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Scale 2983: "Zythyllic"

Scale 2983: Zythyllic, 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
Zythyllic

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

{0,1,2,5,7,8,9,11}

Forte Number

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

8-Z29

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: 3259

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.

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: 751

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.

[5, 5, 5, 5, 5, 3]

Interval Spectrum

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

p5m5n5s5d5t3

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> = {3,4,5,6}
<4> = {5,6,7}
<5> = {6,7,8,9}
<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.

2.25

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.

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 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

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}341.9
F{5,9,0}242.1
G{7,11,2}242.3
Minor Triadsdm{2,5,9}341.9
fm{5,8,0}341.9
Augmented TriadsC♯+{1,5,9}341.9
Diminished Triads{2,5,8}242.1
{5,8,11}242.1
g♯°{8,11,2}242.3
{11,2,5}242.1
Parsimonious Voice Leading Between Common Triads of Scale 2983. Created by Ian Ring ©2019 C# C# C#+ C#+ C#->C#+ C#->d° fm fm C#->fm dm dm C#+->dm F F C#+->F d°->dm dm->b° f°->fm g#° g#° f°->g#° fm->F Parsimonious Voice Leading Between Common Triads of Scale 2983. Created by Ian Ring ©2019 G G->g#° G->b°

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 2983 can be rotated to make 7 other scales. The 1st mode is itself.

2nd mode:
Scale 3539
Scale 3539: Aeoryllic, Ian Ring Music TheoryAeoryllic
3rd mode:
Scale 3817
Scale 3817: Zoryllic, Ian Ring Music TheoryZoryllic
4th mode:
Scale 989
Scale 989: Phrolyllic, Ian Ring Music TheoryPhrolyllic
5th mode:
Scale 1271
Scale 1271: Kolyllic, Ian Ring Music TheoryKolyllic
6th mode:
Scale 2683
Scale 2683: Thodyllic, Ian Ring Music TheoryThodyllic
7th mode:
Scale 3389
Scale 3389: Socryllic, Ian Ring Music TheorySocryllic
8th mode:
Scale 1871
Scale 1871: Aeolyllic, Ian Ring Music TheoryAeolyllic

Prime

The prime form of this scale is Scale 751

Scale 751Scale 751, Ian Ring Music Theory

Complement

The octatonic modal family [2983, 3539, 3817, 989, 1271, 2683, 3389, 1871] (Forte: 8-Z29) is the complement of the tetratonic modal family [139, 353, 1553, 2117] (Forte: 4-Z29)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 2983 is 3259

Scale 3259Scale 3259, Ian Ring Music Theory

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 2983 is chiral, and its enantiomorph is scale 3259

Scale 3259Scale 3259, Ian Ring Music Theory

Transformations:

T0 2983  T0I 3259
T1 1871  T1I 2423
T2 3742  T2I 751
T3 3389  T3I 1502
T4 2683  T4I 3004
T5 1271  T5I 1913
T6 2542  T6I 3826
T7 989  T7I 3557
T8 1978  T8I 3019
T9 3956  T9I 1943
T10 3817  T10I 3886
T11 3539  T11I 3677

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 2981Scale 2981: Ionolian, Ian Ring Music TheoryIonolian
Scale 2979Scale 2979: Gyptian, Ian Ring Music TheoryGyptian
Scale 2987Scale 2987: Neapolitan Major and Minor Mixed, Ian Ring Music TheoryNeapolitan Major and Minor Mixed
Scale 2991Scale 2991: Zanygic, Ian Ring Music TheoryZanygic
Scale 2999Scale 2999: Diminishing Nonamode, Ian Ring Music TheoryDiminishing Nonamode
Scale 2951Scale 2951, Ian Ring Music Theory
Scale 2967Scale 2967: Madyllic, Ian Ring Music TheoryMadyllic
Scale 3015Scale 3015: Laptyllic, Ian Ring Music TheoryLaptyllic
Scale 3047Scale 3047: Panygic, Ian Ring Music TheoryPanygic
Scale 2855Scale 2855: Epocrain, Ian Ring Music TheoryEpocrain
Scale 2919Scale 2919: Molyllic, Ian Ring Music TheoryMolyllic
Scale 2727Scale 2727: Mela Manavati, Ian Ring Music TheoryMela Manavati
Scale 2471Scale 2471: Mela Ganamurti, Ian Ring Music TheoryMela Ganamurti
Scale 3495Scale 3495: Banyllic, Ian Ring Music TheoryBanyllic
Scale 4007Scale 4007: Doptygic, Ian Ring Music TheoryDoptygic
Scale 935Scale 935: Chromatic Dorian, Ian Ring Music TheoryChromatic Dorian
Scale 1959Scale 1959: Katolyllic, Ian Ring Music TheoryKatolyllic

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.