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Scale 1263: "Stynyllic"

Scale 1263: Stynyllic, 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

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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
Stynyllic

Analysis

Cardinality8 (octatonic)
Pitch Class Set{0,1,2,3,5,6,7,10}
Forte Number8-14
Rotational Symmetrynone
Reflection Axesnone
Palindromicno
Chiralityyes
enantiomorph: 3813
Hemitonia5 (multihemitonic)
Cohemitonia3 (tricohemitonic)
Imperfections2
Modes7
Prime?no
prime: 759
Deep Scaleno
Interval Vector555562
Interval Spectrump6m5n5s5d5t2
Distribution Spectra<1> = {1,2,3}
<2> = {2,3,4,5}
<3> = {3,4,5,6}
<4> = {5,7}
<5> = {6,7,8,9}
<6> = {7,8,9,10}
<7> = {9,10,11}
Spectra Variation2.25
Maximally Evenno
Maximal Area Setno
Interior Area2.616
Myhill Propertyno
Balancedno
Ridge Tonesnone
ProprietyImproper
Heliotonicno

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 TriadsD♯{3,7,10}341.9
F♯{6,10,1}341.9
A♯{10,2,5}242.1
Minor Triadscm{0,3,7}252.5
d♯m{3,6,10}331.7
gm{7,10,2}331.7
a♯m{10,1,5}252.5
Augmented TriadsD+{2,6,10}431.5
Diminished Triads{0,3,6}242.3
{7,10,1}242.1
Parsimonious Voice Leading Between Common Triads of Scale 1263. Created by Ian Ring ©2019 cm cm c°->cm d#m d#m c°->d#m D# D# cm->D# D+ D+ D+->d#m F# F# D+->F# gm gm D+->gm A# A# D+->A# d#m->D# D#->gm F#->g° a#m a#m F#->a#m g°->gm a#m->A#

view full size

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.

Diameter5
Radius3
Self-Centeredno
Central VerticesD+, d♯m, gm
Peripheral Verticescm, a♯m

Modes

Modes are the rotational transformation of this scale. Scale 1263 can be rotated to make 7 other scales. The 1st mode is itself.

2nd mode:
Scale 2679
Scale 2679: Rathyllic, Ian Ring Music TheoryRathyllic
3rd mode:
Scale 3387
Scale 3387: Aeryptyllic, Ian Ring Music TheoryAeryptyllic
4th mode:
Scale 3741
Scale 3741: Zydyllic, Ian Ring Music TheoryZydyllic
5th mode:
Scale 1959
Scale 1959: Katolyllic, Ian Ring Music TheoryKatolyllic
6th mode:
Scale 3027
Scale 3027: Rythyllic, Ian Ring Music TheoryRythyllic
7th mode:
Scale 3561
Scale 3561: Pothyllic, Ian Ring Music TheoryPothyllic
8th mode:
Scale 957
Scale 957: Phronyllic, Ian Ring Music TheoryPhronyllic

Prime

The prime form of this scale is Scale 759

Scale 759Scale 759: Katalyllic, Ian Ring Music TheoryKatalyllic

Complement

The octatonic modal family [1263, 2679, 3387, 3741, 1959, 3027, 3561, 957] (Forte: 8-14) is the complement of the tetratonic modal family [141, 417, 1059, 2577] (Forte: 4-14)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 1263 is 3813

Scale 3813Scale 3813: Aeologyllic, Ian Ring Music TheoryAeologyllic

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 1263 is chiral, and its enantiomorph is scale 3813

Scale 3813Scale 3813: Aeologyllic, Ian Ring Music TheoryAeologyllic

Transformations:

T0 1263  T0I 3813
T1 2526  T1I 3531
T2 957  T2I 2967
T3 1914  T3I 1839
T4 3828  T4I 3678
T5 3561  T5I 3261
T6 3027  T6I 2427
T7 1959  T7I 759
T8 3918  T8I 1518
T9 3741  T9I 3036
T10 3387  T10I 1977
T11 2679  T11I 3954

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 1261Scale 1261: Modified Blues, Ian Ring Music TheoryModified Blues
Scale 1259Scale 1259: Stadian, Ian Ring Music TheoryStadian
Scale 1255Scale 1255: Chromatic Mixolydian, Ian Ring Music TheoryChromatic Mixolydian
Scale 1271Scale 1271: Kolyllic, Ian Ring Music TheoryKolyllic
Scale 1279Scale 1279: Sarygic, Ian Ring Music TheorySarygic
Scale 1231Scale 1231: Logian, Ian Ring Music TheoryLogian
Scale 1247Scale 1247: Aeodyllic, Ian Ring Music TheoryAeodyllic
Scale 1199Scale 1199: Magian, Ian Ring Music TheoryMagian
Scale 1135Scale 1135: Katolian, Ian Ring Music TheoryKatolian
Scale 1391Scale 1391: Aeradyllic, Ian Ring Music TheoryAeradyllic
Scale 1519Scale 1519: Locrian/Aeolian Mixed, Ian Ring Music TheoryLocrian/Aeolian Mixed
Scale 1775Scale 1775: Lyrygic, Ian Ring Music TheoryLyrygic
Scale 239Scale 239, Ian Ring Music Theory
Scale 751Scale 751, Ian Ring Music Theory
Scale 2287Scale 2287: Lodyllic, Ian Ring Music TheoryLodyllic
Scale 3311Scale 3311: Mixodygic, Ian Ring Music TheoryMixodygic

This scale analysis was created by Ian Ring, Canadian Composer of works for Piano, and total music theory nerd. The software used to generate this analysis is an open source project at GitHub. Scale notation generated by VexFlow, graph visualization by Graphviz, and MIDI playback by MIDI.js. 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.