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Scale 2303: "Stanygic"

Scale 2303: Stanygic, 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
Stanygic

Analysis

Cardinality9 (nonatonic)
Pitch Class Set{0,1,2,3,4,5,6,7,11}
Forte Number9-1
Rotational Symmetrynone
Reflection Axes3
Palindromicno
Chiralityno
Hemitonia8 (multihemitonic)
Cohemitonia7 (multicohemitonic)
Imperfections3
Modes8
Prime?no
prime: 511
Deep Scaleno
Interval Vector876663
Interval Spectrump6m6n6s7d8t3
Distribution Spectra<1> = {1,4}
<2> = {2,5}
<3> = {3,6}
<4> = {4,7}
<5> = {5,8}
<6> = {6,9}
<7> = {7,10}
<8> = {8,11}
Spectra Variation2.667
Maximally Evenno
Maximal Area Setno
Interior Area2.433
Myhill Propertyyes
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{0,4,7}352.2
G{7,11,2}242
B{11,3,6}341.8
Minor Triadscm{0,3,7}341.8
em{4,7,11}242
bm{11,2,6}352.2
Augmented TriadsD♯+{3,7,11}431.6
Diminished Triads{0,3,6}232
c♯°{1,4,7}163
{11,2,5}163
Parsimonious Voice Leading Between Common Triads of Scale 2303. Created by Ian Ring ©2019 cm cm c°->cm B B c°->B C C cm->C D#+ D#+ cm->D#+ c#° c#° C->c#° em em C->em D#+->em Parsimonious Voice Leading Between Common Triads of Scale 2303. Created by Ian Ring ©2019 G D#+->G D#+->B bm bm G->bm b°->bm bm->B

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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.

Diameter6
Radius3
Self-Centeredno
Central Verticesc°, D♯+
Peripheral Verticesc♯°, b°

Modes

Modes are the rotational transformation of this scale. Scale 2303 can be rotated to make 8 other scales. The 1st mode is itself.

2nd mode:
Scale 3199
Scale 3199: Thaptygic, Ian Ring Music TheoryThaptygic
3rd mode:
Scale 3647
Scale 3647: Eporygic, Ian Ring Music TheoryEporygic
4th mode:
Scale 3871
Scale 3871: Aerynygic, Ian Ring Music TheoryAerynygic
5th mode:
Scale 3983
Scale 3983: Thyptygic, Ian Ring Music TheoryThyptygic
6th mode:
Scale 4039
Scale 4039: Ionogygic, Ian Ring Music TheoryIonogygic
7th mode:
Scale 4067
Scale 4067: Aeolarygic, Ian Ring Music TheoryAeolarygic
8th mode:
Scale 4081
Scale 4081: Manygic, Ian Ring Music TheoryManygic
9th mode:
Scale 511
Scale 511: Polygic, Ian Ring Music TheoryPolygicThis is the prime mode

Prime

The prime form of this scale is Scale 511

Scale 511Scale 511: Polygic, Ian Ring Music TheoryPolygic

Complement

The nonatonic modal family [2303, 3199, 3647, 3871, 3983, 4039, 4067, 4081, 511] (Forte: 9-1) is the complement of the tritonic modal family [7, 2051, 3073] (Forte: 3-1)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 2303 is 4067

Scale 4067Scale 4067: Aeolarygic, Ian Ring Music TheoryAeolarygic

Transformations:

T0 2303  T0I 4067
T1 511  T1I 4039
T2 1022  T2I 3983
T3 2044  T3I 3871
T4 4088  T4I 3647
T5 4081  T5I 3199
T6 4067  T6I 2303
T7 4039  T7I 511
T8 3983  T8I 1022
T9 3871  T9I 2044
T10 3647  T10I 4088
T11 3199  T11I 4081

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 2301Scale 2301: Bydyllic, Ian Ring Music TheoryBydyllic
Scale 2299Scale 2299: Phraptyllic, Ian Ring Music TheoryPhraptyllic
Scale 2295Scale 2295: Kogyllic, Ian Ring Music TheoryKogyllic
Scale 2287Scale 2287: Lodyllic, Ian Ring Music TheoryLodyllic
Scale 2271Scale 2271: Poptyllic, Ian Ring Music TheoryPoptyllic
Scale 2239Scale 2239: Dacryllic, Ian Ring Music TheoryDacryllic
Scale 2175Scale 2175, Ian Ring Music Theory
Scale 2431Scale 2431: Gythygic, Ian Ring Music TheoryGythygic
Scale 2559Scale 2559: Zogyllian, Ian Ring Music TheoryZogyllian
Scale 2815Scale 2815: Aeradyllian, Ian Ring Music TheoryAeradyllian
Scale 3327Scale 3327: Madyllian, Ian Ring Music TheoryMadyllian
Scale 255Scale 255, Ian Ring Music Theory
Scale 1279Scale 1279: Sarygic, Ian Ring Music TheorySarygic

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.