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Scale 3509: "Stogyllic"

Scale 3509: Stogyllic, 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
Stogyllic

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

{0,2,4,5,7,8,10,11}

Forte Number

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

8-27

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: 1463

Hemitonia

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

4 (multihemitonic)

Cohemitonia

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

1 (uncohemitonic)

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: 1463

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.

[4, 5, 6, 5, 5, 3]

Interval Spectrum

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

p5m5n6s5d4t3

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

Spectra Variation

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

1.25

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.

yes

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.

2.732

Polygon Perimeter

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

6.071

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".

Proper

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{0,4,7}242.23
E{4,8,11}441.92
G{7,11,2}441.92
A♯{10,2,5}342.23
Minor Triadsem{4,7,11}441.85
fm{5,8,0}342.23
gm{7,10,2}342.15
Augmented TriadsC+{0,4,8}342.15
Diminished Triads{2,5,8}242.31
{4,7,10}242.23
{5,8,11}242.31
g♯°{8,11,2}242.15
{11,2,5}242.31
Parsimonious Voice Leading Between Common Triads of Scale 3509. Created by Ian Ring ©2019 C C C+ C+ C->C+ em em C->em E E C+->E fm fm C+->fm d°->fm A# A# d°->A# e°->em gm gm e°->gm em->E Parsimonious Voice Leading Between Common Triads of Scale 3509. Created by Ian Ring ©2019 G em->G E->f° g#° g#° E->g#° f°->fm gm->G gm->A# G->g#° G->b° A#->b°

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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 3509 can be rotated to make 7 other scales. The 1st mode is itself.

2nd mode:
Scale 1901
Scale 1901: Ionidyllic, Ian Ring Music TheoryIonidyllic
3rd mode:
Scale 1499
Scale 1499: Bebop Locrian, Ian Ring Music TheoryBebop Locrian
4th mode:
Scale 2797
Scale 2797: Stalyllic, Ian Ring Music TheoryStalyllic
5th mode:
Scale 1723
Scale 1723: JG Octatonic, Ian Ring Music TheoryJG Octatonic
6th mode:
Scale 2909
Scale 2909: Mocryllic, Ian Ring Music TheoryMocryllic
7th mode:
Scale 1751
Scale 1751: Aeolyryllic, Ian Ring Music TheoryAeolyryllic
8th mode:
Scale 2923
Scale 2923: Baryllic, Ian Ring Music TheoryBaryllic

Prime

The prime form of this scale is Scale 1463

Scale 1463Scale 1463, Ian Ring Music Theory

Complement

The octatonic modal family [3509, 1901, 1499, 2797, 1723, 2909, 1751, 2923] (Forte: 8-27) is the complement of the tetratonic modal family [293, 593, 649, 1097] (Forte: 4-27)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 3509 is 1463

Scale 1463Scale 1463, Ian Ring Music Theory

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 3509 is chiral, and its enantiomorph is scale 1463

Scale 1463Scale 1463, Ian Ring Music Theory

Transformations:

T0 3509  T0I 1463
T1 2923  T1I 2926
T2 1751  T2I 1757
T3 3502  T3I 3514
T4 2909  T4I 2933
T5 1723  T5I 1771
T6 3446  T6I 3542
T7 2797  T7I 2989
T8 1499  T8I 1883
T9 2998  T9I 3766
T10 1901  T10I 3437
T11 3802  T11I 2779

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 3511Scale 3511: Epolygic, Ian Ring Music TheoryEpolygic
Scale 3505Scale 3505: Stygian, Ian Ring Music TheoryStygian
Scale 3507Scale 3507: Maqam Hijaz, Ian Ring Music TheoryMaqam Hijaz
Scale 3513Scale 3513: Dydyllic, Ian Ring Music TheoryDydyllic
Scale 3517Scale 3517: Epocrygic, Ian Ring Music TheoryEpocrygic
Scale 3493Scale 3493: Rathian, Ian Ring Music TheoryRathian
Scale 3501Scale 3501: Maqam Nahawand, Ian Ring Music TheoryMaqam Nahawand
Scale 3477Scale 3477: Kyptian, Ian Ring Music TheoryKyptian
Scale 3541Scale 3541: Racryllic, Ian Ring Music TheoryRacryllic
Scale 3573Scale 3573: Kaptygic, Ian Ring Music TheoryKaptygic
Scale 3381Scale 3381: Katanian, Ian Ring Music TheoryKatanian
Scale 3445Scale 3445: Messiaen Mode 6 Inverse, Ian Ring Music TheoryMessiaen Mode 6 Inverse
Scale 3253Scale 3253: Mela Naganandini, Ian Ring Music TheoryMela Naganandini
Scale 3765Scale 3765: Dominant Bebop, Ian Ring Music TheoryDominant Bebop
Scale 4021Scale 4021: Raga Pahadi, Ian Ring Music TheoryRaga Pahadi
Scale 2485Scale 2485: Harmonic Major, Ian Ring Music TheoryHarmonic Major
Scale 2997Scale 2997: Major Bebop, Ian Ring Music TheoryMajor Bebop
Scale 1461Scale 1461: Major-Minor, Ian Ring Music TheoryMajor-Minor

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.