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Scale 2317: "Odoian"

Scale 2317: Odoian, 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
Odoian

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

{0,2,3,8,11}

Forte Number

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

5-16

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: 1555

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.

[2, 1, 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, 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 TriadsG♯{8,0,3}121
Minor Triadsg♯m{8,11,3}210.67
Diminished Triadsg♯°{8,11,2}121
Parsimonious Voice Leading Between Common Triads of Scale 2317. Created by Ian Ring ©2019 g#° g#° g#m g#m g#°->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.

Diameter2
Radius1
Self-Centeredno
Central Verticesg♯m
Peripheral Verticesg♯°, G♯

Modes

Modes are the rotational transformation of this scale. Scale 2317 can be rotated to make 4 other scales. The 1st mode is itself.

2nd mode:
Scale 1603
Scale 1603: Juxian, Ian Ring Music TheoryJuxian
3rd mode:
Scale 2849
Scale 2849: Rubian, Ian Ring Music TheoryRubian
4th mode:
Scale 217
Scale 217: Biwian, Ian Ring Music TheoryBiwian
5th mode:
Scale 539
Scale 539: Delian, Ian Ring Music TheoryDelian

Prime

The prime form of this scale is Scale 155

Scale 155Scale 155: Bakian, Ian Ring Music TheoryBakian

Complement

The pentatonic modal family [2317, 1603, 2849, 217, 539] (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 2317 is 1555

Scale 1555Scale 1555: Jotian, Ian Ring Music TheoryJotian

Enantiomorph

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

Scale 1555Scale 1555: Jotian, Ian Ring Music TheoryJotian

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

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 2319Scale 2319: Oduian, Ian Ring Music TheoryOduian
Scale 2313Scale 2313: Osrian, Ian Ring Music TheoryOsrian
Scale 2315Scale 2315: Orkian, Ian Ring Music TheoryOrkian
Scale 2309Scale 2309: Ocuian, Ian Ring Music TheoryOcuian
Scale 2325Scale 2325: Pynitonic, Ian Ring Music TheoryPynitonic
Scale 2333Scale 2333: Stynimic, Ian Ring Music TheoryStynimic
Scale 2349Scale 2349: Raga Ghantana, Ian Ring Music TheoryRaga Ghantana
Scale 2381Scale 2381: Takemitsu Linea Mode 1, Ian Ring Music TheoryTakemitsu Linea Mode 1
Scale 2445Scale 2445: Zadimic, Ian Ring Music TheoryZadimic
Scale 2061Scale 2061: Morian, Ian Ring Music TheoryMorian
Scale 2189Scale 2189: Zagitonic, Ian Ring Music TheoryZagitonic
Scale 2573Scale 2573: Pulian, Ian Ring Music TheoryPulian
Scale 2829Scale 2829: Rupian, Ian Ring Music TheoryRupian
Scale 3341Scale 3341: Vahian, Ian Ring Music TheoryVahian
Scale 269Scale 269: Bocian, Ian Ring Music TheoryBocian
Scale 1293Scale 1293: Huxian, Ian Ring Music TheoryHuxian

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.