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Scale 3247: "Aeolonyllic"

Scale 3247: Aeolonyllic, 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
Aeolonyllic

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

{0,1,2,3,5,7,10,11}

Forte Number

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

8-11

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: 3751

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.

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: 703

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, 6, 5, 5, 5, 2]

Interval Spectrum

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

p5m5n5s6d5t2

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

2.75

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 TriadsD♯{3,7,10}231.78
G{7,11,2}331.56
A♯{10,2,5}341.78
Minor Triadscm{0,3,7}152.67
gm{7,10,2}431.44
a♯m{10,1,5}252.33
Augmented TriadsD♯+{3,7,11}341.89
Diminished Triads{7,10,1}242
{11,2,5}231.89
Parsimonious Voice Leading Between Common Triads of Scale 3247. Created by Ian Ring ©2019 cm cm D#+ D#+ cm->D#+ D# D# D#->D#+ gm gm D#->gm Parsimonious Voice Leading Between Common Triads of Scale 3247. Created by Ian Ring ©2019 G D#+->G g°->gm a#m a#m g°->a#m gm->G A# A# gm->A# G->b° a#m->A# A#->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.

Diameter5
Radius3
Self-Centeredno
Central VerticesD♯, gm, G, b°
Peripheral Verticescm, a♯m

Modes

Modes are the rotational transformation of this scale. Scale 3247 can be rotated to make 7 other scales. The 1st mode is itself.

2nd mode:
Scale 3671
Scale 3671: Aeonyllic, Ian Ring Music TheoryAeonyllic
3rd mode:
Scale 3883
Scale 3883: Kyryllic, Ian Ring Music TheoryKyryllic
4th mode:
Scale 3989
Scale 3989: Sythyllic, Ian Ring Music TheorySythyllic
5th mode:
Scale 2021
Scale 2021: Katycryllic, Ian Ring Music TheoryKatycryllic
6th mode:
Scale 1529
Scale 1529: Kataryllic, Ian Ring Music TheoryKataryllic
7th mode:
Scale 703
Scale 703: Aerocryllic, Ian Ring Music TheoryAerocryllicThis is the prime mode
8th mode:
Scale 2399
Scale 2399: Zanyllic, Ian Ring Music TheoryZanyllic

Prime

The prime form of this scale is Scale 703

Scale 703Scale 703: Aerocryllic, Ian Ring Music TheoryAerocryllic

Complement

The octatonic modal family [3247, 3671, 3883, 3989, 2021, 1529, 703, 2399] (Forte: 8-11) is the complement of the tetratonic modal family [43, 1409, 1541, 2069] (Forte: 4-11)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 3247 is 3751

Scale 3751Scale 3751: Aerathyllic, Ian Ring Music TheoryAerathyllic

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 3247 is chiral, and its enantiomorph is scale 3751

Scale 3751Scale 3751: Aerathyllic, Ian Ring Music TheoryAerathyllic

Transformations:

T0 3247  T0I 3751
T1 2399  T1I 3407
T2 703  T2I 2719
T3 1406  T3I 1343
T4 2812  T4I 2686
T5 1529  T5I 1277
T6 3058  T6I 2554
T7 2021  T7I 1013
T8 4042  T8I 2026
T9 3989  T9I 4052
T10 3883  T10I 4009
T11 3671  T11I 3923

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 3245Scale 3245: Mela Varunapriya, Ian Ring Music TheoryMela Varunapriya
Scale 3243Scale 3243: Mela Rupavati, Ian Ring Music TheoryMela Rupavati
Scale 3239Scale 3239: Mela Tanarupi, Ian Ring Music TheoryMela Tanarupi
Scale 3255Scale 3255: Daryllic, Ian Ring Music TheoryDaryllic
Scale 3263Scale 3263: Pyrygic, Ian Ring Music TheoryPyrygic
Scale 3215Scale 3215: Katydian, Ian Ring Music TheoryKatydian
Scale 3231Scale 3231: Kataptyllic, Ian Ring Music TheoryKataptyllic
Scale 3279Scale 3279: Pythyllic, Ian Ring Music TheoryPythyllic
Scale 3311Scale 3311: Mixodygic, Ian Ring Music TheoryMixodygic
Scale 3119Scale 3119, Ian Ring Music Theory
Scale 3183Scale 3183: Mixonyllic, Ian Ring Music TheoryMixonyllic
Scale 3375Scale 3375, Ian Ring Music Theory
Scale 3503Scale 3503: Zyphygic, Ian Ring Music TheoryZyphygic
Scale 3759Scale 3759: Darygic, Ian Ring Music TheoryDarygic
Scale 2223Scale 2223: Konian, Ian Ring Music TheoryKonian
Scale 2735Scale 2735: Gynyllic, Ian Ring Music TheoryGynyllic
Scale 1199Scale 1199: Magian, Ian Ring Music TheoryMagian

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.