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Scale 1983: "Soryllian"

Scale 1983: Soryllian, 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
Soryllian

Analysis

Cardinality

Cardinality is the count of how many pitches are in the scale.

10 (decatonic)

Pitch Class Set

The tones in this scale, expressed as numbers from 0 to 11

{0,1,2,3,4,5,7,8,9,10}

Forte Number

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

10-5

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.

[2.5]

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.

8 (multihemitonic)

Cohemitonia

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

6 (multicohemitonic)

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.

1

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.

9

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, 1, 1, 1, 2, 1, 1, 1, 2] 9

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.

<8, 8, 8, 8, 9, 4>

Interval Spectrum

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

p9m8n8s8d8t4

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

Spectra Variation

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

1

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.

2.866

Polygon Perimeter

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

6.141

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.

[5]

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".

Proper

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{0,4,7}452.68
C♯{1,5,8}452.5
D♯{3,7,10}352.95
F{5,9,0}352.59
G♯{8,0,3}352.77
A{9,1,4}452.41
A♯{10,2,5}352.86
Minor Triadscm{0,3,7}352.86
c♯m{1,4,8}452.41
dm{2,5,9}352.77
fm{5,8,0}352.59
gm{7,10,2}352.95
am{9,0,4}452.5
a♯m{10,1,5}452.68
Augmented TriadsC+{0,4,8}552.41
C♯+{1,5,9}552.41
Diminished Triadsc♯°{1,4,7}252.86
{2,5,8}253.05
{4,7,10}253.05
{7,10,1}253.05
{9,0,3}253.05
a♯°{10,1,4}252.86
Parsimonious Voice Leading Between Common Triads of Scale 1983. Created by Ian Ring ©2019 cm cm C C cm->C D# D# cm->D# G# G# cm->G# C+ C+ C->C+ c#° c#° C->c#° C->e° c#m c#m C+->c#m fm fm C+->fm C+->G# am am C+->am c#°->c#m C# C# c#m->C# A A c#m->A C#+ C#+ C#->C#+ C#->d° C#->fm dm dm C#+->dm F F C#+->F C#+->A a#m a#m C#+->a#m d°->dm A# A# dm->A# D#->e° gm gm D#->gm fm->F F->am g°->gm g°->a#m gm->A# G#->a° a°->am 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
Radius5
Self-Centeredyes

Modes

Modes are the rotational transformation of this scale. Scale 1983 can be rotated to make 9 other scales. The 1st mode is itself.

2nd mode:
Scale 3039
Scale 3039: Godyllian, Ian Ring Music TheoryGodyllian
3rd mode:
Scale 3567
Scale 3567: Epityllian, Ian Ring Music TheoryEpityllian
4th mode:
Scale 3831
Scale 3831: Ionyllian, Ian Ring Music TheoryIonyllian
5th mode:
Scale 3963
Scale 3963: Aeoryllian, Ian Ring Music TheoryAeoryllian
6th mode:
Scale 4029
Scale 4029: Major/Minor Mixed, Ian Ring Music TheoryMajor/Minor Mixed
7th mode:
Scale 2031
Scale 2031: Gadyllian, Ian Ring Music TheoryGadyllian
8th mode:
Scale 3063
Scale 3063: Solyllian, Ian Ring Music TheorySolyllian
9th mode:
Scale 3579
Scale 3579: Zyphyllian, Ian Ring Music TheoryZyphyllian
10th mode:
Scale 3837
Scale 3837: Minor Pentatonic With Leading Tones, Ian Ring Music TheoryMinor Pentatonic With Leading Tones

Prime

This is the prime form of this scale.

Complement

The decatonic modal family [1983, 3039, 3567, 3831, 3963, 4029, 2031, 3063, 3579, 3837] (Forte: 10-5) is the complement of the ditonic modal family [33, 129] (Forte: 2-5)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 1983 is 4029

Scale 4029Scale 4029: Major/Minor Mixed, Ian Ring Music TheoryMajor/Minor Mixed

Transformations:

T0 1983  T0I 4029
T1 3966  T1I 3963
T2 3837  T2I 3831
T3 3579  T3I 3567
T4 3063  T4I 3039
T5 2031  T5I 1983
T6 4062  T6I 3966
T7 4029  T7I 3837
T8 3963  T8I 3579
T9 3831  T9I 3063
T10 3567  T10I 2031
T11 3039  T11I 4062

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 1981Scale 1981: Houseini, Ian Ring Music TheoryHouseini
Scale 1979Scale 1979: Aeradygic, Ian Ring Music TheoryAeradygic
Scale 1975Scale 1975: Ionocrygic, Ian Ring Music TheoryIonocrygic
Scale 1967Scale 1967: Diatonic Dorian Mixed, Ian Ring Music TheoryDiatonic Dorian Mixed
Scale 1951Scale 1951: Marygic, Ian Ring Music TheoryMarygic
Scale 2015Scale 2015: Messiaen Mode 7, Ian Ring Music TheoryMessiaen Mode 7
Scale 2047Scale 2047: Chromatic Undecamode, Ian Ring Music TheoryChromatic Undecamode
Scale 1855Scale 1855: Gaptygic, Ian Ring Music TheoryGaptygic
Scale 1919Scale 1919: Rocryllian, Ian Ring Music TheoryRocryllian
Scale 1727Scale 1727: Sydygic, Ian Ring Music TheorySydygic
Scale 1471Scale 1471: Radygic, Ian Ring Music TheoryRadygic
Scale 959Scale 959: Katylygic, Ian Ring Music TheoryKatylygic
Scale 3007Scale 3007: Zyryllian, Ian Ring Music TheoryZyryllian
Scale 4031Scale 4031: Chromatic Undecamode 6, Ian Ring Music TheoryChromatic Undecamode 6

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.