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Scale 1277: "Zadyllic"

Scale 1277: Zadyllic, 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




Cardinality is the count of how many pitches are in the scale.

8 (octatonic)

Pitch Class Set

The tones in this scale, expressed as numbers from 0 to 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.


Rotational Symmetry

Some scales have rotational symmetry, sometimes known as "limited transposition". If there are any rotational symmetries, these are the intervals of periodicity.


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.



A palindromic scale has the same pattern of intervals both ascending and descending.



A chiral scale can not be transformed into its inverse by rotation. If a scale is chiral, then it has an enantiomorph.

enantiomorph: 2021


A hemitone is two tones separated by a semitone interval. Hemitonia describes how many such hemitones exist.

5 (multihemitonic)


A cohemitone is an instance of two adjacent hemitones. Cohemitonia describes how many such cohemitones exist.

4 (multicohemitonic)


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.



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.


Prime Form

Describes if this scale is in prime form, using the Rahn/Ring formula.

prime: 703


Indicates if the scale can be constructed using a generator, and an origin.


Deep Scale

A deep scale is one where the interval vector has 6 different digits.


Interval Structure

Defines the scale as the sequence of intervals between one tone and the next.

[2, 1, 1, 1, 1, 1, 3, 2]

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.

<5, 6, 5, 5, 5, 2>

Interval Spectrum

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


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

Spectra Variation

Determined by the Distribution Spectra; this is the sum of all spectrum widths divided by the scale cardinality.


Maximally Even

A scale is maximally even if the tones are optimally spaced apart from each other.


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.


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.


Polygon Perimeter

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


Myhill Property

A scale has Myhill Property if the Interval Spectra has exactly two specific intervals for every generic interval.



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.


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.



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".


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.

(59, 69, 149)

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 TriadsC{0,4,7}252.33
Minor Triadscm{0,3,7}341.78
Augmented TriadsD+{2,6,10}341.89
Diminished Triads{0,3,6}231.89
Parsimonious Voice Leading Between Common Triads of Scale 1277. Created by Ian Ring ©2019 cm cm c°->cm d#m d#m c°->d#m C C cm->C D# D# cm->D# C->e° D+ D+ D+->d#m gm gm D+->gm A# A# D+->A# d#m->D# D#->e° D#->gm

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.

Central Verticesc°, d♯m, D♯, gm
Peripheral VerticesC, A♯


Modes are the rotational transformation of this scale. Scale 1277 can be rotated to make 7 other scales. The 1st mode is itself.

2nd mode:
Scale 1343
Scale 1343: Zalyllic, Ian Ring Music TheoryZalyllic
3rd mode:
Scale 2719
Scale 2719: Zocryllic, Ian Ring Music TheoryZocryllic
4th mode:
Scale 3407
Scale 3407: Katocryllic, Ian Ring Music TheoryKatocryllic
5th mode:
Scale 3751
Scale 3751: Aerathyllic, Ian Ring Music TheoryAerathyllic
6th mode:
Scale 3923
Scale 3923: Stoptyllic, Ian Ring Music TheoryStoptyllic
7th mode:
Scale 4009
Scale 4009: Phranyllic, Ian Ring Music TheoryPhranyllic
8th mode:
Scale 1013
Scale 1013: Stydyllic, Ian Ring Music TheoryStydyllic


The prime form of this scale is Scale 703

Scale 703Scale 703: Aerocryllic, Ian Ring Music TheoryAerocryllic


The octatonic modal family [1277, 1343, 2719, 3407, 3751, 3923, 4009, 1013] (Forte: 8-11) is the complement of the tetratonic modal family [43, 1409, 1541, 2069] (Forte: 4-11)


The inverse of a scale is a reflection using the root as its axis. The inverse of 1277 is 2021

Scale 2021Scale 2021: Katycryllic, Ian Ring Music TheoryKatycryllic


Only scales that are chiral will have an enantiomorph. Scale 1277 is chiral, and its enantiomorph is scale 2021

Scale 2021Scale 2021: Katycryllic, Ian Ring Music TheoryKatycryllic


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> 1277       T0I <11,0> 2021
T1 <1,1> 2554      T1I <11,1> 4042
T2 <1,2> 1013      T2I <11,2> 3989
T3 <1,3> 2026      T3I <11,3> 3883
T4 <1,4> 4052      T4I <11,4> 3671
T5 <1,5> 4009      T5I <11,5> 3247
T6 <1,6> 3923      T6I <11,6> 2399
T7 <1,7> 3751      T7I <11,7> 703
T8 <1,8> 3407      T8I <11,8> 1406
T9 <1,9> 2719      T9I <11,9> 2812
T10 <1,10> 1343      T10I <11,10> 1529
T11 <1,11> 2686      T11I <11,11> 3058
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 3407      T0MI <7,0> 3671
T1M <5,1> 2719      T1MI <7,1> 3247
T2M <5,2> 1343      T2MI <7,2> 2399
T3M <5,3> 2686      T3MI <7,3> 703
T4M <5,4> 1277       T4MI <7,4> 1406
T5M <5,5> 2554      T5MI <7,5> 2812
T6M <5,6> 1013      T6MI <7,6> 1529
T7M <5,7> 2026      T7MI <7,7> 3058
T8M <5,8> 4052      T8MI <7,8> 2021
T9M <5,9> 4009      T9MI <7,9> 4042
T10M <5,10> 3923      T10MI <7,10> 3989
T11M <5,11> 3751      T11MI <7,11> 3883

The transformations that map this set to itself are: T0, T4M

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 1279Scale 1279: Sarygic, Ian Ring Music TheorySarygic
Scale 1273Scale 1273: Ronian, Ian Ring Music TheoryRonian
Scale 1275Scale 1275: Stagyllic, Ian Ring Music TheoryStagyllic
Scale 1269Scale 1269: Katythian, Ian Ring Music TheoryKatythian
Scale 1261Scale 1261: Modified Blues, Ian Ring Music TheoryModified Blues
Scale 1245Scale 1245: Lathian, Ian Ring Music TheoryLathian
Scale 1213Scale 1213: Gyrian, Ian Ring Music TheoryGyrian
Scale 1149Scale 1149: Bydian, Ian Ring Music TheoryBydian
Scale 1405Scale 1405: Goryllic, Ian Ring Music TheoryGoryllic
Scale 1533Scale 1533: Katycrygic, Ian Ring Music TheoryKatycrygic
Scale 1789Scale 1789: Blues Enneatonic II, Ian Ring Music TheoryBlues Enneatonic II
Scale 253Scale 253: Bosian, Ian Ring Music TheoryBosian
Scale 765Scale 765: Erkian, Ian Ring Music TheoryErkian
Scale 2301Scale 2301: Bydyllic, Ian Ring Music TheoryBydyllic
Scale 3325Scale 3325: Mixolygic, Ian Ring Music TheoryMixolygic

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 ( 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.