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Scale 2751: "Sylygic"

Scale 2751: Sylygic, 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
Sylygic

Analysis

Cardinality

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

9 (nonatonic)

Pitch Class Set

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

{0,1,2,3,4,5,7,9,11}

Forte Number

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

9-6

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]

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.

6 (multihemitonic)

Cohemitonia

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

5 (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.

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.

8

Prime Form

Describes if this scale is in prime form, using the Rahn/Ring formula.

no
prime: 1407

Deep Scale

A deep scale is one where the interval vector has 6 different digits.

no

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.

[6, 8, 6, 7, 6, 3]

Interval Spectrum

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

p6m7n6s8d6t3

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> = {2,3,4}
<3> = {3,4,5,6}
<4> = {4,5,6,7}
<5> = {5,6,7,8}
<6> = {6,7,8,9}
<7> = {8,9,10}
<8> = {10,11}

Spectra Variation

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

2

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.

2.799

Polygon Perimeter

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

6.106

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.

[4]

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

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}442
F{5,9,0}242.31
G{7,11,2}242.54
A{9,1,4}342.15
Minor Triadscm{0,3,7}342.15
dm{2,5,9}242.54
em{4,7,11}242.31
am{9,0,4}442
Augmented TriadsC♯+{1,5,9}342.31
D♯+{3,7,11}342.31
Diminished Triadsc♯°{1,4,7}242.31
{9,0,3}242.31
{11,2,5}242.62
Parsimonious Voice Leading Between Common Triads of Scale 2751. Created by Ian Ring ©2019 cm cm C C cm->C D#+ D#+ cm->D#+ cm->a° c#° c#° C->c#° em em C->em am am C->am A A c#°->A C#+ C#+ dm dm C#+->dm F F C#+->F C#+->A dm->b° D#+->em Parsimonious Voice Leading Between Common Triads of Scale 2751. Created by Ian Ring ©2019 G D#+->G F->am G->b° a°->am am->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
Radius4
Self-Centeredyes

Modes

Modes are the rotational transformation of this scale. Scale 2751 can be rotated to make 8 other scales. The 1st mode is itself.

2nd mode:
Scale 3423
Scale 3423: Lothygic, Ian Ring Music TheoryLothygic
3rd mode:
Scale 3759
Scale 3759: Darygic, Ian Ring Music TheoryDarygic
4th mode:
Scale 3927
Scale 3927: Monygic, Ian Ring Music TheoryMonygic
5th mode:
Scale 4011
Scale 4011: Styrygic, Ian Ring Music TheoryStyrygic
6th mode:
Scale 4053
Scale 4053: Kyrygic, Ian Ring Music TheoryKyrygic
7th mode:
Scale 2037
Scale 2037: Sythygic, Ian Ring Music TheorySythygic
8th mode:
Scale 1533
Scale 1533: Katycrygic, Ian Ring Music TheoryKatycrygic
9th mode:
Scale 1407
Scale 1407: Tharygic, Ian Ring Music TheoryTharygicThis is the prime mode

Prime

The prime form of this scale is Scale 1407

Scale 1407Scale 1407: Tharygic, Ian Ring Music TheoryTharygic

Complement

The nonatonic modal family [2751, 3423, 3759, 3927, 4011, 4053, 2037, 1533, 1407] (Forte: 9-6) is the complement of the tritonic modal family [21, 1029, 1281] (Forte: 3-6)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 2751 is 4011

Scale 4011Scale 4011: Styrygic, Ian Ring Music TheoryStyrygic

Transformations:

T0 2751  T0I 4011
T1 1407  T1I 3927
T2 2814  T2I 3759
T3 1533  T3I 3423
T4 3066  T4I 2751
T5 2037  T5I 1407
T6 4074  T6I 2814
T7 4053  T7I 1533
T8 4011  T8I 3066
T9 3927  T9I 2037
T10 3759  T10I 4074
T11 3423  T11I 4053

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 2749Scale 2749: Katagyllic, Ian Ring Music TheoryKatagyllic
Scale 2747Scale 2747: Stythyllic, Ian Ring Music TheoryStythyllic
Scale 2743Scale 2743: Staptyllic, Ian Ring Music TheoryStaptyllic
Scale 2735Scale 2735: Gynyllic, Ian Ring Music TheoryGynyllic
Scale 2719Scale 2719: Zocryllic, Ian Ring Music TheoryZocryllic
Scale 2783Scale 2783: Gothygic, Ian Ring Music TheoryGothygic
Scale 2815Scale 2815: Aeradyllian, Ian Ring Music TheoryAeradyllian
Scale 2623Scale 2623: Aerylyllic, Ian Ring Music TheoryAerylyllic
Scale 2687Scale 2687: Thacrygic, Ian Ring Music TheoryThacrygic
Scale 2879Scale 2879: Stadygic, Ian Ring Music TheoryStadygic
Scale 3007Scale 3007: Zyryllian, Ian Ring Music TheoryZyryllian
Scale 2239Scale 2239: Dacryllic, Ian Ring Music TheoryDacryllic
Scale 2495Scale 2495: Aeolocrygic, Ian Ring Music TheoryAeolocrygic
Scale 3263Scale 3263: Pyrygic, Ian Ring Music TheoryPyrygic
Scale 3775Scale 3775: Loptyllian, Ian Ring Music TheoryLoptyllian
Scale 703Scale 703: Aerocryllic, Ian Ring Music TheoryAerocryllic
Scale 1727Scale 1727: Sydygic, Ian Ring Music TheorySydygic

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.