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Scale 3897: "Kalyllic"

Scale 3897: Kalyllic, 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
Kalyllic
Dozenal
Yunian

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

{0,3,4,5,8,9,10,11}

Forte Number

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

8-8

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.

[4]

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: 927

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.

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

Interval Spectrum

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

p6m5n4s4d6t3

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

2

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 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.

[8]

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.

(44, 16, 93)

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 TriadsE{4,8,11}331.67
F{5,9,0}242
G♯{8,0,3}331.67
Minor Triadsfm{5,8,0}331.67
g♯m{8,11,3}242
am{9,0,4}331.67
Augmented TriadsC+{0,4,8}421.33
Diminished Triads{5,8,11}242
{9,0,3}242

The following pitch classes are not present in any of the common triads: {10}

Parsimonious Voice Leading Between Common Triads of Scale 3897. Created by Ian Ring ©2019 C+ C+ E E C+->E fm fm C+->fm G# G# C+->G# am am C+->am E->f° g#m g#m E->g#m f°->fm F F fm->F F->am g#m->G# G#->a° a°->am

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
Radius2
Self-Centeredno
Central VerticesC+
Peripheral Verticesf°, F, g♯m, a°

Modes

Modes are the rotational transformation of this scale. Scale 3897 can be rotated to make 7 other scales. The 1st mode is itself.

2nd mode:
Scale 999
Scale 999: Ionodyllic, Ian Ring Music TheoryIonodyllic
3rd mode:
Scale 2547
Scale 2547: Raga Ramkali, Ian Ring Music TheoryRaga Ramkali
4th mode:
Scale 3321
Scale 3321: Epagyllic, Ian Ring Music TheoryEpagyllic
5th mode:
Scale 927
Scale 927: Gaptyllic, Ian Ring Music TheoryGaptyllicThis is the prime mode
6th mode:
Scale 2511
Scale 2511: Aeroptyllic, Ian Ring Music TheoryAeroptyllic
7th mode:
Scale 3303
Scale 3303: Mylyllic, Ian Ring Music TheoryMylyllic
8th mode:
Scale 3699
Scale 3699: Galyllic, Ian Ring Music TheoryGalyllic

Prime

The prime form of this scale is Scale 927

Scale 927Scale 927: Gaptyllic, Ian Ring Music TheoryGaptyllic

Complement

The octatonic modal family [3897, 999, 2547, 3321, 927, 2511, 3303, 3699] (Forte: 8-8) is the complement of the tetratonic modal family [99, 387, 2097, 2241] (Forte: 4-8)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 3897 is 927

Scale 927Scale 927: Gaptyllic, Ian Ring Music TheoryGaptyllic

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> 3897       T0I <11,0> 927
T1 <1,1> 3699      T1I <11,1> 1854
T2 <1,2> 3303      T2I <11,2> 3708
T3 <1,3> 2511      T3I <11,3> 3321
T4 <1,4> 927      T4I <11,4> 2547
T5 <1,5> 1854      T5I <11,5> 999
T6 <1,6> 3708      T6I <11,6> 1998
T7 <1,7> 3321      T7I <11,7> 3996
T8 <1,8> 2547      T8I <11,8> 3897
T9 <1,9> 999      T9I <11,9> 3699
T10 <1,10> 1998      T10I <11,10> 3303
T11 <1,11> 3996      T11I <11,11> 2511
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 927      T0MI <7,0> 3897
T1M <5,1> 1854      T1MI <7,1> 3699
T2M <5,2> 3708      T2MI <7,2> 3303
T3M <5,3> 3321      T3MI <7,3> 2511
T4M <5,4> 2547      T4MI <7,4> 927
T5M <5,5> 999      T5MI <7,5> 1854
T6M <5,6> 1998      T6MI <7,6> 3708
T7M <5,7> 3996      T7MI <7,7> 3321
T8M <5,8> 3897       T8MI <7,8> 2547
T9M <5,9> 3699      T9MI <7,9> 999
T10M <5,10> 3303      T10MI <7,10> 1998
T11M <5,11> 2511      T11MI <7,11> 3996

The transformations that map this set to itself are: T0, T8I, T8M, 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 3899Scale 3899: Katorygic, Ian Ring Music TheoryKatorygic
Scale 3901Scale 3901: Bycrygic, Ian Ring Music TheoryBycrygic
Scale 3889Scale 3889: Parian, Ian Ring Music TheoryParian
Scale 3893Scale 3893: Phrocryllic, Ian Ring Music TheoryPhrocryllic
Scale 3881Scale 3881: Morian, Ian Ring Music TheoryMorian
Scale 3865Scale 3865: Starian, Ian Ring Music TheoryStarian
Scale 3929Scale 3929: Aeolothyllic, Ian Ring Music TheoryAeolothyllic
Scale 3961Scale 3961: Zathygic, Ian Ring Music TheoryZathygic
Scale 4025Scale 4025: Kalygic, Ian Ring Music TheoryKalygic
Scale 3641Scale 3641: Thocrian, Ian Ring Music TheoryThocrian
Scale 3769Scale 3769: Eponyllic, Ian Ring Music TheoryEponyllic
Scale 3385Scale 3385: Chromatic Phrygian, Ian Ring Music TheoryChromatic Phrygian
Scale 2873Scale 2873: Ionian Augmented Sharp 2, Ian Ring Music TheoryIonian Augmented Sharp 2
Scale 1849Scale 1849: Chromatic Hypodorian Inverse, Ian Ring Music TheoryChromatic Hypodorian Inverse

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.