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Scale 2595: "Rolitonic"

Scale 2595: Rolitonic, 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

Zeitler
Rolitonic
Dozenal
Puyian

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

{0,1,5,9,11}

Forte Number

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

5-13

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: 2187

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.

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: 279

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

Interval Spectrum

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

pm3ns2d2t

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

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.

1.799

Polygon Perimeter

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

5.499

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.

(13, 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 TriadsF{5,9,0}110.5
Augmented TriadsC♯+{1,5,9}110.5

The following pitch classes are not present in any of the common triads: {11}

Parsimonious Voice Leading Between Common Triads of Scale 2595. Created by Ian Ring ©2019 C#+ C#+ F F C#+->F

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 2595 can be rotated to make 4 other scales. The 1st mode is itself.

2nd mode:
Scale 3345
Scale 3345: Zylitonic, Ian Ring Music TheoryZylitonic
3rd mode:
Scale 465
Scale 465: Zoditonic, Ian Ring Music TheoryZoditonic
4th mode:
Scale 285
Scale 285: Zaritonic, Ian Ring Music TheoryZaritonic
5th mode:
Scale 1095
Scale 1095: Phrythitonic, Ian Ring Music TheoryPhrythitonic

Prime

The prime form of this scale is Scale 279

Scale 279Scale 279: Poditonic, Ian Ring Music TheoryPoditonic

Complement

The pentatonic modal family [2595, 3345, 465, 285, 1095] (Forte: 5-13) is the complement of the heptatonic modal family [375, 1815, 1905, 2235, 2955, 3165, 3525] (Forte: 7-13)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 2595 is 2187

Scale 2187Scale 2187: Ionothitonic, Ian Ring Music TheoryIonothitonic

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 2595 is chiral, and its enantiomorph is scale 2187

Scale 2187Scale 2187: Ionothitonic, Ian Ring Music TheoryIonothitonic

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> 2595       T0I <11,0> 2187
T1 <1,1> 1095      T1I <11,1> 279
T2 <1,2> 2190      T2I <11,2> 558
T3 <1,3> 285      T3I <11,3> 1116
T4 <1,4> 570      T4I <11,4> 2232
T5 <1,5> 1140      T5I <11,5> 369
T6 <1,6> 2280      T6I <11,6> 738
T7 <1,7> 465      T7I <11,7> 1476
T8 <1,8> 930      T8I <11,8> 2952
T9 <1,9> 1860      T9I <11,9> 1809
T10 <1,10> 3720      T10I <11,10> 3618
T11 <1,11> 3345      T11I <11,11> 3141
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 675      T0MI <7,0> 2217
T1M <5,1> 1350      T1MI <7,1> 339
T2M <5,2> 2700      T2MI <7,2> 678
T3M <5,3> 1305      T3MI <7,3> 1356
T4M <5,4> 2610      T4MI <7,4> 2712
T5M <5,5> 1125      T5MI <7,5> 1329
T6M <5,6> 2250      T6MI <7,6> 2658
T7M <5,7> 405      T7MI <7,7> 1221
T8M <5,8> 810      T8MI <7,8> 2442
T9M <5,9> 1620      T9MI <7,9> 789
T10M <5,10> 3240      T10MI <7,10> 1578
T11M <5,11> 2385      T11MI <7,11> 3156

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 2593Scale 2593: Puxian, Ian Ring Music TheoryPuxian
Scale 2597Scale 2597: Raga Rasranjani, Ian Ring Music TheoryRaga Rasranjani
Scale 2599Scale 2599: Malimic, Ian Ring Music TheoryMalimic
Scale 2603Scale 2603: Gadimic, Ian Ring Music TheoryGadimic
Scale 2611Scale 2611: Raga Vasanta, Ian Ring Music TheoryRaga Vasanta
Scale 2563Scale 2563: Pofian, Ian Ring Music TheoryPofian
Scale 2579Scale 2579: Pupian, Ian Ring Music TheoryPupian
Scale 2627Scale 2627: Qerian, Ian Ring Music TheoryQerian
Scale 2659Scale 2659: Katynimic, Ian Ring Music TheoryKatynimic
Scale 2723Scale 2723: Raga Jivantika, Ian Ring Music TheoryRaga Jivantika
Scale 2851Scale 2851: Katoptimic, Ian Ring Music TheoryKatoptimic
Scale 2083Scale 2083: Mofian, Ian Ring Music TheoryMofian
Scale 2339Scale 2339: Raga Kshanika, Ian Ring Music TheoryRaga Kshanika
Scale 3107Scale 3107: Tician, Ian Ring Music TheoryTician
Scale 3619Scale 3619: Thanimic, Ian Ring Music TheoryThanimic
Scale 547Scale 547: Pyrric, Ian Ring Music TheoryPyrric
Scale 1571Scale 1571: Lagitonic, Ian Ring Music TheoryLagitonic

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.