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Scale 2863: "Aerogyllic"

Scale 2863: Aerogyllic, 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
Aerogyllic
Dozenal
SAJian

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

 {0,1,2,3,5,8,9,11}

Forte Number

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

 8-12

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: 3739

Hemitonia

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

 5 (multihemitonic)

Cohemitonia

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

 3 (tricohemitonic)

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.

 4

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 Starr/Rahn algorithm.

 no
prime: 763

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, 1, 1, 2, 3, 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.

 <5, 5, 6, 5, 4, 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.

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

Interval Spectrum

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

 p4m5n6s5d5t3

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

Spectra Variation

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

 2.5

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.

2.616

Polygon Perimeter

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

6.002

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".

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.

(46, 63, 142)

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.

0.59

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.

0.276

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♯{1,5,8}342
F{5,9,0}342
G♯{8,0,3}342
Minor Triadsdm{2,5,9}342.17
fm{5,8,0}441.83
g♯m{8,11,3}342.17
Augmented TriadsC♯+{1,5,9}342
Diminished Triadsd°{2,5,8}242.33
f°{5,8,11}242.17
g♯°{8,11,2}242.33
a°{9,0,3}242.33
b°{11,2,5}242.33
Parsimonious Voice Leading Between Common Triads of Scale 2863. Created by Ian Ring ©2019 C# C# C#+ C#+ C#->C#+ d° d° C#->d° fm fm C#->fm dm dm C#+->dm F F C#+->F d°->dm b° b° dm->b° f° f° f°->fm g#m g#m f°->g#m fm->F G# G# fm->G# a° a° F->a° g#° g#° g#°->g#m g#°->b° g#m->G# G#->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 2863 can be rotated to make 7 other scales. The 1st mode is itself.

2nd mode:
Scale 3479		Scale 3479: Rothyllic, Ian Ring Music TheoryRothyllic
3rd mode:
Scale 3787		Scale 3787: Kagyllic, Ian Ring Music TheoryKagyllic
4th mode:
Scale 3941		Scale 3941: Stathyllic, Ian Ring Music TheoryStathyllic
5th mode:
Scale 2009		Scale 2009: Stacryllic, Ian Ring Music TheoryStacryllic
6th mode:
Scale 763		Scale 763: Doryllic, Ian Ring Music TheoryDoryllicThis is the prime mode
7th mode:
Scale 2429		Scale 2429: Kadyllic, Ian Ring Music TheoryKadyllic
8th mode:
Scale 1631		Scale 1631: Rynyllic, Ian Ring Music TheoryRynyllic

Prime

The prime form of this scale is Scale 763

Scale 763Scale 763: Doryllic, Ian Ring Music TheoryDoryllic

Complement

The octatonic modal family [2863, 3479, 3787, 3941, 2009, 763, 2429, 1631] (Forte: 8-12) is the complement of the tetratonic modal family [77, 833, 1043, 2569] (Forte: 4-12)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 2863 is 3739

Scale 3739Scale 3739: Ioninyllic, Ian Ring Music TheoryIoninyllic

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 2863 is chiral, and its enantiomorph is scale 3739

Scale 3739Scale 3739: Ioninyllic, Ian Ring Music TheoryIoninyllic

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

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 2861Scale 2861: Hungarian Major 5th Mode, Ian Ring Music TheoryHungarian Major 5th Mode
Scale 2859Scale 2859: Phrycrian, Ian Ring Music TheoryPhrycrian
Scale 2855Scale 2855: Epocrian, Ian Ring Music TheoryEpocrian
Scale 2871Scale 2871: Stanyllic, Ian Ring Music TheoryStanyllic
Scale 2879Scale 2879: Stadygic, Ian Ring Music TheoryStadygic
Scale 2831Scale 2831: RUQian, Ian Ring Music TheoryRUQian
Scale 2847Scale 2847: Phracryllic, Ian Ring Music TheoryPhracryllic
Scale 2895Scale 2895: Aeragyllic, Ian Ring Music TheoryAeragyllic
Scale 2927Scale 2927: Rodygic, Ian Ring Music TheoryRodygic
Scale 2991Scale 2991: Zanygic, Ian Ring Music TheoryZanygic
Scale 2607Scale 2607: Aerolian, Ian Ring Music TheoryAerolian
Scale 2735Scale 2735: Gynyllic, Ian Ring Music TheoryGynyllic
Scale 2351Scale 2351: Gynian, Ian Ring Music TheoryGynian
Scale 3375Scale 3375: Kygyllic, Ian Ring Music TheoryKygyllic
Scale 3887Scale 3887: Phrathygic, Ian Ring Music TheoryPhrathygic
Scale 815Scale 815: Bolian, Ian Ring Music TheoryBolian
Scale 1839Scale 1839: Zogyllic, Ian Ring Music TheoryZogyllic

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.