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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

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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
Syryllic

Analysis

Cardinality8 (octatonic)
Pitch Class Set{0,1,2,4,5,6,8,10}
Forte Number8-24
Rotational Symmetrynone
Reflection Axes3
Palindromicno
Chiralityno
Hemitonia4 (multihemitonic)
Cohemitonia2 (dicohemitonic)
Imperfections4
Modes7
Prime?yes
Deep Scaleno
Interval Vector464743
Interval Spectrump4m7n4s6d4t3
Distribution Spectra<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 Variation1.5
Maximally Evenno
Maximal Area Setyes
Interior Area2.732
Myhill Propertyno
Balancedno
Ridge Tones[6]
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 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. 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. Special thanks to Richard Repp for helping with technical accuracy.