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Scale 1823: "Phralyllic"

Scale 1823: Phralyllic, 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

41161837294116105072918310504116183
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
Phralyllic

Analysis

Cardinality8 (octatonic)
Pitch Class Set{0,1,2,3,4,8,9,10}
Forte Number8-5
Rotational Symmetrynone
Reflection Axesnone
Palindromicno
Chiralityyes
enantiomorph: 3869
Hemitonia6 (multihemitonic)
Cohemitonia4 (multicohemitonic)
Imperfections3
Modes7
Prime?no
prime: 479
Deep Scaleno
Interval Vector654553
Interval Spectrump5m5n4s5d6t3
Distribution Spectra<1> = {1,2,4}
<2> = {2,3,5}
<3> = {3,4,6}
<4> = {4,5,7,8}
<5> = {6,8,9}
<6> = {7,9,10}
<7> = {8,10,11}
Spectra Variation2.75
Maximally Evenno
Maximal Area Setno
Interior Area2.366
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 TriadsG♯{8,0,3}241.86
A{9,1,4}331.43
Minor Triadsc♯m{1,4,8}231.57
am{9,0,4}321.29
Augmented TriadsC+{0,4,8}331.43
Diminished Triads{9,0,3}231.71
a♯°{10,1,4}142.14
Parsimonious Voice Leading Between Common Triads of Scale 1823. Created by Ian Ring ©2019 C+ C+ c#m c#m C+->c#m G# G# C+->G# am am C+->am A A c#m->A G#->a° a°->am am->A a#° a#° A->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.

Diameter4
Radius2
Self-Centeredno
Central Verticesam
Peripheral VerticesG♯, a♯°

Modes

Modes are the rotational transformation of this scale. Scale 1823 can be rotated to make 7 other scales. The 1st mode is itself.

2nd mode:
Scale 2959
Scale 2959: Dygyllic, Ian Ring Music TheoryDygyllic
3rd mode:
Scale 3527
Scale 3527: Ronyllic, Ian Ring Music TheoryRonyllic
4th mode:
Scale 3811
Scale 3811: Epogyllic, Ian Ring Music TheoryEpogyllic
5th mode:
Scale 3953
Scale 3953: Thagyllic, Ian Ring Music TheoryThagyllic
6th mode:
Scale 503
Scale 503: Thoptyllic, Ian Ring Music TheoryThoptyllic
7th mode:
Scale 2299
Scale 2299: Phraptyllic, Ian Ring Music TheoryPhraptyllic
8th mode:
Scale 3197
Scale 3197: Gylyllic, Ian Ring Music TheoryGylyllic

Prime

The prime form of this scale is Scale 479

Scale 479Scale 479: Kocryllic, Ian Ring Music TheoryKocryllic

Complement

The octatonic modal family [1823, 2959, 3527, 3811, 3953, 503, 2299, 3197] (Forte: 8-5) is the complement of the tetratonic modal family [71, 449, 2083, 3089] (Forte: 4-5)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 1823 is 3869

Scale 3869Scale 3869: Bygyllic, Ian Ring Music TheoryBygyllic

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 1823 is chiral, and its enantiomorph is scale 3869

Scale 3869Scale 3869: Bygyllic, Ian Ring Music TheoryBygyllic

Transformations:

T0 1823  T0I 3869
T1 3646  T1I 3643
T2 3197  T2I 3191
T3 2299  T3I 2287
T4 503  T4I 479
T5 1006  T5I 958
T6 2012  T6I 1916
T7 4024  T7I 3832
T8 3953  T8I 3569
T9 3811  T9I 3043
T10 3527  T10I 1991
T11 2959  T11I 3982

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 1821Scale 1821: Aeradian, Ian Ring Music TheoryAeradian
Scale 1819Scale 1819: Pydian, Ian Ring Music TheoryPydian
Scale 1815Scale 1815: Godian, Ian Ring Music TheoryGodian
Scale 1807Scale 1807, Ian Ring Music Theory
Scale 1839Scale 1839: Zogyllic, Ian Ring Music TheoryZogyllic
Scale 1855Scale 1855: Gaptygic, Ian Ring Music TheoryGaptygic
Scale 1887Scale 1887: Aerocrygic, Ian Ring Music TheoryAerocrygic
Scale 1951Scale 1951: Marygic, Ian Ring Music TheoryMarygic
Scale 1567Scale 1567, Ian Ring Music Theory
Scale 1695Scale 1695: Phrodyllic, Ian Ring Music TheoryPhrodyllic
Scale 1311Scale 1311: Bynian, Ian Ring Music TheoryBynian
Scale 799Scale 799: Lolian, Ian Ring Music TheoryLolian
Scale 2847Scale 2847: Phracryllic, Ian Ring Music TheoryPhracryllic
Scale 3871Scale 3871: Aerynygic, Ian Ring Music TheoryAerynygic

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.