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Scale 1555: "Jotian"

Scale 1555: Jotian, 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
Jotian

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

{0,1,4,9,10}

Forte Number

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

5-16

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: 2317

Hemitonia

A hemitone is two tones separated by a semitone interval. Hemitonia describes how many such hemitones exist.

2 (dihemitonic)

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.

4

Prime Form

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

no
prime: 155

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.

[1, 3, 5, 1, 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.

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

Interval Spectrum

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

pm2n3sd2t

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> = {1,2,3,5}
<2> = {3,4,6,8}
<3> = {4,6,8,9}
<4> = {7,9,10,11}

Spectra Variation

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

3.6

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.

1.683

Polygon Perimeter

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

5.381

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.

(11, 7, 36)

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 TriadsA{9,1,4}210.67
Minor Triadsam{9,0,4}121
Diminished Triadsa♯°{10,1,4}121
Parsimonious Voice Leading Between Common Triads of Scale 1555. Created by Ian Ring ©2019 am am A A am->A a#° a#° A->a#°

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.

Diameter2
Radius1
Self-Centeredno
Central VerticesA
Peripheral Verticesam, a♯°

Modes

Modes are the rotational transformation of this scale. Scale 1555 can be rotated to make 4 other scales. The 1st mode is itself.

2nd mode:
Scale 2825
Scale 2825: Rumian, Ian Ring Music TheoryRumian
3rd mode:
Scale 865
Scale 865: Jahian, Ian Ring Music TheoryJahian
4th mode:
Scale 155
Scale 155: Bakian, Ian Ring Music TheoryBakianThis is the prime mode
5th mode:
Scale 2125
Scale 2125: Nadian, Ian Ring Music TheoryNadian

Prime

The prime form of this scale is Scale 155

Scale 155Scale 155: Bakian, Ian Ring Music TheoryBakian

Complement

The pentatonic modal family [1555, 2825, 865, 155, 2125] (Forte: 5-16) is the complement of the heptatonic modal family [623, 889, 1939, 2359, 3017, 3227, 3661] (Forte: 7-16)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 1555 is 2317

Scale 2317Scale 2317: Odoian, Ian Ring Music TheoryOdoian

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 1555 is chiral, and its enantiomorph is scale 2317

Scale 2317Scale 2317: Odoian, Ian Ring Music TheoryOdoian

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> 1555       T0I <11,0> 2317
T1 <1,1> 3110      T1I <11,1> 539
T2 <1,2> 2125      T2I <11,2> 1078
T3 <1,3> 155      T3I <11,3> 2156
T4 <1,4> 310      T4I <11,4> 217
T5 <1,5> 620      T5I <11,5> 434
T6 <1,6> 1240      T6I <11,6> 868
T7 <1,7> 2480      T7I <11,7> 1736
T8 <1,8> 865      T8I <11,8> 3472
T9 <1,9> 1730      T9I <11,9> 2849
T10 <1,10> 3460      T10I <11,10> 1603
T11 <1,11> 2825      T11I <11,11> 3206
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 805      T0MI <7,0> 1177
T1M <5,1> 1610      T1MI <7,1> 2354
T2M <5,2> 3220      T2MI <7,2> 613
T3M <5,3> 2345      T3MI <7,3> 1226
T4M <5,4> 595      T4MI <7,4> 2452
T5M <5,5> 1190      T5MI <7,5> 809
T6M <5,6> 2380      T6MI <7,6> 1618
T7M <5,7> 665      T7MI <7,7> 3236
T8M <5,8> 1330      T8MI <7,8> 2377
T9M <5,9> 2660      T9MI <7,9> 659
T10M <5,10> 1225      T10MI <7,10> 1318
T11M <5,11> 2450      T11MI <7,11> 2636

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 1553Scale 1553: Josian, Ian Ring Music TheoryJosian
Scale 1557Scale 1557: Jovian, Ian Ring Music TheoryJovian
Scale 1559Scale 1559: Jowian, Ian Ring Music TheoryJowian
Scale 1563Scale 1563: Joyian, Ian Ring Music TheoryJoyian
Scale 1539Scale 1539: Jikian, Ian Ring Music TheoryJikian
Scale 1547Scale 1547: Jopian, Ian Ring Music TheoryJopian
Scale 1571Scale 1571: Lagitonic, Ian Ring Music TheoryLagitonic
Scale 1587Scale 1587: Raga Rudra Pancama, Ian Ring Music TheoryRaga Rudra Pancama
Scale 1619Scale 1619: Prometheus Neapolitan, Ian Ring Music TheoryPrometheus Neapolitan
Scale 1683Scale 1683: Raga Malayamarutam, Ian Ring Music TheoryRaga Malayamarutam
Scale 1811Scale 1811: Kyptimic, Ian Ring Music TheoryKyptimic
Scale 1043Scale 1043: Gizian, Ian Ring Music TheoryGizian
Scale 1299Scale 1299: Aerophitonic, Ian Ring Music TheoryAerophitonic
Scale 531Scale 531: Degian, Ian Ring Music TheoryDegian
Scale 2579Scale 2579: Pupian, Ian Ring Music TheoryPupian
Scale 3603Scale 3603: Womian, Ian Ring Music TheoryWomian

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.