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Scale 3563: "Ionoptygic"

Scale 3563: Ionoptygic, 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
Ionoptygic
Dozenal
Wenian

Analysis

Cardinality

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

9 (enneatonic)

Pitch Class Set

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

{0,1,3,5,6,7,8,10,11}

Forte Number

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

9-9

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.

[3]

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.

no

Hemitonia

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

6 (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.

1

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.

8

Prime Form

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

no
prime: 1519

Generator

Indicates if the scale can be constructed using a generator, and an origin.

generator: 5
origin: 7

Deep Scale

A deep scale is one where the interval vector has 6 different digits.

no

Interval Structure

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

[1, 2, 2, 1, 1, 1, 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.

<6, 7, 6, 6, 8, 3>

Interval Spectrum

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

p8m6n6s7d6t3

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

Spectra Variation

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

1.333

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.

2.799

Polygon Perimeter

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

6.106

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.

[6]

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.

(4, 83, 168)

Generator

This scale has a generator of 5, originating on 7.

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}242.57
D♯{3,7,10}342.21
F♯{6,10,1}342.43
G♯{8,0,3}342.29
B{11,3,6}342.21
Minor Triadscm{0,3,7}342.21
d♯m{3,6,10}342.29
fm{5,8,0}342.43
g♯m{8,11,3}342.21
a♯m{10,1,5}242.57
Augmented TriadsD♯+{3,7,11}442
Diminished Triads{0,3,6}242.57
{5,8,11}242.57
{7,10,1}242.57
Parsimonious Voice Leading Between Common Triads of Scale 3563. Created by Ian Ring ©2019 cm cm c°->cm B B c°->B D#+ D#+ cm->D#+ G# G# cm->G# C# C# fm fm C#->fm a#m a#m C#->a#m d#m d#m D# D# d#m->D# F# F# d#m->F# d#m->B D#->D#+ D#->g° g#m g#m D#+->g#m D#+->B f°->fm f°->g#m fm->G# F#->g° F#->a#m g#m->G#

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 3563 can be rotated to make 8 other scales. The 1st mode is itself.

2nd mode:
Scale 3829
Scale 3829: Taishikicho, Ian Ring Music TheoryTaishikicho
3rd mode:
Scale 1981
Scale 1981: Houseini, Ian Ring Music TheoryHouseini
4th mode:
Scale 1519
Scale 1519: Locrian/Aeolian Mixed, Ian Ring Music TheoryLocrian/Aeolian MixedThis is the prime mode
5th mode:
Scale 2807
Scale 2807: Zylygic, Ian Ring Music TheoryZylygic
6th mode:
Scale 3451
Scale 3451: Garygic, Ian Ring Music TheoryGarygic
7th mode:
Scale 3773
Scale 3773: Raga Malgunji, Ian Ring Music TheoryRaga Malgunji
8th mode:
Scale 1967
Scale 1967: Diatonic Dorian Mixed, Ian Ring Music TheoryDiatonic Dorian Mixed
9th mode:
Scale 3031
Scale 3031: Epithygic, Ian Ring Music TheoryEpithygic

Prime

The prime form of this scale is Scale 1519

Scale 1519Scale 1519: Locrian/Aeolian Mixed, Ian Ring Music TheoryLocrian/Aeolian Mixed

Complement

The enneatonic modal family [3563, 3829, 1981, 1519, 2807, 3451, 3773, 1967, 3031] (Forte: 9-9) is the complement of the tritonic modal family [133, 161, 1057] (Forte: 3-9)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 3563 is 2807

Scale 2807Scale 2807: Zylygic, Ian Ring Music TheoryZylygic

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> 3563       T0I <11,0> 2807
T1 <1,1> 3031      T1I <11,1> 1519
T2 <1,2> 1967      T2I <11,2> 3038
T3 <1,3> 3934      T3I <11,3> 1981
T4 <1,4> 3773      T4I <11,4> 3962
T5 <1,5> 3451      T5I <11,5> 3829
T6 <1,6> 2807      T6I <11,6> 3563
T7 <1,7> 1519      T7I <11,7> 3031
T8 <1,8> 3038      T8I <11,8> 1967
T9 <1,9> 1981      T9I <11,9> 3934
T10 <1,10> 3962      T10I <11,10> 3773
T11 <1,11> 3829      T11I <11,11> 3451
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 2303      T0MI <7,0> 4067
T1M <5,1> 511      T1MI <7,1> 4039
T2M <5,2> 1022      T2MI <7,2> 3983
T3M <5,3> 2044      T3MI <7,3> 3871
T4M <5,4> 4088      T4MI <7,4> 3647
T5M <5,5> 4081      T5MI <7,5> 3199
T6M <5,6> 4067      T6MI <7,6> 2303
T7M <5,7> 4039      T7MI <7,7> 511
T8M <5,8> 3983      T8MI <7,8> 1022
T9M <5,9> 3871      T9MI <7,9> 2044
T10M <5,10> 3647      T10MI <7,10> 4088
T11M <5,11> 3199      T11MI <7,11> 4081

The transformations that map this set to itself are: T0, T6I

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 3561Scale 3561: Pothyllic, Ian Ring Music TheoryPothyllic
Scale 3565Scale 3565: Aeolorygic, Ian Ring Music TheoryAeolorygic
Scale 3567Scale 3567: Epityllian, Ian Ring Music TheoryEpityllian
Scale 3555Scale 3555: Pylyllic, Ian Ring Music TheoryPylyllic
Scale 3559Scale 3559: Thophygic, Ian Ring Music TheoryThophygic
Scale 3571Scale 3571: Dyrygic, Ian Ring Music TheoryDyrygic
Scale 3579Scale 3579: Zyphyllian, Ian Ring Music TheoryZyphyllian
Scale 3531Scale 3531: Neveseri, Ian Ring Music TheoryNeveseri
Scale 3547Scale 3547: Sadygic, Ian Ring Music TheorySadygic
Scale 3499Scale 3499: Hamel, Ian Ring Music TheoryHamel
Scale 3435Scale 3435: Prokofiev, Ian Ring Music TheoryProkofiev
Scale 3307Scale 3307: Boptyllic, Ian Ring Music TheoryBoptyllic
Scale 3819Scale 3819: Aeolanygic, Ian Ring Music TheoryAeolanygic
Scale 4075Scale 4075: Katyllian, Ian Ring Music TheoryKatyllian
Scale 2539Scale 2539: Half-Diminished Bebop, Ian Ring Music TheoryHalf-Diminished Bebop
Scale 3051Scale 3051: Stalygic, Ian Ring Music TheoryStalygic
Scale 1515Scale 1515: Phrygian/Locrian Mixed, Ian Ring Music TheoryPhrygian/Locrian Mixed

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, and George Howlett for assistance with the Carnatic ragas.