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Scale 3645: "Zycryllic"

Scale 3645: Zycryllic, 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
Zycryllic

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

{0,2,3,4,5,9,10,11}

Forte Number

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

8-6

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.

[1]

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.

2

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: 495

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 Structure

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

[2, 1, 1, 1, 4, 1, 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, 5, 4, 4, 6, 3>

Interval Spectrum

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

p6m4n4s5d6t3

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

Spectra Variation

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

2.5

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.

2.366

Polygon Perimeter

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

5.838

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.

[2]

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.

(60, 47, 124)

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 TriadsF{5,9,0}231.5
A♯{10,2,5}241.83
Minor Triadsdm{2,5,9}231.5
am{9,0,4}241.83
Diminished Triads{9,0,3}152.5
{11,2,5}152.5
Parsimonious Voice Leading Between Common Triads of Scale 3645. Created by Ian Ring ©2019 dm dm F F dm->F A# A# dm->A# am am F->am a°->am 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 Verticesdm, F
Peripheral Verticesa°, b°

Modes

Modes are the rotational transformation of this scale. Scale 3645 can be rotated to make 7 other scales. The 1st mode is itself.

2nd mode:
Scale 1935
Scale 1935: Mycryllic, Ian Ring Music TheoryMycryllic
3rd mode:
Scale 3015
Scale 3015: Laptyllic, Ian Ring Music TheoryLaptyllic
4th mode:
Scale 3555
Scale 3555: Pylyllic, Ian Ring Music TheoryPylyllic
5th mode:
Scale 3825
Scale 3825: Pynyllic, Ian Ring Music TheoryPynyllic
6th mode:
Scale 495
Scale 495: Bocryllic, Ian Ring Music TheoryBocryllicThis is the prime mode
7th mode:
Scale 2295
Scale 2295: Kogyllic, Ian Ring Music TheoryKogyllic
8th mode:
Scale 3195
Scale 3195: Raryllic, Ian Ring Music TheoryRaryllic

Prime

The prime form of this scale is Scale 495

Scale 495Scale 495: Bocryllic, Ian Ring Music TheoryBocryllic

Complement

The octatonic modal family [3645, 1935, 3015, 3555, 3825, 495, 2295, 3195] (Forte: 8-6) is the complement of the tetratonic modal family [135, 225, 2115, 3105] (Forte: 4-6)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 3645 is 1935

Scale 1935Scale 1935: Mycryllic, Ian Ring Music TheoryMycryllic

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> 3645       T0I <11,0> 1935
T1 <1,1> 3195      T1I <11,1> 3870
T2 <1,2> 2295      T2I <11,2> 3645
T3 <1,3> 495      T3I <11,3> 3195
T4 <1,4> 990      T4I <11,4> 2295
T5 <1,5> 1980      T5I <11,5> 495
T6 <1,6> 3960      T6I <11,6> 990
T7 <1,7> 3825      T7I <11,7> 1980
T8 <1,8> 3555      T8I <11,8> 3960
T9 <1,9> 3015      T9I <11,9> 3825
T10 <1,10> 1935      T10I <11,10> 3555
T11 <1,11> 3870      T11I <11,11> 3015
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 1935      T0MI <7,0> 3645
T1M <5,1> 3870      T1MI <7,1> 3195
T2M <5,2> 3645       T2MI <7,2> 2295
T3M <5,3> 3195      T3MI <7,3> 495
T4M <5,4> 2295      T4MI <7,4> 990
T5M <5,5> 495      T5MI <7,5> 1980
T6M <5,6> 990      T6MI <7,6> 3960
T7M <5,7> 1980      T7MI <7,7> 3825
T8M <5,8> 3960      T8MI <7,8> 3555
T9M <5,9> 3825      T9MI <7,9> 3015
T10M <5,10> 3555      T10MI <7,10> 1935
T11M <5,11> 3015      T11MI <7,11> 3870

The transformations that map this set to itself are: T0, T2I, T2M, T0MI

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 3647Scale 3647: Nonatonic Chromatic 4, Ian Ring Music TheoryNonatonic Chromatic 4
Scale 3641Scale 3641: Thocrian, Ian Ring Music TheoryThocrian
Scale 3643Scale 3643: Kydyllic, Ian Ring Music TheoryKydyllic
Scale 3637Scale 3637: Raga Rageshri, Ian Ring Music TheoryRaga Rageshri
Scale 3629Scale 3629: Boptian, Ian Ring Music TheoryBoptian
Scale 3613Scale 3613: Wosian, Ian Ring Music TheoryWosian
Scale 3677Scale 3677: Xafian, Ian Ring Music TheoryXafian
Scale 3709Scale 3709: Katynygic, Ian Ring Music TheoryKatynygic
Scale 3773Scale 3773: Raga Malgunji, Ian Ring Music TheoryRaga Malgunji
Scale 3901Scale 3901: Bycrygic, Ian Ring Music TheoryBycrygic
Scale 3133Scale 3133: Tosian, Ian Ring Music TheoryTosian
Scale 3389Scale 3389: Socryllic, Ian Ring Music TheorySocryllic
Scale 2621Scale 2621: Ionogian, Ian Ring Music TheoryIonogian
Scale 1597Scale 1597: Aeolodian, Ian Ring Music TheoryAeolodian

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.