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Scale 4019: "Lonygic"

Scale 4019: Lonygic, 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

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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
Lonygic

Analysis

Cardinality9 (nonatonic)
Pitch Class Set{0,1,4,5,7,8,9,10,11}
Forte Number9-3
Rotational Symmetrynone
Reflection Axesnone
Palindromicno
Chiralityyes
enantiomorph: 2495
Hemitonia7 (multihemitonic)
Cohemitonia5 (multicohemitonic)
Imperfections3
Modes8
Prime?no
prime: 895
Deep Scaleno
Interval Vector767763
Interval Spectrump6m7n7s6d7t3
Distribution Spectra<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 Variation2.222
Maximally Evenno
Maximal Area Setno
Interior Area2.683
Myhill Propertyno
Balancedno
Ridge Tonesnone
ProprietyImproper
Heliotonicno

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{0,4,7}342.35
C♯{1,5,8}342.24
E{4,8,11}342.35
F{5,9,0}342.35
A{9,1,4}442.24
Minor Triadsc♯m{1,4,8}442.12
em{4,7,11}342.53
fm{5,8,0}442.24
am{9,0,4}342.24
a♯m{10,1,5}342.53
Augmented TriadsC+{0,4,8}542
C♯+{1,5,9}442.24
Diminished Triadsc♯°{1,4,7}242.59
{4,7,10}242.76
{5,8,11}252.71
{7,10,1}242.76
a♯°{10,1,4}252.71
Parsimonious Voice Leading Between Common Triads of Scale 4019. Created by Ian Ring ©2019 C C C+ C+ C->C+ c#° c#° C->c#° em em C->em c#m c#m C+->c#m E E C+->E fm fm C+->fm am am C+->am c#°->c#m C# C# c#m->C# A A c#m->A C#+ C#+ C#->C#+ C#->fm F F C#+->F C#+->A a#m a#m C#+->a#m e°->em e°->g° em->E E->f° f°->fm fm->F F->am g°->a#m am->A a#° a#° A->a#° a#°->a#m

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+, c♯°, c♯m, C♯, C♯+, e°, em, E, fm, F, g°, am, A, a♯m
Peripheral Verticesf°, a♯°

Modes

Modes are the rotational transformation of this scale. Scale 4019 can be rotated to make 8 other scales. The 1st mode is itself.

2nd mode:
Scale 4057
Scale 4057: Phrygic, Ian Ring Music TheoryPhrygic
3rd mode:
Scale 1019
Scale 1019: Aeranygic, Ian Ring Music TheoryAeranygic
4th mode:
Scale 2557
Scale 2557: Dothygic, Ian Ring Music TheoryDothygic
5th mode:
Scale 1663
Scale 1663: Lydygic, Ian Ring Music TheoryLydygic
6th mode:
Scale 2879
Scale 2879: Stadygic, Ian Ring Music TheoryStadygic
7th mode:
Scale 3487
Scale 3487: Byptygic, Ian Ring Music TheoryByptygic
8th mode:
Scale 3791
Scale 3791: Stodygic, Ian Ring Music TheoryStodygic
9th mode:
Scale 3943
Scale 3943: Zynygic, Ian Ring Music TheoryZynygic

Prime

The prime form of this scale is Scale 895

Scale 895Scale 895: Aeolathygic, Ian Ring Music TheoryAeolathygic

Complement

The nonatonic modal family [4019, 4057, 1019, 2557, 1663, 2879, 3487, 3791, 3943] (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 4019 is 2495

Scale 2495Scale 2495: Aeolocrygic, Ian Ring Music TheoryAeolocrygic

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 4019 is chiral, and its enantiomorph is scale 2495

Scale 2495Scale 2495: Aeolocrygic, Ian Ring Music TheoryAeolocrygic

Transformations:

T0 4019  T0I 2495
T1 3943  T1I 895
T2 3791  T2I 1790
T3 3487  T3I 3580
T4 2879  T4I 3065
T5 1663  T5I 2035
T6 3326  T6I 4070
T7 2557  T7I 4045
T8 1019  T8I 3995
T9 2038  T9I 3895
T10 4076  T10I 3695
T11 4057  T11I 3295

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 4017Scale 4017: Dolyllic, Ian Ring Music TheoryDolyllic
Scale 4021Scale 4021: Raga Pahadi, Ian Ring Music TheoryRaga Pahadi
Scale 4023Scale 4023: Styptyllian, Ian Ring Music TheoryStyptyllian
Scale 4027Scale 4027: Ragyllian, Ian Ring Music TheoryRagyllian
Scale 4003Scale 4003: Sadyllic, Ian Ring Music TheorySadyllic
Scale 4011Scale 4011: Styrygic, Ian Ring Music TheoryStyrygic
Scale 3987Scale 3987: Loryllic, Ian Ring Music TheoryLoryllic
Scale 4051Scale 4051: Ionilygic, Ian Ring Music TheoryIonilygic
Scale 4083Scale 4083: Bathyllian, Ian Ring Music TheoryBathyllian
Scale 3891Scale 3891: Ryryllic, Ian Ring Music TheoryRyryllic
Scale 3955Scale 3955: Pothygic, Ian Ring Music TheoryPothygic
Scale 3763Scale 3763: Modyllic, Ian Ring Music TheoryModyllic
Scale 3507Scale 3507: Maqam Hijaz, Ian Ring Music TheoryMaqam Hijaz
Scale 2995Scale 2995: Raga Saurashtra, Ian Ring Music TheoryRaga Saurashtra
Scale 1971Scale 1971: Aerynyllic, Ian Ring Music TheoryAerynyllic

This scale analysis was created by Ian Ring, Canadian Composer of works for Piano, and total music theory nerd. The software used to generate this analysis is an open source project at GitHub. Scale notation generated by VexFlow, graph visualization by Graphviz, and MIDI playback by MIDI.js. 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.