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Scale 2797: "Stalyllic"

Scale 2797: Stalyllic, 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
Stalyllic

Analysis

Cardinality8 (octatonic)
Pitch Class Set{0,2,3,5,6,7,9,11}
Forte Number8-27
Rotational Symmetrynone
Reflection Axesnone
Palindromicno
Chiralityyes
enantiomorph: 1771
Hemitonia4 (multihemitonic)
Cohemitonia1 (uncohemitonic)
Imperfections3
Modes7
Prime?no
prime: 1463
Deep Scaleno
Interval Vector456553
Interval Spectrump5m5n6s5d4t3
Distribution Spectra<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 Variation1.25
Maximally Evenno
Maximal Area Setyes
Interior Area2.732
Myhill Propertyno
Balancedno
Ridge Tonesnone
ProprietyProper
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 TriadsD{2,6,9}441.92
F{5,9,0}342.23
G{7,11,2}242.23
B{11,3,6}441.92
Minor Triadscm{0,3,7}342.23
dm{2,5,9}342.15
bm{11,2,6}441.85
Augmented TriadsD♯+{3,7,11}342.15
Diminished Triads{0,3,6}242.31
d♯°{3,6,9}242.15
f♯°{6,9,0}242.31
{9,0,3}242.31
{11,2,5}242.23
Parsimonious Voice Leading Between Common Triads of Scale 2797. Created by Ian Ring ©2019 cm cm c°->cm B B c°->B D#+ D#+ cm->D#+ cm->a° dm dm D D dm->D F F dm->F dm->b° d#° d#° D->d#° f#° f#° D->f#° bm bm D->bm d#°->B Parsimonious Voice Leading Between Common Triads of Scale 2797. Created by Ian Ring ©2019 G D#+->G D#+->B F->f#° F->a° 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.

Diameter4
Radius4
Self-Centeredyes

Modes

Modes are the rotational transformation of this scale. Scale 2797 can be rotated to make 7 other scales. The 1st mode is itself.

2nd mode:
Scale 1723
Scale 1723: JG Octatonic, Ian Ring Music TheoryJG Octatonic
3rd mode:
Scale 2909
Scale 2909: Mocryllic, Ian Ring Music TheoryMocryllic
4th mode:
Scale 1751
Scale 1751: Aeolyryllic, Ian Ring Music TheoryAeolyryllic
5th mode:
Scale 2923
Scale 2923: Baryllic, Ian Ring Music TheoryBaryllic
6th mode:
Scale 3509
Scale 3509: Stogyllic, Ian Ring Music TheoryStogyllic
7th mode:
Scale 1901
Scale 1901: Ionidyllic, Ian Ring Music TheoryIonidyllic
8th mode:
Scale 1499
Scale 1499: Bebop Locrian, Ian Ring Music TheoryBebop Locrian

Prime

The prime form of this scale is Scale 1463

Scale 1463Scale 1463, Ian Ring Music Theory

Complement

The octatonic modal family [2797, 1723, 2909, 1751, 2923, 3509, 1901, 1499] (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 2797 is 1771

Scale 1771Scale 1771, Ian Ring Music Theory

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 2797 is chiral, and its enantiomorph is scale 1771

Scale 1771Scale 1771, Ian Ring Music Theory

Transformations:

T0 2797  T0I 1771
T1 1499  T1I 3542
T2 2998  T2I 2989
T3 1901  T3I 1883
T4 3802  T4I 3766
T5 3509  T5I 3437
T6 2923  T6I 2779
T7 1751  T7I 1463
T8 3502  T8I 2926
T9 2909  T9I 1757
T10 1723  T10I 3514
T11 3446  T11I 2933

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 2799Scale 2799: Epilygic, Ian Ring Music TheoryEpilygic
Scale 2793Scale 2793: Eporian, Ian Ring Music TheoryEporian
Scale 2795Scale 2795: Van der Horst Octatonic, Ian Ring Music TheoryVan der Horst Octatonic
Scale 2789Scale 2789: Zolian, Ian Ring Music TheoryZolian
Scale 2805Scale 2805: Ishikotsucho, Ian Ring Music TheoryIshikotsucho
Scale 2813Scale 2813: Zolygic, Ian Ring Music TheoryZolygic
Scale 2765Scale 2765: Lydian Diminished, Ian Ring Music TheoryLydian Diminished
Scale 2781Scale 2781: Gycryllic, Ian Ring Music TheoryGycryllic
Scale 2733Scale 2733: Melodic Minor Ascending, Ian Ring Music TheoryMelodic Minor Ascending
Scale 2669Scale 2669: Jeths' Mode, Ian Ring Music TheoryJeths' Mode
Scale 2925Scale 2925: Diminished, Ian Ring Music TheoryDiminished
Scale 3053Scale 3053: Zycrygic, Ian Ring Music TheoryZycrygic
Scale 2285Scale 2285: Aerogian, Ian Ring Music TheoryAerogian
Scale 2541Scale 2541: Algerian, Ian Ring Music TheoryAlgerian
Scale 3309Scale 3309: Bycryllic, Ian Ring Music TheoryBycryllic
Scale 3821Scale 3821: Epyrygic, Ian Ring Music TheoryEpyrygic
Scale 749Scale 749: Aeologian, Ian Ring Music TheoryAeologian
Scale 1773Scale 1773: Blues Scale II, Ian Ring Music TheoryBlues Scale II

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.