The Exciting Universe Of Music Theory
presents

more than you ever wanted to know about...

Scale 2779: "Shostakovich"

Scale 2779: Shostakovich, 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

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

Named After Composers
Shostakovich
Western
Shostakovitsh
Zeitler
Garyllic
Dozenal
RIKian

Analysis

Cardinality

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

 8 (octatonic)

Pitch Class Set

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

 {0,1,3,4,6,7,9,11}

Forte Number

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

 8-27

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.

 none

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.

 yes
enantiomorph: 2923

Hemitonia

A hemitone is two tones separated by a semitone interval. Hemitonia describes how many such hemitones exist.

 4 (multihemitonic)

Cohemitonia

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

 1 (uncohemitonic)

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 includes the scale itself, so the number is usually the same as its cardinality; unless there are rotational symmetries then there are fewer modes.

 8

Prime Form

Describes if this scale is in prime form, using the Starr/Rahn algorithm.

 no
prime: 1463

Generator

Indicates if the scale can be constructed using a generator, and an origin.

 none

Deep Scale

A deep scale is one where the interval vector has 6 different digits, an indicator of maximum hierarchization.

 no

Interval Structure

Defines the scale as the sequence of intervals between one tone and the next.

 [1, 2, 1, 2, 1, 2, 2, 1]

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.

 <4, 5, 6, 5, 5, 3>

Proportional Saturation Vector

First described by Michael Buchler (2001), this is a vector showing the prominence of intervals relative to the maximum and minimum possible for the scale's cardinality. A saturation of 0 means the interval is present minimally, a saturation of 1 means it is the maximum possible.

<0, 0.333, 0.5, 0.333, 0.333, 0.5>

Interval Spectrum

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

 p5m5n6s5d4t3

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

Spectra Variation

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

 1.25

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.

2.732

Polygon Perimeter

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

6.071

Myhill Property

A scale has Myhill Property if the Distribution Spectra have 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.

 none

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

Heteromorphic Profile

Defined by Norman Carey (2002), the heteromorphic profile is an ordered triple of (c, a, d) where c is the number of contradictions, a is the number of ambiguities, and d is the number of differences. When c is zero, the scale is Proper. When a is also zero, the scale is Strictly Proper.

(0, 24, 103)

Coherence Quotient

The Coherence Quotient is a score between 0 and 1, indicating the proportion of coherence failures (ambiguity or contradiction) in the scale, against the maximum possible for a cardinality. A high coherence quotient indicates a less complex scale, whereas a quotient of 0 indicates a maximally complex scale.

0.91

Sameness Quotient

The Sameness Quotient is a score between 0 and 1, indicating the proportion of differences in the heteromorphic profile, against the maximum possible for a cardinality. A higher quotient indicates a less complex scale, whereas a quotient of 0 indicates a scale with maximum complexity.

0.474

Generator

This scale has no generator.

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}441.85
A{9,1,4}342.15
B{11,3,6}342.23
Minor Triadscm{0,3,7}441.92
em{4,7,11}242.23
f♯m{6,9,1}342.23
am{9,0,4}441.92
Augmented TriadsD♯+{3,7,11}342.15
Diminished Triadsc°{0,3,6}242.31
c♯°{1,4,7}242.23
d♯°{3,6,9}242.31
f♯°{6,9,0}242.31
a°{9,0,3}242.15
Parsimonious Voice Leading Between Common Triads of Scale 2779. Created by Ian Ring ©2019 c° c° cm cm c°->cm B B c°->B C C cm->C D#+ D#+ cm->D#+ a° a° cm->a° c#° c#° C->c#° em em C->em am am C->am A A c#°->A d#° d#° f#m f#m d#°->f#m d#°->B D#+->em D#+->B f#° f#° f#°->f#m f#°->am f#m->A 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 2779 can be rotated to make 7 other scales. The 1st mode is itself.

2nd mode:
Scale 3437		Scale 3437: Gathyllic, Ian Ring Music TheoryGathyllic
3rd mode:
Scale 1883		Scale 1883: Mixopyryllic, Ian Ring Music TheoryMixopyryllic
4th mode:
Scale 2989		Scale 2989: Bebop Minor, Ian Ring Music TheoryBebop Minor
5th mode:
Scale 1771		Scale 1771: Stylyllic, Ian Ring Music TheoryStylyllic
6th mode:
Scale 2933		Scale 2933: Dalyllic, Ian Ring Music TheoryDalyllic
7th mode:
Scale 1757		Scale 1757: Ionyphyllic, Ian Ring Music TheoryIonyphyllic
8th mode:
Scale 1463		Scale 1463: Zaptyllic, Ian Ring Music TheoryZaptyllicThis is the prime mode

Prime

The prime form of this scale is Scale 1463

Scale 1463Scale 1463: Zaptyllic, Ian Ring Music TheoryZaptyllic

Complement

The octatonic modal family [2779, 3437, 1883, 2989, 1771, 2933, 1757, 1463] (Forte: 8-27) is the complement of the tetratonic modal family [293, 593, 649, 1097] (Forte: 4-27)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 2779 is 2923

Scale 2923Scale 2923: Baryllic, Ian Ring Music TheoryBaryllic

Hierarchizability

Based on the work of Niels Verosky, hierarchizability is the measure of repeated patterns with "place-finding" remainder bits, applied recursively to the binary representation of a scale. For a full explanation, read Niels' paper, Hierarchizability as a Predictor of Scale Candidacy. The variable k is the maximum number of remainders allowed at each level of recursion, for them to count as an increment of hierarchizability. A high hierarchizability score is a good indicator of scale candidacy, ie a measure of usefulness for producing pleasing music. There is a strong correlation between scales with maximal hierarchizability and scales that are in popular use in a variety of world musical traditions.

kHierarchizabilityBreakdown PatternDiagram
111101101101012779k = 1h = 1
211101101101012779k = 2h = 1
33([1][1]0)([1][1]0)([1][1]0)1012779k = 3h = 3
43([1][1]0[1])10([1][1]0[1])012779k = 4h = 3
53([1][1]0[1])10([1][1]0[1])012779k = 5h = 3

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 2779 is chiral, and its enantiomorph is scale 2923

Scale 2923Scale 2923: Baryllic, Ian Ring Music TheoryBaryllic

Transformations:

In the abbreviation, the subscript number after "T" is the number of semitones of tranposition, "M" means the pitch class is multiplied by 5, and "I" means the result is inverted. Operation is an identical way to express the same thing; the syntax is <a,b> where each tone of the set x is transformed by the equation y = ax + b. A note about the multipliers: multiplying by 1 changes nothing, multiplying by 11 produces the same result as inversion. 5 is the only non-degenerate multiplier, with the multiplier 7 producing the inverse of 5.

Abbrev Operation Result Abbrev Operation Result
T0 <1,0> 2779       T0I <11,0> 2923
T1 <1,1> 1463      T1I <11,1> 1751
T2 <1,2> 2926      T2I <11,2> 3502
T3 <1,3> 1757      T3I <11,3> 2909
T4 <1,4> 3514      T4I <11,4> 1723
T5 <1,5> 2933      T5I <11,5> 3446
T6 <1,6> 1771      T6I <11,6> 2797
T7 <1,7> 3542      T7I <11,7> 1499
T8 <1,8> 2989      T8I <11,8> 2998
T9 <1,9> 1883      T9I <11,9> 1901
T10 <1,10> 3766      T10I <11,10> 3802
T11 <1,11> 3437      T11I <11,11> 3509
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 3049      T0MI <7,0> 763
T1M <5,1> 2003      T1MI <7,1> 1526
T2M <5,2> 4006      T2MI <7,2> 3052
T3M <5,3> 3917      T3MI <7,3> 2009
T4M <5,4> 3739      T4MI <7,4> 4018
T5M <5,5> 3383      T5MI <7,5> 3941
T6M <5,6> 2671      T6MI <7,6> 3787
T7M <5,7> 1247      T7MI <7,7> 3479
T8M <5,8> 2494      T8MI <7,8> 2863
T9M <5,9> 893      T9MI <7,9> 1631
T10M <5,10> 1786      T10MI <7,10> 3262
T11M <5,11> 3572      T11MI <7,11> 2429

The transformations that map this set to itself are: T0

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 2777Scale 2777: Aeolian Harmonic, Ian Ring Music TheoryAeolian Harmonic
Scale 2781Scale 2781: Gycryllic, Ian Ring Music TheoryGycryllic
Scale 2783Scale 2783: Gothygic, Ian Ring Music TheoryGothygic
Scale 2771Scale 2771: Marva That, Ian Ring Music TheoryMarva That
Scale 2775Scale 2775: Quartal Octamode 10th Rotation, Ian Ring Music TheoryQuartal Octamode 10th Rotation
Scale 2763Scale 2763: Mela Suvarnangi, Ian Ring Music TheoryMela Suvarnangi
Scale 2795Scale 2795: Van der Horst Octatonic, Ian Ring Music TheoryVan der Horst Octatonic
Scale 2811Scale 2811: Barygic, Ian Ring Music TheoryBarygic
Scale 2715Scale 2715: Kynian, Ian Ring Music TheoryKynian
Scale 2747Scale 2747: Stythyllic, Ian Ring Music TheoryStythyllic
Scale 2651Scale 2651: Panian, Ian Ring Music TheoryPanian
Scale 2907Scale 2907: Magen Abot 2, Ian Ring Music TheoryMagen Abot 2
Scale 3035Scale 3035: Gocrygic, Ian Ring Music TheoryGocrygic
Scale 2267Scale 2267: Padian, Ian Ring Music TheoryPadian
Scale 2523Scale 2523: Mirage Scale, Ian Ring Music TheoryMirage Scale
Scale 3291Scale 3291: Kodyllic, Ian Ring Music TheoryKodyllic
Scale 3803Scale 3803: Epidygic, Ian Ring Music TheoryEpidygic
Scale 731Scale 731: Alternating Heptamode, Ian Ring Music TheoryAlternating Heptamode
Scale 1755Scale 1755: Octatonic, Ian Ring Music TheoryOctatonic

This scale analysis was created by Ian Ring, Canadian Composer of works for Piano, and total music theory nerd. Scale notation generated by VexFlow and Lilypond, graph visualization by Graphviz, audio by TiMIDIty and FFMPEG. All other diagrams and visualizations are © Ian Ring. 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, and George Howlett for assistance with the Carnatic ragas.