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Scale 1907: "Lynyllic"

Scale 1907: Lynyllic, 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
Lynyllic

Analysis

Cardinality8 (octatonic)
Pitch Class Set{0,1,4,5,6,8,9,10}
Forte Number8-19
Rotational Symmetrynone
Reflection Axesnone
Palindromicno
Chiralityyes
enantiomorph: 2525
Hemitonia5 (multihemitonic)
Cohemitonia2 (dicohemitonic)
Imperfections3
Modes7
Prime?no
prime: 887
Deep Scaleno
Interval Vector545752
Interval Spectrump5m7n5s4d5t2
Distribution Spectra<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 Variation1.75
Maximally Evenno
Maximal Area Setno
Interior Area2.616
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 TriadsC♯{1,5,8}331.92
F{5,9,0}431.77
F♯{6,10,1}252.62
A{9,1,4}431.77
Minor Triadsc♯m{1,4,8}342.15
fm{5,8,0}342.15
f♯m{6,9,1}342.08
am{9,0,4}342
a♯m{10,1,5}342.08
Augmented TriadsC+{0,4,8}352.38
C♯+{1,5,9}531.54
Diminished Triadsf♯°{6,9,0}242.31
a♯°{10,1,4}242.31
Parsimonious Voice Leading Between Common Triads of Scale 1907. Created by Ian Ring ©2019 C+ C+ c#m c#m C+->c#m fm fm C+->fm am am C+->am C# C# c#m->C# A A c#m->A C#+ C#+ C#->C#+ C#->fm F F C#+->F f#m f#m C#+->f#m C#+->A a#m a#m C#+->a#m fm->F f#° f#° F->f#° F->am f#°->f#m F# F# f#m->F# F#->a#m am->A a#° a#° A->a#° a#°->a#m

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♯, C♯+, F, A
Peripheral VerticesC+, F♯

Modes

Modes are the rotational transformation of this scale. Scale 1907 can be rotated to make 7 other scales. The 1st mode is itself.

2nd mode:
Scale 3001		Scale 3001: Lonyllic, Ian Ring Music TheoryLonyllic
3rd mode:
Scale 887		Scale 887: Sathyllic, Ian Ring Music TheorySathyllicThis is the prime mode
4th mode:
Scale 2491		Scale 2491: Layllic, Ian Ring Music TheoryLayllic
5th mode:
Scale 3293		Scale 3293: Saryllic, Ian Ring Music TheorySaryllic
6th mode:
Scale 1847		Scale 1847: Thacryllic, Ian Ring Music TheoryThacryllic
7th mode:
Scale 2971		Scale 2971: Aeolynyllic, Ian Ring Music TheoryAeolynyllic
8th mode:
Scale 3533		Scale 3533: Thadyllic, Ian Ring Music TheoryThadyllic

Prime

The prime form of this scale is Scale 887

Scale 887Scale 887: Sathyllic, Ian Ring Music TheorySathyllic

Complement

The octatonic modal family [1907, 3001, 887, 2491, 3293, 1847, 2971, 3533] (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 1907 is 2525

Scale 2525Scale 2525: Aeolaryllic, Ian Ring Music TheoryAeolaryllic

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 1907 is chiral, and its enantiomorph is scale 2525

Scale 2525Scale 2525: Aeolaryllic, Ian Ring Music TheoryAeolaryllic

Transformations:

T0 1907  T0I 2525
T1 3814  T1I 955
T2 3533  T2I 1910
T3 2971  T3I 3820
T4 1847  T4I 3545
T5 3694  T5I 2995
T6 3293  T6I 1895
T7 2491  T7I 3790
T8 887  T8I 3485
T9 1774  T9I 2875
T10 3548  T10I 1655
T11 3001  T11I 3310

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 1905Scale 1905: Katacrian, Ian Ring Music TheoryKatacrian
Scale 1909Scale 1909: Epicryllic, Ian Ring Music TheoryEpicryllic
Scale 1911Scale 1911: Messiaen Mode 3, Ian Ring Music TheoryMessiaen Mode 3
Scale 1915Scale 1915: Thydygic, Ian Ring Music TheoryThydygic
Scale 1891Scale 1891: Thalian, Ian Ring Music TheoryThalian
Scale 1899Scale 1899: Moptyllic, Ian Ring Music TheoryMoptyllic
Scale 1875Scale 1875: Persichetti Scale, Ian Ring Music TheoryPersichetti Scale
Scale 1843Scale 1843: Ionygian, Ian Ring Music TheoryIonygian
Scale 1971Scale 1971: Aerynyllic, Ian Ring Music TheoryAerynyllic
Scale 2035Scale 2035: Aerythygic, Ian Ring Music TheoryAerythygic
Scale 1651Scale 1651: Asian, Ian Ring Music TheoryAsian
Scale 1779Scale 1779: Zynyllic, Ian Ring Music TheoryZynyllic
Scale 1395Scale 1395: Locrian Dominant, Ian Ring Music TheoryLocrian Dominant
Scale 883Scale 883: Ralian, Ian Ring Music TheoryRalian
Scale 2931Scale 2931: Zathyllic, Ian Ring Music TheoryZathyllic
Scale 3955Scale 3955: Pothygic, Ian Ring Music TheoryPothygic

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.