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Scale 3347: "Synimic"

Scale 3347: Synimic, 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
Synimic

Analysis

Cardinality

Cardinality is the count of how many pitches are in the scale.

6 (hexatonic)

Pitch Class Set

The tones in this scale, expressed as numbers from 0 to 11

{0,1,4,8,10,11}

Forte Number

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

6-Z39

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: 2327

Hemitonia

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

3 (trihemitonic)

Cohemitonia

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

2 (dicohemitonic)

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.

5

Prime Form

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

no
prime: 317

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 Formula

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

[1, 3, 4, 2, 1, 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.

<3, 3, 3, 3, 2, 1>

Interval Spectrum

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

p2m3n3s3d3t

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

Spectra Variation

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

3.667

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.

2.116

Polygon Perimeter

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

5.699

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.

(29, 19, 67)

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}131.5
Minor Triadsc♯m{1,4,8}221
Augmented TriadsC+{0,4,8}221
Diminished Triadsa♯°{10,1,4}131.5
Parsimonious Voice Leading Between Common Triads of Scale 3347. Created by Ian Ring ©2019 C+ C+ c#m c#m C+->c#m E E C+->E a#° a#° c#m->a#°

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.

Diameter3
Radius2
Self-Centeredno
Central VerticesC+, c♯m
Peripheral VerticesE, a♯°

Modes

Modes are the rotational transformation of this scale. Scale 3347 can be rotated to make 5 other scales. The 1st mode is itself.

2nd mode:
Scale 3721
Scale 3721: Phragimic, Ian Ring Music TheoryPhragimic
3rd mode:
Scale 977
Scale 977: Kocrimic, Ian Ring Music TheoryKocrimic
4th mode:
Scale 317
Scale 317: Korimic, Ian Ring Music TheoryKorimicThis is the prime mode
5th mode:
Scale 1103
Scale 1103: Lynimic, Ian Ring Music TheoryLynimic
6th mode:
Scale 2599
Scale 2599: Malimic, Ian Ring Music TheoryMalimic

Prime

The prime form of this scale is Scale 317

Scale 317Scale 317: Korimic, Ian Ring Music TheoryKorimic

Complement

The hexatonic modal family [3347, 3721, 977, 317, 1103, 2599] (Forte: 6-Z39) is the complement of the hexatonic modal family [187, 1559, 1889, 2141, 2827, 3461] (Forte: 6-Z10)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 3347 is 2327

Scale 2327Scale 2327: Epalimic, Ian Ring Music TheoryEpalimic

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 3347 is chiral, and its enantiomorph is scale 2327

Scale 2327Scale 2327: Epalimic, Ian Ring Music TheoryEpalimic

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> 3347       T0I <11,0> 2327
T1 <1,1> 2599      T1I <11,1> 559
T2 <1,2> 1103      T2I <11,2> 1118
T3 <1,3> 2206      T3I <11,3> 2236
T4 <1,4> 317      T4I <11,4> 377
T5 <1,5> 634      T5I <11,5> 754
T6 <1,6> 1268      T6I <11,6> 1508
T7 <1,7> 2536      T7I <11,7> 3016
T8 <1,8> 977      T8I <11,8> 1937
T9 <1,9> 1954      T9I <11,9> 3874
T10 <1,10> 3908      T10I <11,10> 3653
T11 <1,11> 3721      T11I <11,11> 3211
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 437      T0MI <7,0> 1457
T1M <5,1> 874      T1MI <7,1> 2914
T2M <5,2> 1748      T2MI <7,2> 1733
T3M <5,3> 3496      T3MI <7,3> 3466
T4M <5,4> 2897      T4MI <7,4> 2837
T5M <5,5> 1699      T5MI <7,5> 1579
T6M <5,6> 3398      T6MI <7,6> 3158
T7M <5,7> 2701      T7MI <7,7> 2221
T8M <5,8> 1307      T8MI <7,8> 347
T9M <5,9> 2614      T9MI <7,9> 694
T10M <5,10> 1133      T10MI <7,10> 1388
T11M <5,11> 2266      T11MI <7,11> 2776

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 3345Scale 3345: Zylitonic, Ian Ring Music TheoryZylitonic
Scale 3349Scale 3349: Aeolocrimic, Ian Ring Music TheoryAeolocrimic
Scale 3351Scale 3351: Crater Scale, Ian Ring Music TheoryCrater Scale
Scale 3355Scale 3355: Bagian, Ian Ring Music TheoryBagian
Scale 3331Scale 3331, Ian Ring Music Theory
Scale 3339Scale 3339, Ian Ring Music Theory
Scale 3363Scale 3363: Rogimic, Ian Ring Music TheoryRogimic
Scale 3379Scale 3379: Verdi's Scala Enigmatica Descending, Ian Ring Music TheoryVerdi's Scala Enigmatica Descending
Scale 3411Scale 3411: Enigmatic, Ian Ring Music TheoryEnigmatic
Scale 3475Scale 3475: Kylian, Ian Ring Music TheoryKylian
Scale 3091Scale 3091, Ian Ring Music Theory
Scale 3219Scale 3219: Ionaphimic, Ian Ring Music TheoryIonaphimic
Scale 3603Scale 3603, Ian Ring Music Theory
Scale 3859Scale 3859: Aeolarian, Ian Ring Music TheoryAeolarian
Scale 2323Scale 2323: Doptitonic, Ian Ring Music TheoryDoptitonic
Scale 2835Scale 2835: Ionygimic, Ian Ring Music TheoryIonygimic
Scale 1299Scale 1299: Aerophitonic, Ian Ring Music TheoryAerophitonic

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.