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Scale 3957: "Porygic"

Scale 3957: Porygic, Ian Ring Music Theory

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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
Porygic
Dozenal
ZEXian

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

 {0,2,4,5,6,8,9,10,11}

Forte Number

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

 9-8

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.

 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: 1503

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.

 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 Starr/Rahn algorithm.

 no
prime: 1503

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.

 [2, 2, 1, 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.

 <6, 7, 6, 7, 6, 4>

Proportional Saturation Vector

First described by Michael Buchler (2001), this is a vector showing the prominence of intervals relative to the maximum and minimum possible for the scale's cardinality. A saturation of 0 means the interval is present minimally, a saturation of 1 means it is the maximum possible.

<0, 0.5, 0, 0.333, 0, 1>

Interval Spectrum

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

 p6m7n6s7d6t4

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

 1.556

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 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.

 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.

(8, 94, 180)

Coherence Quotient

The Coherence Quotient is a score between 0 and 1, indicating the proportion of coherence failures (ambiguity or contradiction) in the scale, against the maximum possible for a cardinality. A high coherence quotient indicates a less complex scale, whereas a quotient of 0 indicates a maximally complex scale.

0.779

Sameness Quotient

The Sameness Quotient is a score between 0 and 1, indicating the proportion of differences in the heteromorphic profile, against the maximum possible for a cardinality. A higher quotient indicates a less complex scale, whereas a quotient of 0 indicates a scale with maximum complexity.

0.375

Generator

This scale has no generator.

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 TriadsD{2,6,9}342.33
E{4,8,11}342.47
F{5,9,0}442.07
A♯{10,2,5}342.33
Minor Triadsdm{2,5,9}442.07
fm{5,8,0}442.2
am{9,0,4}242.47
bm{11,2,6}342.47
Augmented TriadsC+{0,4,8}342.4
D+{2,6,10}342.4
Diminished Triadsd°{2,5,8}242.33
f°{5,8,11}242.53
f♯°{6,9,0}242.47
g♯°{8,11,2}242.53
b°{11,2,5}242.67
Parsimonious Voice Leading Between Common Triads of Scale 3957. Created by Ian Ring ©2019 C+ C+ E E C+->E fm fm C+->fm am am C+->am d° d° dm dm d°->dm d°->fm D D dm->D F F dm->F A# A# dm->A# D+ D+ D->D+ f#° f#° D->f#° D+->A# bm bm D+->bm f° f° E->f° g#° g#° E->g#° f°->fm fm->F F->f#° F->am g#°->bm b° b° 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.

Diameter4
Radius4
Self-Centeredyes

Modes

Modes are the rotational transformation of this scale. Scale 3957 can be rotated to make 8 other scales. The 1st mode is itself.

2nd mode:
Scale 2013		Scale 2013: Mocrygic, Ian Ring Music TheoryMocrygic
3rd mode:
Scale 1527		Scale 1527: Aeolyrygic, Ian Ring Music TheoryAeolyrygic
4th mode:
Scale 2811		Scale 2811: Barygic, Ian Ring Music TheoryBarygic
5th mode:
Scale 3453		Scale 3453: Katarygic, Ian Ring Music TheoryKatarygic
6th mode:
Scale 1887		Scale 1887: Aerocrygic, Ian Ring Music TheoryAerocrygic
7th mode:
Scale 2991		Scale 2991: Zanygic, Ian Ring Music TheoryZanygic
8th mode:
Scale 3543		Scale 3543: Aeolonygic, Ian Ring Music TheoryAeolonygic
9th mode:
Scale 3819		Scale 3819: Aeolanygic, Ian Ring Music TheoryAeolanygic

Prime

The prime form of this scale is Scale 1503

Scale 1503Scale 1503: Padygic, Ian Ring Music TheoryPadygic

Complement

The enneatonic modal family [3957, 2013, 1527, 2811, 3453, 1887, 2991, 3543, 3819] (Forte: 9-8) is the complement of the tritonic modal family [69, 321, 1041] (Forte: 3-8)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 3957 is 1503

Scale 1503Scale 1503: Padygic, Ian Ring Music TheoryPadygic

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 3957 is chiral, and its enantiomorph is scale 1503

Scale 1503Scale 1503: Padygic, Ian Ring Music TheoryPadygic

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> 3957       T0I <11,0> 1503
T1 <1,1> 3819      T1I <11,1> 3006
T2 <1,2> 3543      T2I <11,2> 1917
T3 <1,3> 2991      T3I <11,3> 3834
T4 <1,4> 1887      T4I <11,4> 3573
T5 <1,5> 3774      T5I <11,5> 3051
T6 <1,6> 3453      T6I <11,6> 2007
T7 <1,7> 2811      T7I <11,7> 4014
T8 <1,8> 1527      T8I <11,8> 3933
T9 <1,9> 3054      T9I <11,9> 3771
T10 <1,10> 2013      T10I <11,10> 3447
T11 <1,11> 4026      T11I <11,11> 2799
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 2007      T0MI <7,0> 3453
T1M <5,1> 4014      T1MI <7,1> 2811
T2M <5,2> 3933      T2MI <7,2> 1527
T3M <5,3> 3771      T3MI <7,3> 3054
T4M <5,4> 3447      T4MI <7,4> 2013
T5M <5,5> 2799      T5MI <7,5> 4026
T6M <5,6> 1503      T6MI <7,6> 3957
T7M <5,7> 3006      T7MI <7,7> 3819
T8M <5,8> 1917      T8MI <7,8> 3543
T9M <5,9> 3834      T9MI <7,9> 2991
T10M <5,10> 3573      T10MI <7,10> 1887
T11M <5,11> 3051      T11MI <7,11> 3774

The transformations that map this set to itself are: T0, T6MI

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 3959Scale 3959: Katagyllian, Ian Ring Music TheoryKatagyllian
Scale 3953Scale 3953: Thagyllic, Ian Ring Music TheoryThagyllic
Scale 3955Scale 3955: Galygic, Ian Ring Music TheoryGalygic
Scale 3961Scale 3961: Mixolydygic, Ian Ring Music TheoryMixolydygic
Scale 3965Scale 3965: Messiaen Mode 7 Rotation 3, Ian Ring Music TheoryMessiaen Mode 7 Rotation 3
Scale 3941Scale 3941: Stathyllic, Ian Ring Music TheoryStathyllic
Scale 3949Scale 3949: Koptygic, Ian Ring Music TheoryKoptygic
Scale 3925Scale 3925: Thyryllic, Ian Ring Music TheoryThyryllic
Scale 3893Scale 3893: Phrocryllic, Ian Ring Music TheoryPhrocryllic
Scale 4021Scale 4021: Raga Pahadi, Ian Ring Music TheoryRaga Pahadi
Scale 4085Scale 4085: Sydyllian, Ian Ring Music TheorySydyllian
Scale 3701Scale 3701: Bagyllic, Ian Ring Music TheoryBagyllic
Scale 3829Scale 3829: Taishikicho, Ian Ring Music TheoryTaishikicho
Scale 3445Scale 3445: Messiaen Mode 6, Ian Ring Music TheoryMessiaen Mode 6
Scale 2933Scale 2933: Dalyllic, Ian Ring Music TheoryDalyllic
Scale 1909Scale 1909: Epicryllic, Ian Ring Music TheoryEpicryllic

This scale analysis was created by Ian Ring, Canadian Composer of works for Piano, and total music theory nerd. Scale notation generated by VexFlow and Lilypond, graph visualization by Graphviz, audio by TiMIDIty and FFMPEG. 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.