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Scale 1655: "Katygyllic"

Scale 1655: Katygyllic, 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
Katygyllic
Dozenal
KECian

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

 {0,1,2,4,5,6,9,10}

Forte Number

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

 8-19

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.

 none

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.

 yes
enantiomorph: 3533

Hemitonia

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

 5 (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.

 3

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 Starr/Rahn algorithm.

 no
prime: 887

Generator

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

 none

Deep Scale

A deep scale is one where the interval vector has 6 different digits, an indicator of maximum hierarchization.

 no

Interval Structure

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

 [1, 1, 2, 1, 1, 3, 1, 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, 4, 5, 7, 5, 2>

Proportional Saturation Vector

First described by Michael Buchler (2001), this is a vector showing the prominence of intervals relative to the maximum and minimum possible for the scale's cardinality. A saturation of 0 means the interval is present minimally, a saturation of 1 means it is the maximum possible.

<0.333, 0, 0.25, 1, 0.333, 0>

Interval Spectrum

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

 p5m7n5s4d5t2

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}
<3> = {4,5,6}
<4> = {5,6,7}
<5> = {6,7,8}
<6> = {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.

 1.75

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.

 no

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.

2.616

Polygon Perimeter

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

6.002

Myhill Property

A scale has Myhill Property if the Distribution Spectra have 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.

 none

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

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.

(10, 53, 129)

Coherence Quotient

The Coherence Quotient is a score between 0 and 1, indicating the proportion of coherence failures (ambiguity or contradiction) in the scale, against the maximum possible for a cardinality. A high coherence quotient indicates a less complex scale, whereas a quotient of 0 indicates a maximally complex scale.

0.763

Sameness Quotient

The Sameness Quotient is a score between 0 and 1, indicating the proportion of differences in the heteromorphic profile, against the maximum possible for a cardinality. A higher quotient indicates a less complex scale, whereas a quotient of 0 indicates a scale with maximum complexity.

0.342

Generator

This scale has no generator.

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{2,6,9}342.15
F{5,9,0}342.08
F♯{6,10,1}342
A{9,1,4}342.08
A♯{10,2,5}342.15
Minor Triadsdm{2,5,9}331.92
f♯m{6,9,1}431.77
am{9,0,4}252.62
a♯m{10,1,5}431.77
Augmented TriadsC♯+{1,5,9}531.54
D+{2,6,10}352.38
Diminished Triadsf♯°{6,9,0}242.31
a♯°{10,1,4}242.31
Parsimonious Voice Leading Between Common Triads of Scale 1655. Created by Ian Ring ©2019 C#+ C#+ dm dm C#+->dm F F C#+->F f#m f#m C#+->f#m A A C#+->A a#m a#m C#+->a#m D D dm->D A# A# dm->A# D+ D+ D->D+ D->f#m F# F# D+->F# D+->A# f#° f#° F->f#° am am F->am f#°->f#m f#m->F# F#->a#m am->A a#° a#° A->a#° 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♯+, dm, f♯m, a♯m
Peripheral VerticesD+, am

Modes

Modes are the rotational transformation of this scale. Scale 1655 can be rotated to make 7 other scales. The 1st mode is itself.

2nd mode:
Scale 2875		Scale 2875: Ganyllic, Ian Ring Music TheoryGanyllic
3rd mode:
Scale 3485		Scale 3485: Sabach, Ian Ring Music TheorySabach
4th mode:
Scale 1895		Scale 1895: Salyllic, Ian Ring Music TheorySalyllic
5th mode:
Scale 2995		Scale 2995: Raga Saurashtra, Ian Ring Music TheoryRaga Saurashtra
6th mode:
Scale 3545		Scale 3545: Thyptyllic, Ian Ring Music TheoryThyptyllic
7th mode:
Scale 955		Scale 955: Ionogyllic, Ian Ring Music TheoryIonogyllic
8th mode:
Scale 2525		Scale 2525: Aeolaryllic, Ian Ring Music TheoryAeolaryllic

Prime

The prime form of this scale is Scale 887

Scale 887Scale 887: Sathyllic, Ian Ring Music TheorySathyllic

Complement

The octatonic modal family [1655, 2875, 3485, 1895, 2995, 3545, 955, 2525] (Forte: 8-19) is the complement of the tetratonic modal family [275, 305, 785, 2185] (Forte: 4-19)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 1655 is 3533

Scale 3533Scale 3533: Thadyllic, Ian Ring Music TheoryThadyllic

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 1655 is chiral, and its enantiomorph is scale 3533

Scale 3533Scale 3533: Thadyllic, Ian Ring Music TheoryThadyllic

Transformations:

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> 1655       T0I <11,0> 3533
T1 <1,1> 3310      T1I <11,1> 2971
T2 <1,2> 2525      T2I <11,2> 1847
T3 <1,3> 955      T3I <11,3> 3694
T4 <1,4> 1910      T4I <11,4> 3293
T5 <1,5> 3820      T5I <11,5> 2491
T6 <1,6> 3545      T6I <11,6> 887
T7 <1,7> 2995      T7I <11,7> 1774
T8 <1,8> 1895      T8I <11,8> 3548
T9 <1,9> 3790      T9I <11,9> 3001
T10 <1,10> 3485      T10I <11,10> 1907
T11 <1,11> 2875      T11I <11,11> 3814
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 1895      T0MI <7,0> 3293
T1M <5,1> 3790      T1MI <7,1> 2491
T2M <5,2> 3485      T2MI <7,2> 887
T3M <5,3> 2875      T3MI <7,3> 1774
T4M <5,4> 1655       T4MI <7,4> 3548
T5M <5,5> 3310      T5MI <7,5> 3001
T6M <5,6> 2525      T6MI <7,6> 1907
T7M <5,7> 955      T7MI <7,7> 3814
T8M <5,8> 1910      T8MI <7,8> 3533
T9M <5,9> 3820      T9MI <7,9> 2971
T10M <5,10> 3545      T10MI <7,10> 1847
T11M <5,11> 2995      T11MI <7,11> 3694

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 1653Scale 1653: Minor Romani Inverse, Ian Ring Music TheoryMinor Romani Inverse
Scale 1651Scale 1651: Asian, Ian Ring Music TheoryAsian
Scale 1659Scale 1659: Magyllic, Ian Ring Music TheoryMagyllic
Scale 1663Scale 1663: Lydygic, Ian Ring Music TheoryLydygic
Scale 1639Scale 1639: Aeolothian, Ian Ring Music TheoryAeolothian
Scale 1647Scale 1647: Polyllic, Ian Ring Music TheoryPolyllic
Scale 1623Scale 1623: Lothian, Ian Ring Music TheoryLothian
Scale 1591Scale 1591: Rodian, Ian Ring Music TheoryRodian
Scale 1719Scale 1719: Lyryllic, Ian Ring Music TheoryLyryllic
Scale 1783Scale 1783: Youlan, Ian Ring Music TheoryYoulan
Scale 1911Scale 1911: Messiaen Mode 3 Rotation 1, Ian Ring Music TheoryMessiaen Mode 3 Rotation 1
Scale 1143Scale 1143: Styrian, Ian Ring Music TheoryStyrian
Scale 1399Scale 1399: Syryllic, Ian Ring Music TheorySyryllic
Scale 631Scale 631: Zygian, Ian Ring Music TheoryZygian
Scale 2679Scale 2679: Rathyllic, Ian Ring Music TheoryRathyllic
Scale 3703Scale 3703: Katalygic, Ian Ring Music TheoryKatalygic

This scale analysis was created by Ian Ring, Canadian Composer of works for Piano, and total music theory nerd. Scale notation generated by VexFlow and Lilypond, graph visualization by Graphviz, audio by TiMIDIty and FFMPEG. All other diagrams and visualizations are © Ian Ring. 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, and George Howlett for assistance with the Carnatic ragas.