joxian, Ian Ring Music TheoryJoxian
Scale 1817Scale 1817: Phrythimic, Ian Ring Music TheoryPhrythimic
Scale 281Scale 281: Lanic, Ian Ring Music TheoryLanic
Scale 793Scale 793: Mocritonic, Ian Ring Music TheoryMocritonic
Scale 2329Scale 2329: Styditonic, Ian Ring Music TheoryStyditonic
Scale 3353Scale 3353: Phraptimic, Ian Ring Music TheoryPhraptimic

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.