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Scale 1399: "Syryllic"

Scale 1399: Syryllic, 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
Syryllic

Analysis

Cardinality

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

{0,1,2,4,5,6,8,10}

Forte Number

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

8-24

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.

[3]

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.

no

Hemitonia

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

4 (multihemitonic)

Cohemitonia

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

2 (dicohemitonic)

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.

7

Prime Form

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

yes

Deep Scale

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

no

Interval Formula

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

[1, 1, 2, 1, 1, 2, 2, 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.

<4, 6, 4, 7, 4, 3>

Interval Spectrum

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

p4m7n4s6d4t3

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

Spectra Variation

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

1.5

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.

yes

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.

2.732

Polygon Perimeter

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

6.071

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.

[6]

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

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♯{1,5,8}431.5
F♯{6,10,1}242.1
A♯{10,2,5}341.9
Minor Triadsc♯m{1,4,8}341.9
fm{5,8,0}242.1
a♯m{10,1,5}431.5
Augmented TriadsC+{0,4,8}252.5
D+{2,6,10}252.5
Diminished Triads{2,5,8}231.9
a♯°{10,1,4}231.9
Parsimonious Voice Leading Between Common Triads of Scale 1399. Created by Ian Ring ©2019 C+ C+ c#m c#m C+->c#m fm fm C+->fm C# C# c#m->C# a#° a#° c#m->a#° C#->d° C#->fm a#m a#m C#->a#m A# A# d°->A# D+ D+ F# F# D+->F# D+->A# F#->a#m a#°->a#m 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 VerticesC♯, d°, a♯°, a♯m
Peripheral VerticesC+, D+

Modes

Modes are the rotational transformation of this scale. Scale 1399 can be rotated to make 7 other scales. The 1st mode is itself.

2nd mode:
Scale 2747
Scale 2747: Stythyllic, Ian Ring Music TheoryStythyllic
3rd mode:
Scale 3421
Scale 3421: Aerothyllic, Ian Ring Music TheoryAerothyllic
4th mode:
Scale 1879
Scale 1879: Mixoryllic, Ian Ring Music TheoryMixoryllic
5th mode:
Scale 2987
Scale 2987: Neapolitan Major and Minor Mixed, Ian Ring Music TheoryNeapolitan Major and Minor Mixed
6th mode:
Scale 3541
Scale 3541: Racryllic, Ian Ring Music TheoryRacryllic
7th mode:
Scale 1909
Scale 1909: Epicryllic, Ian Ring Music TheoryEpicryllic
8th mode:
Scale 1501
Scale 1501: Stygyllic, Ian Ring Music TheoryStygyllic

Prime

This is the prime form of this scale.

Complement

The octatonic modal family [1399, 2747, 3421, 1879, 2987, 3541, 1909, 1501] (Forte: 8-24) is the complement of the tetratonic modal family [277, 337, 1093, 1297] (Forte: 4-24)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 1399 is 3541

Scale 3541Scale 3541: Racryllic, Ian Ring Music TheoryRacryllic

Transformations:

T0 1399  T0I 3541
T1 2798  T1I 2987
T2 1501  T2I 1879
T3 3002  T3I 3758
T4 1909  T4I 3421
T5 3818  T5I 2747
T6 3541  T6I 1399
T7 2987  T7I 2798
T8 1879  T8I 1501
T9 3758  T9I 3002
T10 3421  T10I 1909
T11 2747  T11I 3818

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 1397Scale 1397: Major Locrian, Ian Ring Music TheoryMajor Locrian
Scale 1395Scale 1395: Locrian Dominant, Ian Ring Music TheoryLocrian Dominant
Scale 1403Scale 1403: Espla's Scale, Ian Ring Music TheoryEspla's Scale
Scale 1407Scale 1407: Tharygic, Ian Ring Music TheoryTharygic
Scale 1383Scale 1383: Pynian, Ian Ring Music TheoryPynian
Scale 1391Scale 1391: Aeradyllic, Ian Ring Music TheoryAeradyllic
Scale 1367Scale 1367: Leading Whole-Tone Inverse, Ian Ring Music TheoryLeading Whole-Tone Inverse
Scale 1335Scale 1335: Elephant Scale, Ian Ring Music TheoryElephant Scale
Scale 1463Scale 1463, Ian Ring Music Theory
Scale 1527Scale 1527: Aeolyrigic, Ian Ring Music TheoryAeolyrigic
Scale 1143Scale 1143: Styrian, Ian Ring Music TheoryStyrian
Scale 1271Scale 1271: Kolyllic, Ian Ring Music TheoryKolyllic
Scale 1655Scale 1655: Katygyllic, Ian Ring Music TheoryKatygyllic
Scale 1911Scale 1911: Messiaen Mode 3, Ian Ring Music TheoryMessiaen Mode 3
Scale 375Scale 375: Sodian, Ian Ring Music TheorySodian
Scale 887Scale 887: Sathyllic, Ian Ring Music TheorySathyllic
Scale 2423Scale 2423, Ian Ring Music Theory
Scale 3447Scale 3447: Kynygic, Ian Ring Music TheoryKynygic

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. 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.