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Scale 2315: "Orkian"

Scale 2315: Orkian, 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
Orkian

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

{0,1,3,8,11}

Forte Number

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

5-11

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: 2579

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.

1 (uncohemitonic)

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: 157

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, 2, 5, 3, 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.

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

Interval Spectrum

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

p2m2n2s2d2

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

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.

1.683

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.

(14, 8, 38)

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
Minor Triadsg♯m{8,11,3}110.5

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

Parsimonious Voice Leading Between Common Triads of Scale 2315. Created by Ian Ring ©2019 g#m g#m G# G# g#m->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 2315 can be rotated to make 4 other scales. The 1st mode is itself.

2nd mode:
Scale 3205
Scale 3205: Utwian, Ian Ring Music TheoryUtwian
3rd mode:
Scale 1825
Scale 1825: Lecian, Ian Ring Music TheoryLecian
4th mode:
Scale 185
Scale 185: Becian, Ian Ring Music TheoryBecian
5th mode:
Scale 535
Scale 535: Dejian, Ian Ring Music TheoryDejian

Prime

The prime form of this scale is Scale 157

Scale 157Scale 157: Balian, Ian Ring Music TheoryBalian

Complement

The pentatonic modal family [2315, 3205, 1825, 185, 535] (Forte: 5-11) is the complement of the heptatonic modal family [379, 1583, 1969, 2237, 2839, 3467, 3781] (Forte: 7-11)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 2315 is 2579

Scale 2579Scale 2579: Pupian, Ian Ring Music TheoryPupian

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 2315 is chiral, and its enantiomorph is scale 2579

Scale 2579Scale 2579: Pupian, Ian Ring Music TheoryPupian

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> 2315       T0I <11,0> 2579
T1 <1,1> 535      T1I <11,1> 1063
T2 <1,2> 1070      T2I <11,2> 2126
T3 <1,3> 2140      T3I <11,3> 157
T4 <1,4> 185      T4I <11,4> 314
T5 <1,5> 370      T5I <11,5> 628
T6 <1,6> 740      T6I <11,6> 1256
T7 <1,7> 1480      T7I <11,7> 2512
T8 <1,8> 2960      T8I <11,8> 929
T9 <1,9> 1825      T9I <11,9> 1858
T10 <1,10> 3650      T10I <11,10> 3716
T11 <1,11> 3205      T11I <11,11> 3337
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 185      T0MI <7,0> 929
T1M <5,1> 370      T1MI <7,1> 1858
T2M <5,2> 740      T2MI <7,2> 3716
T3M <5,3> 1480      T3MI <7,3> 3337
T4M <5,4> 2960      T4MI <7,4> 2579
T5M <5,5> 1825      T5MI <7,5> 1063
T6M <5,6> 3650      T6MI <7,6> 2126
T7M <5,7> 3205      T7MI <7,7> 157
T8M <5,8> 2315       T8MI <7,8> 314
T9M <5,9> 535      T9MI <7,9> 628
T10M <5,10> 1070      T10MI <7,10> 1256
T11M <5,11> 2140      T11MI <7,11> 2512

The transformations that map this set to itself are: T0, T8M

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 2313Scale 2313: Osrian, Ian Ring Music TheoryOsrian
Scale 2317Scale 2317: Odoian, Ian Ring Music TheoryOdoian
Scale 2319Scale 2319: Oduian, Ian Ring Music TheoryOduian
Scale 2307Scale 2307: Ocoian, Ian Ring Music TheoryOcoian
Scale 2311Scale 2311: Raga Kumarapriya, Ian Ring Music TheoryRaga Kumarapriya
Scale 2323Scale 2323: Doptitonic, Ian Ring Music TheoryDoptitonic
Scale 2331Scale 2331: Dylimic, Ian Ring Music TheoryDylimic
Scale 2347Scale 2347: Raga Viyogavarali, Ian Ring Music TheoryRaga Viyogavarali
Scale 2379Scale 2379: Raga Gurjari Todi, Ian Ring Music TheoryRaga Gurjari Todi
Scale 2443Scale 2443: Panimic, Ian Ring Music TheoryPanimic
Scale 2059Scale 2059: Moqian, Ian Ring Music TheoryMoqian
Scale 2187Scale 2187: Ionothitonic, Ian Ring Music TheoryIonothitonic
Scale 2571Scale 2571: Pukian, Ian Ring Music TheoryPukian
Scale 2827Scale 2827: Runian, Ian Ring Music TheoryRunian
Scale 3339Scale 3339: Smuian, Ian Ring Music TheorySmuian
Scale 267Scale 267: Bobian, Ian Ring Music TheoryBobian
Scale 1291Scale 1291: Huwian, Ian Ring Music TheoryHuwian

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.