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Scale 3943: "Zynygic"

Scale 3943: Zynygic, 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
Zynygic
Dozenal
Zapian

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

{0,1,2,5,6,8,9,10,11}

Forte Number

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

9-3

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.

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: 3295

Hemitonia

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

7 (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.

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.

8

Prime Form

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

no
prime: 895

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.

[1, 1, 3, 1, 2, 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.

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

Interval Spectrum

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

p6m7n7s6d7t3

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

Spectra Variation

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

2.222

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.

2.683

Polygon Perimeter

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

6.038

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".

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.

(64, 107, 194)

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}342.35
D{2,6,9}342.24
F{5,9,0}342.35
F♯{6,10,1}342.35
A♯{10,2,5}442.24
Minor Triadsdm{2,5,9}442.12
fm{5,8,0}342.53
f♯m{6,9,1}442.24
a♯m{10,1,5}342.24
bm{11,2,6}342.53
Augmented TriadsC♯+{1,5,9}542
D+{2,6,10}442.24
Diminished Triads{2,5,8}242.59
{5,8,11}242.76
f♯°{6,9,0}252.71
g♯°{8,11,2}242.76
{11,2,5}252.71
Parsimonious Voice Leading Between Common Triads of Scale 3943. 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 f#m f#m C#+->f#m a#m a#m C#+->a#m d°->dm D D dm->D A# A# dm->A# D+ D+ D->D+ D->f#m F# F# D+->F# D+->A# bm bm D+->bm f°->fm g#° g#° f°->g#° fm->F f#° f#° F->f#° f#°->f#m f#m->F# F#->a#m g#°->bm a#m->A# A#->b° b°->bm

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
Radius4
Self-Centeredno
Central VerticesC♯, C♯+, d°, dm, D, D+, f°, fm, F, f♯m, F♯, g♯°, a♯m, A♯, bm
Peripheral Verticesf♯°, b°

Modes

Modes are the rotational transformation of this scale. Scale 3943 can be rotated to make 8 other scales. The 1st mode is itself.

2nd mode:
Scale 4019
Scale 4019: Lonygic, Ian Ring Music TheoryLonygic
3rd mode:
Scale 4057
Scale 4057: Phrygic, Ian Ring Music TheoryPhrygic
4th mode:
Scale 1019
Scale 1019: Aeranygic, Ian Ring Music TheoryAeranygic
5th mode:
Scale 2557
Scale 2557: Dothygic, Ian Ring Music TheoryDothygic
6th mode:
Scale 1663
Scale 1663: Lydygic, Ian Ring Music TheoryLydygic
7th mode:
Scale 2879
Scale 2879: Stadygic, Ian Ring Music TheoryStadygic
8th mode:
Scale 3487
Scale 3487: Byptygic, Ian Ring Music TheoryByptygic
9th mode:
Scale 3791
Scale 3791: Stodygic, Ian Ring Music TheoryStodygic

Prime

The prime form of this scale is Scale 895

Scale 895Scale 895: Aeolathygic, Ian Ring Music TheoryAeolathygic

Complement

The enneatonic modal family [3943, 4019, 4057, 1019, 2557, 1663, 2879, 3487, 3791] (Forte: 9-3) is the complement of the tritonic modal family [19, 769, 2057] (Forte: 3-3)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 3943 is 3295

Scale 3295Scale 3295: Phroptygic, Ian Ring Music TheoryPhroptygic

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 3943 is chiral, and its enantiomorph is scale 3295

Scale 3295Scale 3295: Phroptygic, Ian Ring Music TheoryPhroptygic

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> 3943       T0I <11,0> 3295
T1 <1,1> 3791      T1I <11,1> 2495
T2 <1,2> 3487      T2I <11,2> 895
T3 <1,3> 2879      T3I <11,3> 1790
T4 <1,4> 1663      T4I <11,4> 3580
T5 <1,5> 3326      T5I <11,5> 3065
T6 <1,6> 2557      T6I <11,6> 2035
T7 <1,7> 1019      T7I <11,7> 4070
T8 <1,8> 2038      T8I <11,8> 4045
T9 <1,9> 4076      T9I <11,9> 3995
T10 <1,10> 4057      T10I <11,10> 3895
T11 <1,11> 4019      T11I <11,11> 3695
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 1783      T0MI <7,0> 3565
T1M <5,1> 3566      T1MI <7,1> 3035
T2M <5,2> 3037      T2MI <7,2> 1975
T3M <5,3> 1979      T3MI <7,3> 3950
T4M <5,4> 3958      T4MI <7,4> 3805
T5M <5,5> 3821      T5MI <7,5> 3515
T6M <5,6> 3547      T6MI <7,6> 2935
T7M <5,7> 2999      T7MI <7,7> 1775
T8M <5,8> 1903      T8MI <7,8> 3550
T9M <5,9> 3806      T9MI <7,9> 3005
T10M <5,10> 3517      T10MI <7,10> 1915
T11M <5,11> 2939      T11MI <7,11> 3830

The transformations that map this set to itself are: T0

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 3941Scale 3941: Stathyllic, Ian Ring Music TheoryStathyllic
Scale 3939Scale 3939: Dogyllic, Ian Ring Music TheoryDogyllic
Scale 3947Scale 3947: Ryptygic, Ian Ring Music TheoryRyptygic
Scale 3951Scale 3951: Mathyllian, Ian Ring Music TheoryMathyllian
Scale 3959Scale 3959: Katagyllian, Ian Ring Music TheoryKatagyllian
Scale 3911Scale 3911: Katyryllic, Ian Ring Music TheoryKatyryllic
Scale 3927Scale 3927: Monygic, Ian Ring Music TheoryMonygic
Scale 3879Scale 3879: Pathyllic, Ian Ring Music TheoryPathyllic
Scale 4007Scale 4007: Doptygic, Ian Ring Music TheoryDoptygic
Scale 4071Scale 4071: Decatonic Chromatic 8, Ian Ring Music TheoryDecatonic Chromatic 8
Scale 3687Scale 3687: Zonyllic, Ian Ring Music TheoryZonyllic
Scale 3815Scale 3815: Galygic, Ian Ring Music TheoryGalygic
Scale 3431Scale 3431: Zyptyllic, Ian Ring Music TheoryZyptyllic
Scale 2919Scale 2919: Molyllic, Ian Ring Music TheoryMolyllic
Scale 1895Scale 1895: Salyllic, Ian Ring Music TheorySalyllic

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.