15edo

Prime factorization

3 × 5

Step size

80¢

Fifth

9\15 (720¢) (→3\5)

Semitones (A1:m2)

3:0 (240¢ : 0¢)

Consistency limit

7

Distinct consistency limit

5

English Wikipedia has an article on:

15 equal temperament

15 equal divisions of the octave (abbreviated 15edo or 15ed2), also called 15-tone equal temperament (15tet) or 15 equal temperament (15et) when viewed under a regular temperament perspective, is the tuning system that divides the octave into 15 equal parts of exactly 80 ¢ each. Each step represents a frequency ratio of 2^1/15, or the 15th root of 2.

Theory

15edo can be thought of as three sets of 5edo which do not connect by fifths. The fifth at 720 cents is quite wide yet still usable as a perfect fifth. Some would describe the fifth as more shimmery and pungent than anything closer to a just 3/2. The perfect fifth of 15edo returns to the octave if stacked five times, meaning the Pythagorean limma is tempered out, which is radically different than a meantone system. This has a variety of ramifications for chord progressions based on functional harmony, because with a closed circle of five notes, the same interval can have multiple functions. Additionally, 15 being equal to 3 × 5 also implies that 15edo contains five sets of 3edo.

15edo can be seen as a 7-limit temperament because of its ability to approximate some septimal intervals, but it also contains some fairly obvious approximations to 11-limit intervals, so it can reasonably be described as an 11-limit temperament, and is generally considered to be the first EDO to work as an 11-limit system; however, due to its rather distant approximation of the 3rd harmonic (and therefore the 9th harmonic as well), those seeking to approximate JI with 15edo would be best advised to avoid chords requiring those harmonics (or to at least treat them with sensitivity, for instance, only using 9/8 when it is being made up of two 3/2s to make its identity clear). 15edo is also notable for being the smallest edo with recognizable, distinct representations of 5-odd limit intervals (3/2, 5/4, 6/5, and their octave inverses) that has a positive syntonic comma.

In the 15edo system, major thirds cannot be divided perfectly into two, while minor 3rds, 4ths, wide tritones, subminor 7ths, and supermajor 7ths can. Similarly, 4ths, 5ths, and subminor 7ths can all be divided into 3 equal parts, while minor 3rds, tritones, and major 6ths cannot. This gives 15edo a whole new set of pitch symmetries and modes of limited transposition. Coupled with the lack of a diatonic scale and of a standard tritone, this tuning can be disorienting at first. Nonetheless, 15edo is notable for being the next-smallest EDO after 12edo that contains recognizable major and minor triads (unless the 14edo supermajor triad is considered as a "recognizable major triad"), a property noted in the works of theorists like Ivor Darreg and Easley Blackwood. In addition, because the guitar can be tuned symmetrically, from E to e (6th to 1st strings) unlike the 12-tone system on guitars, the learning curve is very manageable. All chords look the same modulated anywhere, and minor arpeggios are vertically stacked, making them very easy to play. 15-tone may be a promising start for anyone interested in xenharmony, due to its manageable number of tones and for containing the relatively popular 5edo.

Prime harmonics

Approximation of prime harmonics in 15edo
Harmonic		2	3	5	7	11	13	17	19	23	29	31
Error	absolute (¢)	+0.0	+18.0	+13.7	-8.8	+8.7	+39.5	-25.0	+22.5	+11.7	+10.4	-25.0
Error	relative (%)	+0	+23	+17	-11	+11	+49	-31	+28	+15	+13	-31
Steps (reduced)		15 (0)	24 (9)	35 (5)	42 (12)	52 (7)	56 (11)	61 (1)	64 (4)	68 (8)	73 (13)	74 (14)

Keyboard layouts

Porcupine layout for 15edo
Hanson layout for 15edo

Intervals

See also: 15edo-interval names

Relative to 12edo, 15edo maintains some categorically-similar intervals, particularly the 3rds, 4ths, 5ths, and 6ths, but is quite different in the categories of 2nds and 7ths. The closest intervals it has to a 12edo whole tone are both 40 cents sharp or flat of the 200-cent 12edo whole tone. This makes it rather difficult to translate traditional diatonic melodic approaches into 15edo, and also means that things like 7th, 9th, and 11th chords will behave very differently, even though major and minor triads are still relatively familiar-sounding.

Degree	Cents	Approximate Ratios*	Solfege (porcupine-based)	Porcupine[7] (traditional)	Porcupine[8] (Greek)	Blackwood "guitar notation"	Blackwood Decimal
0	0	1/1	do	G	α	E	1
1	80	25/24, 21/20, 16/15	di	G# / Abb	α/ β\	E#	1# / 2b
2	160	11/10, 12/11, 10/9	ru	Gx / Ab	β	Gb	2
3	240	8/7, 7/6, 9/8	re	A	β/ χ\	G	3
4	320	6/5, 11/9	me	A# / Bb	χ	G#	3# / 4b
5	400	5/4, 14/11	mi	B	χ/ δ\	Ab	4
6	480	4/3, 9/7, 21/16	fa	B# / Cb	δ	A	5
7	560	11/8, 7/5	fu	C	δ/ ε\	A#	5# / 6b
8	640	16/11, 10/7	su	C# / Db	ε	Bb	6
9	720	3/2, 14/9, 32/21	sol	D	ε/ φ\	B	7
10	800	8/5, 11/7	le	D# / Eb	φ	B#	7# / 8b
11	880	5/3, 18/11	la	E	φ/ γ\	Db	8
12	960	7/4, 12/7, 16/9	ta	E# / Fb	γ	D	9
13	1040	20/11, 11/6, 9/5	tu	F	γ/ η\	D#	9# / 0b
14	1120	48/25, 40/21, 15/8	ti	F# /Gb	η	Eb	0
15	1200	2/1	do	G	α	E	1

* based on treating 15edo as an 11-limit temperament; other approaches are possible

Alternate interval names

step	cents	ups and downs relative notation (partial list, e.g. M2 is also A1 and d4)		ups and downs absolute notation	porcupine relative notation	porcupine absolute notation
0	0	P1, m2	unison, min 2nd	C# / D / Eb	unison	D
1	80	^1, ^m2	up-unison, upminor 2nd	^C# / ^D / ^Eb	aug unison, dim 2nd	D# / Eb
2	160	vM2	downmajor 2nd	vD# / vE / vF / vGb	perfect 2nd	E
3	240	M2, m3	major 2nd, minor 3rd	D# / E / F / Gb	aug 2nd, dim 3rd	E# / Fb
4	320	^m3	upminor 3rd	^D# / ^E / ^F / ^Gb	minor 3rd	F
5	400	vM3	downmajor 3rd	vF# / vG / vAb	major 3rd, dim 4th	F# / Gb
6	480	M3, P4, d5	major 3rd, perfect 4th, dim 5th	F# / G / Ab	aug 3rd, minor 4th	Fx / G
7	560	^4, ^d5	up 4th, updim 5th	^F# / ^G / ^Ab	major 4th, dim 5th	G# / Abb
8	640	vA4, v5	downaug 4th, down 5th	vG# / vA / vBb	aug 4th, minor 5th	Gx / Ab
9	720	A4, P5, m6	aug 4th, perfect 5th, minor 6th	G# / A / Bb	major 5th, dim 6th	A / Bbb
10	800	^5, ^m6	up 5th, upminor 6th	^G# / ^A / ^Bb	aug 5th, minor 6th	A# / Bb
11	880	vA5, vM6	downaug 5th, downmajor 6th	vA# / vB / vC / vDb	major 6th	B
12	960	M6, m7	major 6th, minor 7th	A# / B / C / Db	aug 6th, dim 7th	B# / Cb
13	1040	^m7	upminor 7th	^A# / ^B / ^C / ^Db	perfect 7th	C
14	1120	vM7, v8	downmajor 7th, down octave	vC# / vD / vEb	aug 7th, dim 8ve	C# / Db
15	1200	M7, P8	major 7th, octave	C# / D / Eb	8ve	D

The 15edo porcupine genchain in both absolute and relative notation:

…Fx - Gx - A# - B# - C# - D# - E# - F# - G# --- A --- B --- C -- D --- E --- F --- G -- Ab -- Bb - Cb - Db - Eb - Fb - Gb - Abb - Bbb…
…A3 - A4 - A5 - A6 - A7 - A1 - A2 - M3 - M4 - M5 - M6 - P7 - P1 - P2 - m3 - m4 - m5 - m6 - d7 -- d8 - d2 - d3 -- d4 - d5 -- d6…

All 15edo chords can be named using ups and downs. Because many intervals have several names, many chords do too. Alterations are always enclosed in parentheses, additions never are. An up or down immediately after the chord root affects the 3rd, 6th, 7th, and/or the 11th (every other note of a stacked-3rds chord 6-1-3-5-7-9-11-13).

0-3-9 = D E A = D2 = "D sus 2", or D F A = Dm = "D minor" (approximate 6:7:9)

0-4-9 = D ^F A = D^m = "D upminor" (approximate 10:12:15)

0-5-9 = D vF# A = Dv = "D down" or "D downmajor" (approximate 4:5:6)

0-6-9 = D G A = D4, or D F# A = D = "D" or "D major" (approximate 14:18:21)

0-3-9-12 = D F A C = Dm7 = "D minor seven", or D F A B = Dm6 = "D minor six"

0-4-9-12 = D ^F A C = D^m,7 = "D upminor, add seven", or D ^F A B = D^m,6 = "D upminor add-six"

0-5-9-12 = D vF# A C = Dv,7 = "D down add-seven", or D vF# A B = Dv,6 = "D down add-six"

0-6-9-12 = D F# A C = D7 = "D seven", or D F# A B = D6 = "D six"

0-5-9-14 = D vF# A vC# = DvM7 = "D downmajor seven"

0-4-9-13 = D ^F A ^C = D^m7 = "D upminor-seven", or D ^F A ^B = D^m6 = "D upminor-six"

For a more complete list, see Ups and downs notation#Chords and Chord Progressions.

Approximation to JI

Selected 13-limit intervals

15edo offers some minor improvements over 12et in ratios of 5 (particularly in 6/5 and 5/3), and has a much better approximation to the 7th and 11th harmonics, but its approximation to the 3rd harmonic is rather off. However, the particular way in which this approximation is off is as much a feature as it is a bug, for it allows the construction of a 5L 5s MOS scale wherein every note of the scale can serve as a root for a 7-limit otonal or utonal tetrad, as well as either a 5-limit major or minor 7th chord. This is known as the blackwood temperament, named after Easley Blackwood Jr., who is the first to document its existence. It has also been written on extensively by Igliashon Jones in the paper Five is Not an Odd Number. For an in-depth treatment of harmony in 15edo based on this temperament (and its 7- and 11-limit extensions), see Blacksmith temperament modal harmony (in 15edo).

15-odd-limit interval mappings

The following table shows how 15-odd-limit intervals are represented in 15edo. Prime harmonics are in bold; inconsistent intervals are in italic.

15-odd-limit intervals by direct approximation (even if inconsistent)
Interval, complement	Error (abs, ¢)	Error (rel, %)
13/9, 18/13	3.382	4.2
5/3, 6/5	4.359	5.4
11/10, 20/11	5.004	6.3
15/13, 26/15	7.741	9.7
11/8, 16/11	8.682	10.9
7/4, 8/7	8.826	11.0
11/6, 12/11	9.363	11.7
5/4, 8/5	13.686	17.1
11/7, 14/11	17.508	21.9
3/2, 4/3	18.045	22.6
13/12, 24/13	21.427	26.8
9/5, 10/9	22.404	28.0
7/5, 10/7	22.512	28.1
15/11, 22/15	23.049	28.8
13/10, 20/13	25.786	32.2
7/6, 12/7	26.871	33.6
11/9, 18/11	27.408	34.3
13/11, 22/13	30.790	38.5
13/7, 14/13	31.702	39.6
15/8, 16/15	31.731	39.7
9/7, 14/9	35.084	43.9
9/8, 16/9	36.090	45.1
15/14, 28/15	39.443	49.3
13/8, 16/13	39.472	49.3

15-odd-limit intervals by patent val mapping
Interval, complement	Error (abs, ¢)	Error (rel, %)
1/1, 2/1	0.000	0.0
13/9, 18/13	3.382	4.2
5/3, 6/5	4.359	5.4
11/10, 20/11	5.004	6.3
15/13, 26/15	7.741	9.7
11/8, 16/11	8.682	10.9
7/4, 8/7	8.826	11.0
11/6, 12/11	9.363	11.7
5/4, 8/5	13.686	17.1
11/7, 14/11	17.508	21.9
3/2, 4/3	18.045	22.6
13/12, 24/13	21.427	26.8
9/5, 10/9	22.404	28.0
7/5, 10/7	22.512	28.1
15/11, 22/15	23.049	28.8
13/10, 20/13	25.786	32.2
7/6, 12/7	26.871	33.6
11/9, 18/11	27.408	34.3
13/11, 22/13	30.790	38.5
15/8, 16/15	31.731	39.7
9/8, 16/9	36.090	45.1
13/8, 16/13	39.472	49.3
15/14, 28/15	40.557	50.7
9/7, 14/9	44.916	56.1
13/7, 14/13	48.298	60.4

Notation

There are a variety of other ways to notate 15edo, and the choice of notation depends heavily which rank-2 temperament or MOS scale one wishes to treat as being the "main focus" of 15edo composition.

Blackwood Notation (Decatonic)

Decimal Version: Using the nominals 1-0 (with 0 representing "10"), one of the three chains of 5edo is represented by the odd numbers, the second by the even numbers, and the third by numbers with accidentals (either odd numbers with sharps, or even numbers with flats).
Guitar Version: On a 15edo guitar, because the "perfect fourth" comes from 5edo, all of the open strings can be tuned a perfect fourth apart and still span exactly two octaves. If one starts the circle of fourths on B — B-E-A-D-G-(B) — then the open strings of the guitar can be notated as usual (E-A-D-G-B-E). However, because the circle of fourths closes at five, and does not continue to circulate through the other 10 notes of 15edo, it is necessary to use accidentals to notate intervals on the other two chains of 5edo. This notation is not particularly ideal as a basis for a staff notation (as it requires all non-5edo chords to be notated with accidentals). It is nevertheless useful because it reflects an intuitive approach to 15edo on the guitar, since 5edo provides a useful set of 3-limit landmarks (or "perfect fourths" and "perfect fifths") that can be used to navigate the fretboard. It's especially convenient for writing chord charts, where the funky accidental-laden spellings can be more or less ignored.

Porcupine Notation (Octotonic)

Porcupine notation bases porcupine[8] LLLLLLLs scale using eight nominals α β χ δ ε φ γ η. Others have proposed ABCDEFGHA, but conflicts with european notation have caused many to reject this approach. Thus greek letters can be used in their place with a close resemblance to the spelling of ABCDEFGHA. The letters are not in greek alphabetic order.

The eight nominals form the base diatonic scale. In this sense, the "quill" is the name given to the two-edostep interval (160¢) of 15edo while the "small quill" (80¢) is the chroma of 15edo. This produces a very consistent notation for both porcupine[8] and Blackwood[10], moreso than putting 15edo into a 5L 2s framework. See the main porcupine notation page.

Cents	Interval Name	Note names
80	Half Quill	α - β\
160	Quill	α - β
240	Small Diquill	α - χ\
320	Large Diquill	α - χ
400	Small Triquill	α - δ\
480	Large Triquill	α - δ
560	Small Fourquill	α - ε\
640	Large Fourquill	α - ε
720	Small Fivequill	α - φ\
800	Large Fivequill	α - φ
880	Small Sixquill	α - γ\
960	Large Sixquill	α - γ
1040	Small Sevenquill	α - η\
1120	Large Sevenquill	α - η
1200	Octoquill	α - α

A regular keyboard can be designed using this system placing 7 black keys as porcupine[7] and 8 whites as porcupine[8], and in fact, Stephen Weigel has already done this with his pink Halberstadt keyboard.

Pentatonic

For note names, Kite Giedraitis proposes a possible alternative to heptatonic names, pentatonic names that omit B and merge E and F into a new letter, "eef" (rhymes with leaf). Eef, like E, is a 5th above A. Eef, like F, is a 4th above C. The circle of 5ths is C G D A Eef C. Eef is written like an E, but with the bottom horizontal line going not right but left from the vertical line. Eef can be typed as ꘙ (unicode A619) or ⊧ (unicode 22A7) or 𐐆 (unicode 10406).


C	^C	vD	D	^D	vꘙ	ꘙ	^ꘙ	vG	G	^G	vA	A	^A	vC	C
P1	^1	v2	P2	^2	v3	P3	^3	v4	P4	^4	v5	P5	^5	v6	P6

Regular temperament properties

15edo prime-limit subgroup errors
Subgroup	Comma list	Mapping	Optimal 8ve stretch (¢)	Tuning error
Subgroup	Comma list	Mapping	Optimal 8ve stretch (¢)	Absolute (¢)	Relative (%)
2.3.5	128/125, 250/243	[⟨15 24 35]]	-5.75	4.63	5.81
2.3.5.7	28/27, 49/48, 126/125	[⟨15 24 35 42]]	-3.55	5.56	6.97
2.3.5.7.11	28/27, 49/48, 55/54, 77/75	[⟨15 24 35 42 52]]	-3.34	4.99	6.25

15edo subgroup errors (continued)
Subgroup	[[Mappings\|Mapping}}]	Adjusted Error (cents)
2.3	[⟨15 24]]	8.979801
2.5	[⟨15 35]]	6.826357
2.7	[⟨15 42]]	4.418738
2.11	[⟨15 52]]	4.336492
2.3.5	[⟨15 24 35]]	10.742841
2.3.7	[⟨15 24 42]]	17.481581
2.3.11	[⟨15 24 52]]	16.831238
2.5.7	[⟨15 35 42]]	10.509269
2.5.11	[⟨15 35 52]]	8.335693
2.7.11	[⟨15 42 52]]	8.002641
2.3.5.7	[⟨15 24 35 42]]	15.603114
2.3.5.11	[⟨15 24 35 52]]	14.693746
2.3.7.11	[⟨15 24 42 52]]	18.660367
2.5.7.11	[⟨15 35 42 52]]	11.462127
2.3.5.7.11	[⟨15 24 35 42 52]]	17.258371

Uniform maps

13-limit uniform maps between 14.5 and 15.5
Min. size	Max. size	Wart notation	Map
14.5000	14.5978	15bcddeeefff	⟨15 23 34 41 50 54]
14.5978	14.7280	15bcddefff	⟨15 23 34 41 51 54]
14.7280	14.7826	15bcddef	⟨15 23 34 41 51 55]
14.7826	14.8268	15bcef	⟨15 23 34 42 51 55]
14.8268	14.8583	15cef	⟨15 24 34 42 51 55]
14.8583	14.8868	15ef	⟨15 24 35 42 51 55]
14.8868	14.9982	15f	⟨15 24 35 42 52 55]
14.9982	15.1388	15	⟨15 24 35 42 52 56]
15.1388	15.1759	15d	⟨15 24 35 43 52 56]
15.1759	15.2685	15dee	⟨15 24 35 43 53 56]
15.2685	15.2890	15deeff	⟨15 24 35 43 53 57]
15.2890	15.4578	15ccdeeff	⟨15 24 36 43 53 57]
15.4578	15.4650	15bbccdeeff	⟨15 25 36 43 53 57]
15.4650	15.4950	15bbccdeeeeff	⟨15 25 36 43 54 57]
15.4950	15.5000	15bbccdddeeeeff	⟨15 25 36 44 54 57]

Rank-2 temperaments

Periods per octave	Generator	Associated ratio	Temperaments	MOS Scales
1	1\15	21/20	Nautilus Valentine
1	2\15	11/10	Porcupine / opossum	1L 6s, 7L 1s
1	4\15	6/5 77/64	Hanson / keemun Orgone	3L 1s, 4L 3s, 4L 7s
1	7\15	7/5	Progress	2L 1s, 2L 3s, 2L 5s, 2L 7s 2L 9s, 2L 11s
3	1\15	16/15	Augmented / augene	3L 3s, 3L 6s, 3L 9s
3	2\15	7/6	Triforce	3L 3s, 6L 3s
5	1\15	16/15	Blackwood / blacksmith	5L 5s

Commas

15edo tempers out the following commas using the patent val ⟨15 24 35 42 52 56].

Prime limit	Ratio^[1]	Monzo	Cents	Color name	Name
3	256/243	[8 -5⟩	90.225	Sawa	Pythagorean limma
5	(18 digits)	[20 5 -12⟩	74.01	Saquadtrigu	Hypovishnuzma
5	250/243	[1 -5 3⟩	49.166	Triyo	Porcupine comma
5	128/125	[7 0 -3⟩	41.059	Trigu	Diesis
5	15625/15552	[-6 -5 6⟩	8.107	Tribiyo	Kleisma
7	28/27	[2 -3 0 1⟩	62.961	Zo	Trienstonic comma
7	1029/1000	[-3 1 -3 3⟩	49.492	Trizogu	Keega
7	49/48	[-4 -1 0 2⟩	35.697	Zozo	Slendro diesis
7	64/63	[6 -2 0 -1⟩	27.264	Ru	Septimal comma
7	64827/64000	[-9 3 -3 4⟩	22.227	Laquadzo-atrigu	Squalentine
7	875/864	[-5 -3 3 1⟩	21.902	Zotriyo	Keema
7	126/125	[1 2 -3 1⟩	13.795	Zotrigu	Starling comma
7	4000/3969	[5 -4 3 -2⟩	13.469	Rurutriyo	Octagar
7	1029/1024	[-10 1 0 3⟩	8.433	Latrizo	Gamelisma
7	6144/6125	[11 1 -3 -2⟩	5.362	Saruru-atrigu	Porwell
7	(12 digits)	[-4 6 -6 3⟩	0.325	Trizogugu	Landscape comma
11	100/99	[2 -2 2 0 -1⟩	17.399	Luyoyo	Ptolemisma
11	121/120	[-3 -1 -1 0 2⟩	14.367	Lologu	Biyatisma
11	176/175	[4 0 -2 -1 1⟩	9.865	Lorugugu	Valinorsma
11	65536/65219	[16 0 0 -2 -3⟩	8.394	Satrilu-aruru	Orgonisma
11	385/384	[-7 -1 1 1 1⟩	4.503	Lozoyo	Keenanisma
11	441/440	[-3 2 -1 2 -1⟩	3.930	Luzozogu	Werckisma
11	4000/3993	[5 -1 3 0 -3⟩	3.032	Triluyo	Wizardharry
11	3025/3024	[-4 -3 2 -1 2⟩	0.572	Loloruyoyo	Lehmerisma
13	91/90	[-1 -2 -1 1 0 1⟩	19.130	Thozogu	Superleap
13	676/675	[2 -3 -2 0 0 2⟩	2.563	Bithogu	Island comma

↑ Ratios longer than 10 digits are presented by placeholders with informative hints

Scales

Some scales commonly used in 15edo, written in a common mode, in steps of 15edo:

MOS scales

Augene[6] 3L 3s (period = 5\15, gen = 1\15): 4 1 4 1 4 1
Augene[9] 3L 6s (period = 5\15, gen = 1\15): 3 1 1 3 1 1 3 1 1
Augene[12] 3L 9s (period = 5\15, gen = 1\15): 2 1 1 1 2 1 1 1 2 1 1 1
Triforce[6] 3L 3s (period = 5\15, gen = 2\15): 3 2 3 2 3 2
Triforce[9] 6L 3s (period = 5\15, gen = 2\15): 2 1 2 2 1 2 2 1 2
Porcupine[7] 1L 6s (gen = 2\15): 3 2 2 2 2 2 2
Porcupine[8] 7L 1s (gen = 2\15): 2 1 2 2 2 2 2 2
Hanson/Keemun/Orgone[7] 4L 3s (gen = 4\15): 1 3 1 3 1 3 3
Hanson/Keemun/Orgone[11] 4L 7s (gen = 4\15): 1 2 1 1 2 1 1 2 1 2 1
Blackwood[10] 5L 5s (period = 3\15, gen = 1\15): 2 1 2 1 2 1 2 1 2 1 (Blackwood Decatonic)

Other scales

Zarlino/Ptolemy diatonic, "just" major (Porcupine[7] 6|0 b4 #7): 3 2 1 3 2 3 1
inverse of Zarlino/Ptolemy diatonic, natural minor (Porcupine[7] 3|3 #2 b6): 3 1 2 3 1 3 2
tetrachordal major: 3 2 1 3 3 2 1
inverse of tetrachordal major, tetrachordal minor: 3 1 2 3 1 2 3
"just"/Pinetone major pentatonic (subset of Porcupine[7]): 3 2 4 2 4
"just"/Pinetone minor pentatonic (inverse of "just" major pentatonic, subset of Porcupine[7]): 4 2 3 4 2
Porcupine bright major #7 (Porcupine harmonic major) - Porcupine[7] 6|0 #7: 3 2 2 2 2 3 1
Porcupine bright major #6 #7 (Porcupine melodic major) - Porcupine[7] 6|0 #7: 3 2 2 2 3 2 1
Porcupine bright minor #2 (Porcupine harmonic minor) - Porcupine[7] 4|2 #2: 3 1 3 2 2 2 2 (mode of bright major #7)
Porcupine dark minor #2 (Porcupine melodic minor) - Porcupine[7] 3|3 #2: 3 1 2 3 2 2 2 (inverse of bright major #6 #7)
Porcupine bright harmonic 11th mode - Porcupine[7] 6|0 b7: 3 2 2 2 2 1 3
Pinetone diminished octatonic / Porcupine[8] bright minor #2 - Porcupine[8] 2|5 #5: 2 2 1 3 1 2 2 2
"just" harmonic minor: 3 1 2 3 1 4 1
"just" harmonic major: 3 2 1 3 1 4 1
"just" melodic minor ascending: 3 1 2 3 2 3 1
Marvel double harmonic hexatonic (Augene[6] 4M): 1 4 1 4 4 1, 1 4 4 1 4 1
Marvel double harmonic major: 1 4 1 3 1 4 1
Marvel double harmonic nonatonic (Augene[9] 4M): 1 3 1 1 3 1 3 1 1, 1 1 3 1 3 1 1 3 1
Marvel double harmonic decatonic: 1 3 1 1 2 1 1 3 1 1
enharmonic trichord octave species: 1 5 3 1 5 , 5 1 3 5 1
chromatic tetrachord octave species: 1 1 4 3 1 1 4, 4 1 1 3 4 1 1, 1 4 1 3 1 4 1
Chopsticks double octave scale: 4 2 4 2 4 2 4 2 4 2
5- to 10-tone scales in 47zpi (slightly stretched 15edo)