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Scale 2135: "Nakian"

Scale 2135: Nakian, 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
Nakian

Analysis

Cardinality

Cardinality is the count of how many pitches are in the scale.

6 (hexatonic)

Pitch Class Set

The tones in this scale, expressed as numbers from 0 to 11

{0,1,2,4,6,11}

Forte Number

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

6-9

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: 3395

Hemitonia

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

3 (trihemitonic)

Cohemitonia

A cohemitone is an instance of two adjacent hemitones. Cohemitonia describes how many such cohemitones exist.

2 (dicohemitonic)

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.

5

Prime Form

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

no
prime: 175

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, 1, 2, 2, 5, 1]

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.

<3, 4, 2, 2, 3, 1>

Interval Spectrum

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

p3m2n2s4d3t

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

Spectra Variation

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

4

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.

1.866

Polygon Perimeter

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

5.485

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.

(29, 19, 65)

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 Triadsbm{11,2,6}000

The following pitch classes are not present in any of the common triads: {0,1,4}

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 2135 can be rotated to make 5 other scales. The 1st mode is itself.

2nd mode:
Scale 3115
Scale 3115: Tihian, Ian Ring Music TheoryTihian
3rd mode:
Scale 3605
Scale 3605: Olkian, Ian Ring Music TheoryOlkian
4th mode:
Scale 1925
Scale 1925: Lumian, Ian Ring Music TheoryLumian
5th mode:
Scale 1505
Scale 1505: Jepian, Ian Ring Music TheoryJepian
6th mode:
Scale 175
Scale 175: Bewian, Ian Ring Music TheoryBewianThis is the prime mode

Prime

The prime form of this scale is Scale 175

Scale 175Scale 175: Bewian, Ian Ring Music TheoryBewian

Complement

The hexatonic modal family [2135, 3115, 3605, 1925, 1505, 175] (Forte: 6-9) is the complement of the hexatonic modal family [175, 1505, 1925, 2135, 3115, 3605] (Forte: 6-9)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 2135 is 3395

Scale 3395Scale 3395: Vepian, Ian Ring Music TheoryVepian

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 2135 is chiral, and its enantiomorph is scale 3395

Scale 3395Scale 3395: Vepian, Ian Ring Music TheoryVepian

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> 2135       T0I <11,0> 3395
T1 <1,1> 175      T1I <11,1> 2695
T2 <1,2> 350      T2I <11,2> 1295
T3 <1,3> 700      T3I <11,3> 2590
T4 <1,4> 1400      T4I <11,4> 1085
T5 <1,5> 2800      T5I <11,5> 2170
T6 <1,6> 1505      T6I <11,6> 245
T7 <1,7> 3010      T7I <11,7> 490
T8 <1,8> 1925      T8I <11,8> 980
T9 <1,9> 3850      T9I <11,9> 1960
T10 <1,10> 3605      T10I <11,10> 3920
T11 <1,11> 3115      T11I <11,11> 3745
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 1505      T0MI <7,0> 245
T1M <5,1> 3010      T1MI <7,1> 490
T2M <5,2> 1925      T2MI <7,2> 980
T3M <5,3> 3850      T3MI <7,3> 1960
T4M <5,4> 3605      T4MI <7,4> 3920
T5M <5,5> 3115      T5MI <7,5> 3745
T6M <5,6> 2135       T6MI <7,6> 3395
T7M <5,7> 175      T7MI <7,7> 2695
T8M <5,8> 350      T8MI <7,8> 1295
T9M <5,9> 700      T9MI <7,9> 2590
T10M <5,10> 1400      T10MI <7,10> 1085
T11M <5,11> 2800      T11MI <7,11> 2170

The transformations that map this set to itself are: T0, T6M

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 2133Scale 2133: Raga Kumurdaki, Ian Ring Music TheoryRaga Kumurdaki
Scale 2131Scale 2131: Nahian, Ian Ring Music TheoryNahian
Scale 2139Scale 2139: Namian, Ian Ring Music TheoryNamian
Scale 2143Scale 2143: Napian, Ian Ring Music TheoryNapian
Scale 2119Scale 2119: Mubian, Ian Ring Music TheoryMubian
Scale 2127Scale 2127: Nafian, Ian Ring Music TheoryNafian
Scale 2151Scale 2151: Natian, Ian Ring Music TheoryNatian
Scale 2167Scale 2167: Nedian, Ian Ring Music TheoryNedian
Scale 2071Scale 2071: Moxian, Ian Ring Music TheoryMoxian
Scale 2103Scale 2103: Murian, Ian Ring Music TheoryMurian
Scale 2199Scale 2199: Dyptimic, Ian Ring Music TheoryDyptimic
Scale 2263Scale 2263: Lycrian, Ian Ring Music TheoryLycrian
Scale 2391Scale 2391: Molian, Ian Ring Music TheoryMolian
Scale 2647Scale 2647: Dadian, Ian Ring Music TheoryDadian
Scale 3159Scale 3159: Stocrian, Ian Ring Music TheoryStocrian
Scale 87Scale 87: Asrian, Ian Ring Music TheoryAsrian
Scale 1111Scale 1111: Sycrimic, Ian Ring Music TheorySycrimic

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.