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Scale 2847: "Phracryllic"

Scale 2847: Phracryllic, 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

Zeitler
Phracryllic

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

{0,1,2,3,4,8,9,11}

Forte Number

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

8-4

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: 3867

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.

4 (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.

7

Prime Form

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

no
prime: 447

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.

no

Interval Structure

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

[1, 1, 1, 1, 4, 1, 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.

<6, 5, 5, 5, 5, 2>

Interval Spectrum

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

p5m5n5s5d6t2

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> = {1,2,4}
<2> = {2,3,5}
<3> = {3,4,6,7}
<4> = {4,5,7,8}
<5> = {5,6,8,9}
<6> = {7,9,10}
<7> = {8,10,11}

Spectra Variation

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

3

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.

no

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.

2.366

Polygon Perimeter

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

5.838

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.

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".

Improper

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.

(75, 56, 136)

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 TriadsE{4,8,11}231.78
G♯{8,0,3}331.56
A{9,1,4}252.33
Minor Triadsc♯m{1,4,8}242
g♯m{8,11,3}341.89
am{9,0,4}341.78
Augmented TriadsC+{0,4,8}431.44
Diminished Triadsg♯°{8,11,2}152.67
{9,0,3}231.89
Parsimonious Voice Leading Between Common Triads of Scale 2847. Created by Ian Ring ©2019 C+ C+ c#m c#m C+->c#m E E C+->E G# G# C+->G# am am C+->am A A c#m->A g#m g#m E->g#m g#° g#° g#°->g#m g#m->G# G#->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.

Diameter5
Radius3
Self-Centeredno
Central VerticesC+, E, G♯, a°
Peripheral Verticesg♯°, A

Modes

Modes are the rotational transformation of this scale. Scale 2847 can be rotated to make 7 other scales. The 1st mode is itself.

2nd mode:
Scale 3471
Scale 3471: Gyryllic, Ian Ring Music TheoryGyryllic
3rd mode:
Scale 3783
Scale 3783: Phrygyllic, Ian Ring Music TheoryPhrygyllic
4th mode:
Scale 3939
Scale 3939: Dogyllic, Ian Ring Music TheoryDogyllic
5th mode:
Scale 4017
Scale 4017: Dolyllic, Ian Ring Music TheoryDolyllic
6th mode:
Scale 507
Scale 507: Moryllic, Ian Ring Music TheoryMoryllic
7th mode:
Scale 2301
Scale 2301: Bydyllic, Ian Ring Music TheoryBydyllic
8th mode:
Scale 1599
Scale 1599: Pocryllic, Ian Ring Music TheoryPocryllic

Prime

The prime form of this scale is Scale 447

Scale 447Scale 447: Thyphyllic, Ian Ring Music TheoryThyphyllic

Complement

The octatonic modal family [2847, 3471, 3783, 3939, 4017, 507, 2301, 1599] (Forte: 8-4) is the complement of the tetratonic modal family [39, 897, 2067, 3081] (Forte: 4-4)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 2847 is 3867

Scale 3867Scale 3867: Storyllic, Ian Ring Music TheoryStoryllic

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 2847 is chiral, and its enantiomorph is scale 3867

Scale 3867Scale 3867: Storyllic, Ian Ring Music TheoryStoryllic

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

Abbrev Operation Result Abbrev Operation Result
T0 <1,0> 2847       T0I <11,0> 3867
T1 <1,1> 1599      T1I <11,1> 3639
T2 <1,2> 3198      T2I <11,2> 3183
T3 <1,3> 2301      T3I <11,3> 2271
T4 <1,4> 507      T4I <11,4> 447
T5 <1,5> 1014      T5I <11,5> 894
T6 <1,6> 2028      T6I <11,6> 1788
T7 <1,7> 4056      T7I <11,7> 3576
T8 <1,8> 4017      T8I <11,8> 3057
T9 <1,9> 3939      T9I <11,9> 2019
T10 <1,10> 3783      T10I <11,10> 4038
T11 <1,11> 3471      T11I <11,11> 3981
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 1977      T0MI <7,0> 957
T1M <5,1> 3954      T1MI <7,1> 1914
T2M <5,2> 3813      T2MI <7,2> 3828
T3M <5,3> 3531      T3MI <7,3> 3561
T4M <5,4> 2967      T4MI <7,4> 3027
T5M <5,5> 1839      T5MI <7,5> 1959
T6M <5,6> 3678      T6MI <7,6> 3918
T7M <5,7> 3261      T7MI <7,7> 3741
T8M <5,8> 2427      T8MI <7,8> 3387
T9M <5,9> 759      T9MI <7,9> 2679
T10M <5,10> 1518      T10MI <7,10> 1263
T11M <5,11> 3036      T11MI <7,11> 2526

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 2845Scale 2845: Baptian, Ian Ring Music TheoryBaptian
Scale 2843Scale 2843: Sorian, Ian Ring Music TheorySorian
Scale 2839Scale 2839: Lyptian, Ian Ring Music TheoryLyptian
Scale 2831Scale 2831: Ruqian, Ian Ring Music TheoryRuqian
Scale 2863Scale 2863: Aerogyllic, Ian Ring Music TheoryAerogyllic
Scale 2879Scale 2879: Stadygic, Ian Ring Music TheoryStadygic
Scale 2911Scale 2911: Katygic, Ian Ring Music TheoryKatygic
Scale 2975Scale 2975: Aeroptygic, Ian Ring Music TheoryAeroptygic
Scale 2591Scale 2591: Puwian, Ian Ring Music TheoryPuwian
Scale 2719Scale 2719: Zocryllic, Ian Ring Music TheoryZocryllic
Scale 2335Scale 2335: Epydian, Ian Ring Music TheoryEpydian
Scale 3359Scale 3359: Bonyllic, Ian Ring Music TheoryBonyllic
Scale 3871Scale 3871: Nonatonic Chromatic 5, Ian Ring Music TheoryNonatonic Chromatic 5
Scale 799Scale 799: Lolian, Ian Ring Music TheoryLolian
Scale 1823Scale 1823: Phralyllic, Ian Ring Music TheoryPhralyllic

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. 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.