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Scale 1313: "Iplian"

Scale 1313: Iplian, 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

Dozenal
Iplian

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

{0,5,8,10}

Forte Number

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

4-22

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: 149

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.

2

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.

no
prime: 149

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.

[5, 3, 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.

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

Interval Spectrum

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

p2mns2

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

Spectra Variation

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

2.5

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.

1.616

Polygon Perimeter

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

5.346

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".

Improper

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.

(2, 2, 16)

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
Minor Triadsfm{5,8,0}000

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

Since there is only one common triad in this scale, there are no opportunities for parsimonious voice leading between triads.

Modes

Modes are the rotational transformation of this scale. Scale 1313 can be rotated to make 3 other scales. The 1st mode is itself.

2nd mode:
Scale 169
Scale 169: Vietnamese Tetratonic, Ian Ring Music TheoryVietnamese Tetratonic
3rd mode:
Scale 533
Scale 533: Dehian, Ian Ring Music TheoryDehian
4th mode:
Scale 1157
Scale 1157: Alkian, Ian Ring Music TheoryAlkian

Prime

The prime form of this scale is Scale 149

Scale 149Scale 149: Eskimo Tetratonic, Ian Ring Music TheoryEskimo Tetratonic

Complement

The tetratonic modal family [1313, 169, 533, 1157] (Forte: 4-22) is the complement of the octatonic modal family [1391, 1469, 1781, 1963, 2743, 3029, 3419, 3757] (Forte: 8-22)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 1313 is 149

Scale 149Scale 149: Eskimo Tetratonic, Ian Ring Music TheoryEskimo Tetratonic

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 1313 is chiral, and its enantiomorph is scale 149

Scale 149Scale 149: Eskimo Tetratonic, Ian Ring Music TheoryEskimo Tetratonic

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> 1313       T0I <11,0> 149
T1 <1,1> 2626      T1I <11,1> 298
T2 <1,2> 1157      T2I <11,2> 596
T3 <1,3> 2314      T3I <11,3> 1192
T4 <1,4> 533      T4I <11,4> 2384
T5 <1,5> 1066      T5I <11,5> 673
T6 <1,6> 2132      T6I <11,6> 1346
T7 <1,7> 169      T7I <11,7> 2692
T8 <1,8> 338      T8I <11,8> 1289
T9 <1,9> 676      T9I <11,9> 2578
T10 <1,10> 1352      T10I <11,10> 1061
T11 <1,11> 2704      T11I <11,11> 2122
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 23      T0MI <7,0> 3329
T1M <5,1> 46      T1MI <7,1> 2563
T2M <5,2> 92      T2MI <7,2> 1031
T3M <5,3> 184      T3MI <7,3> 2062
T4M <5,4> 368      T4MI <7,4> 29
T5M <5,5> 736      T5MI <7,5> 58
T6M <5,6> 1472      T6MI <7,6> 116
T7M <5,7> 2944      T7MI <7,7> 232
T8M <5,8> 1793      T8MI <7,8> 464
T9M <5,9> 3586      T9MI <7,9> 928
T10M <5,10> 3077      T10MI <7,10> 1856
T11M <5,11> 2059      T11MI <7,11> 3712

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 1315Scale 1315: Pyritonic, Ian Ring Music TheoryPyritonic
Scale 1317Scale 1317: Chaio, Ian Ring Music TheoryChaio
Scale 1321Scale 1321: Blues Minor, Ian Ring Music TheoryBlues Minor
Scale 1329Scale 1329: Epygitonic, Ian Ring Music TheoryEpygitonic
Scale 1281Scale 1281: Huqian, Ian Ring Music TheoryHuqian
Scale 1297Scale 1297: Aeolic, Ian Ring Music TheoryAeolic
Scale 1345Scale 1345: Iskian, Ian Ring Music TheoryIskian
Scale 1377Scale 1377: Insian, Ian Ring Music TheoryInsian
Scale 1441Scale 1441: Jabian, Ian Ring Music TheoryJabian
Scale 1057Scale 1057: Sansagari, Ian Ring Music TheorySansagari
Scale 1185Scale 1185: Genus Primum Inverse, Ian Ring Music TheoryGenus Primum Inverse
Scale 1569Scale 1569: Jocian, Ian Ring Music TheoryJocian
Scale 1825Scale 1825: Lecian, Ian Ring Music TheoryLecian
Scale 289Scale 289: Valian, Ian Ring Music TheoryValian
Scale 801Scale 801: Fahian, Ian Ring Music TheoryFahian
Scale 2337Scale 2337: Ogoian, Ian Ring Music TheoryOgoian
Scale 3361Scale 3361: Vatian, Ian Ring Music TheoryVatian

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.