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Scale 3879: "Pathyllic"

Scale 3879: Pathyllic, 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
Pathyllic
Dozenal
Sadian
Yocian

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

{0,1,2,5,8,9,10,11}

Forte Number

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

8-3

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.

[5]

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.

5 (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.

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.

7

Prime Form

Describes if this scale is in prime form, using the Starr/Rahn algorithm.

no
prime: 639

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, an indicator of maximum hierarchization.

no

Interval Structure

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

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

Interval Spectrum

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

p4m5n6s5d6t2

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

Spectra Variation

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

3

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.

2.5

Polygon Perimeter

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

5.934

Myhill Property

A scale has Myhill Property if the Distribution Spectra have 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.

[10]

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.

(94, 41, 119)

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}341.91
F{5,9,0}242.09
A♯{10,2,5}342
Minor Triadsdm{2,5,9}341.91
fm{5,8,0}342
a♯m{10,1,5}242.09
Augmented TriadsC♯+{1,5,9}441.82
Diminished Triads{2,5,8}242.18
{5,8,11}242.27
g♯°{8,11,2}242.36
{11,2,5}242.27
Parsimonious Voice Leading Between Common Triads of Scale 3879. Created by Ian Ring ©2019 C# C# C#+ C#+ C#->C#+ C#->d° fm fm C#->fm dm dm C#+->dm F F C#+->F a#m a#m C#+->a#m d°->dm A# A# dm->A# f°->fm g#° g#° f°->g#° fm->F g#°->b° a#m->A# 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.

Diameter4
Radius4
Self-Centeredyes

Modes

Modes are the rotational transformation of this scale. Scale 3879 can be rotated to make 7 other scales. The 1st mode is itself.

2nd mode:
Scale 3987
Scale 3987: Loryllic, Ian Ring Music TheoryLoryllic
3rd mode:
Scale 4041
Scale 4041: Zaryllic, Ian Ring Music TheoryZaryllic
4th mode:
Scale 1017
Scale 1017: Dythyllic, Ian Ring Music TheoryDythyllic
5th mode:
Scale 639
Scale 639: Ionaryllic, Ian Ring Music TheoryIonaryllicThis is the prime mode
6th mode:
Scale 2367
Scale 2367: Laryllic, Ian Ring Music TheoryLaryllic
7th mode:
Scale 3231
Scale 3231: Kataptyllic, Ian Ring Music TheoryKataptyllic
8th mode:
Scale 3663
Scale 3663: Sonyllic, Ian Ring Music TheorySonyllic

Prime

The prime form of this scale is Scale 639

Scale 639Scale 639: Ionaryllic, Ian Ring Music TheoryIonaryllic

Complement

The octatonic modal family [3879, 3987, 4041, 1017, 639, 2367, 3231, 3663] (Forte: 8-3) is the complement of the tetratonic modal family [27, 1539, 2061, 2817] (Forte: 4-3)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 3879 is 3231

Scale 3231Scale 3231: Kataptyllic, Ian Ring Music TheoryKataptyllic

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> 3879       T0I <11,0> 3231
T1 <1,1> 3663      T1I <11,1> 2367
T2 <1,2> 3231      T2I <11,2> 639
T3 <1,3> 2367      T3I <11,3> 1278
T4 <1,4> 639      T4I <11,4> 2556
T5 <1,5> 1278      T5I <11,5> 1017
T6 <1,6> 2556      T6I <11,6> 2034
T7 <1,7> 1017      T7I <11,7> 4068
T8 <1,8> 2034      T8I <11,8> 4041
T9 <1,9> 4068      T9I <11,9> 3987
T10 <1,10> 4041      T10I <11,10> 3879
T11 <1,11> 3987      T11I <11,11> 3663
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 1719      T0MI <7,0> 3501
T1M <5,1> 3438      T1MI <7,1> 2907
T2M <5,2> 2781      T2MI <7,2> 1719
T3M <5,3> 1467      T3MI <7,3> 3438
T4M <5,4> 2934      T4MI <7,4> 2781
T5M <5,5> 1773      T5MI <7,5> 1467
T6M <5,6> 3546      T6MI <7,6> 2934
T7M <5,7> 2997      T7MI <7,7> 1773
T8M <5,8> 1899      T8MI <7,8> 3546
T9M <5,9> 3798      T9MI <7,9> 2997
T10M <5,10> 3501      T10MI <7,10> 1899
T11M <5,11> 2907      T11MI <7,11> 3798

The transformations that map this set to itself are: T0, T10I

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 3877Scale 3877: Thanian, Ian Ring Music TheoryThanian
Scale 3875Scale 3875: Aeryptian, Ian Ring Music TheoryAeryptian
Scale 3883Scale 3883: Kyryllic, Ian Ring Music TheoryKyryllic
Scale 3887Scale 3887: Phrathygic, Ian Ring Music TheoryPhrathygic
Scale 3895Scale 3895: Eparygic, Ian Ring Music TheoryEparygic
Scale 3847Scale 3847: Heptatonic Chromatic 5, Ian Ring Music TheoryHeptatonic Chromatic 5
Scale 3863Scale 3863: Eparyllic, Ian Ring Music TheoryEparyllic
Scale 3911Scale 3911: Katyryllic, Ian Ring Music TheoryKatyryllic
Scale 3943Scale 3943: Zynygic, Ian Ring Music TheoryZynygic
Scale 4007Scale 4007: Doptygic, Ian Ring Music TheoryDoptygic
Scale 3623Scale 3623: Aerocrian, Ian Ring Music TheoryAerocrian
Scale 3751Scale 3751: Aerathyllic, Ian Ring Music TheoryAerathyllic
Scale 3367Scale 3367: Moptian, Ian Ring Music TheoryMoptian
Scale 2855Scale 2855: Epocrain, Ian Ring Music TheoryEpocrain
Scale 1831Scale 1831: Pothian, Ian Ring Music TheoryPothian

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.