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Scale 3447: "Kynygic"

Scale 3447: Kynygic, 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

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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
Kynygic

Analysis

Cardinality9 (nonatonic)
Pitch Class Set{0,1,2,4,5,6,8,10,11}
Forte Number9-8
Rotational Symmetrynone
Reflection Axesnone
Palindromicno
Chiralityyes
enantiomorph: 3543
Hemitonia6 (multihemitonic)
Cohemitonia4 (multicohemitonic)
Imperfections3
Modes8
Prime?no
prime: 1503
Deep Scaleno
Interval Vector676764
Interval Spectrump6m7n6s7d6t4
Distribution Spectra<1> = {1,2}
<2> = {2,3,4}
<3> = {3,4,5}
<4> = {4,5,6}
<5> = {6,7,8}
<6> = {7,8,9}
<7> = {8,9,10}
<8> = {10,11}
Spectra Variation1.556
Maximally Evenno
Maximal Area Setyes
Interior Area2.799
Myhill Propertyno
Balancedno
Ridge Tonesnone
ProprietyImproper
Heliotonicno

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}442.07
E{4,8,11}342.47
F♯{6,10,1}242.47
A♯{10,2,5}442.2
Minor Triadsc♯m{1,4,8}342.33
fm{5,8,0}342.33
a♯m{10,1,5}442.07
bm{11,2,6}342.47
Augmented TriadsC+{0,4,8}342.4
D+{2,6,10}342.4
Diminished Triads{2,5,8}242.33
{5,8,11}242.67
g♯°{8,11,2}242.53
a♯°{10,1,4}242.47
{11,2,5}242.53
Parsimonious Voice Leading Between Common Triads of Scale 3447. Created by Ian Ring ©2019 C+ C+ c#m c#m C+->c#m E E C+->E fm fm C+->fm C# C# c#m->C# a#° a#° c#m->a#° C#->d° C#->fm a#m a#m C#->a#m A# A# d°->A# D+ D+ F# F# D+->F# D+->A# bm bm D+->bm E->f° g#° g#° E->g#° f°->fm F#->a#m g#°->bm a#°->a#m a#m->A# A#->b° b°->bm

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 3447 can be rotated to make 8 other scales. The 1st mode is itself.

2nd mode:
Scale 3771
Scale 3771: Stophygic, Ian Ring Music TheoryStophygic
3rd mode:
Scale 3933
Scale 3933: Ionidygic, Ian Ring Music TheoryIonidygic
4th mode:
Scale 2007
Scale 2007: Stonygic, Ian Ring Music TheoryStonygic
5th mode:
Scale 3051
Scale 3051: Stalygic, Ian Ring Music TheoryStalygic
6th mode:
Scale 3573
Scale 3573: Kaptygic, Ian Ring Music TheoryKaptygic
7th mode:
Scale 1917
Scale 1917: Sacrygic, Ian Ring Music TheorySacrygic
8th mode:
Scale 1503
Scale 1503: Padygic, Ian Ring Music TheoryPadygicThis is the prime mode
9th mode:
Scale 2799
Scale 2799: Epilygic, Ian Ring Music TheoryEpilygic

Prime

The prime form of this scale is Scale 1503

Scale 1503Scale 1503: Padygic, Ian Ring Music TheoryPadygic

Complement

The nonatonic modal family [3447, 3771, 3933, 2007, 3051, 3573, 1917, 1503, 2799] (Forte: 9-8) is the complement of the tritonic modal family [69, 321, 1041] (Forte: 3-8)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 3447 is 3543

Scale 3543Scale 3543: Aeolonygic, Ian Ring Music TheoryAeolonygic

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 3447 is chiral, and its enantiomorph is scale 3543

Scale 3543Scale 3543: Aeolonygic, Ian Ring Music TheoryAeolonygic

Transformations:

T0 3447  T0I 3543
T1 2799  T1I 2991
T2 1503  T2I 1887
T3 3006  T3I 3774
T4 1917  T4I 3453
T5 3834  T5I 2811
T6 3573  T6I 1527
T7 3051  T7I 3054
T8 2007  T8I 2013
T9 4014  T9I 4026
T10 3933  T10I 3957
T11 3771  T11I 3819

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 3445Scale 3445: Messiaen Mode 6 Inverse, Ian Ring Music TheoryMessiaen Mode 6 Inverse
Scale 3443Scale 3443: Verdi's Scala Enigmatica, Ian Ring Music TheoryVerdi's Scala Enigmatica
Scale 3451Scale 3451: Garygic, Ian Ring Music TheoryGarygic
Scale 3455Scale 3455: Ryptyllian, Ian Ring Music TheoryRyptyllian
Scale 3431Scale 3431: Zyptyllic, Ian Ring Music TheoryZyptyllic
Scale 3439Scale 3439: Lythygic, Ian Ring Music TheoryLythygic
Scale 3415Scale 3415: Ionaptyllic, Ian Ring Music TheoryIonaptyllic
Scale 3383Scale 3383: Zoptyllic, Ian Ring Music TheoryZoptyllic
Scale 3511Scale 3511: Epolygic, Ian Ring Music TheoryEpolygic
Scale 3575Scale 3575: Symmetrical Decatonic, Ian Ring Music TheorySymmetrical Decatonic
Scale 3191Scale 3191: Bynyllic, Ian Ring Music TheoryBynyllic
Scale 3319Scale 3319: Tholygic, Ian Ring Music TheoryTholygic
Scale 3703Scale 3703: Katalygic, Ian Ring Music TheoryKatalygic
Scale 3959Scale 3959: Katagyllian, Ian Ring Music TheoryKatagyllian
Scale 2423Scale 2423, Ian Ring Music Theory
Scale 2935Scale 2935: Modygic, Ian Ring Music TheoryModygic
Scale 1399Scale 1399: Syryllic, Ian Ring Music TheorySyryllic

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.