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Scale 4041: "Zaryllic"

Scale 4041: Zaryllic, 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
Zaryllic
Dozenal
Zoxian

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

{0,3,6,7,8,9,10,11}

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.

[3]

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 Rahn/Ring formula.

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.

no

Interval Structure

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

[3, 3, 1, 1, 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 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.

[6]

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 TriadsD♯{3,7,10}242.09
G♯{8,0,3}342
B{11,3,6}341.91
Minor Triadscm{0,3,7}341.91
d♯m{3,6,10}342
g♯m{8,11,3}242.09
Augmented TriadsD♯+{3,7,11}441.82
Diminished Triads{0,3,6}242.18
d♯°{3,6,9}242.27
f♯°{6,9,0}242.36
{9,0,3}242.27
Parsimonious Voice Leading Between Common Triads of Scale 4041. Created by Ian Ring ©2019 cm cm c°->cm B B c°->B D#+ D#+ cm->D#+ G# G# cm->G# d#° d#° d#m d#m d#°->d#m f#° f#° d#°->f#° D# D# d#m->D# d#m->B D#->D#+ g#m g#m D#+->g#m D#+->B f#°->a° g#m->G# G#->a°

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 4041 can be rotated to make 7 other scales. The 1st mode is itself.

2nd mode:
Scale 1017
Scale 1017: Dythyllic, Ian Ring Music TheoryDythyllic
3rd mode:
Scale 639
Scale 639: Ionaryllic, Ian Ring Music TheoryIonaryllicThis is the prime mode
4th mode:
Scale 2367
Scale 2367: Laryllic, Ian Ring Music TheoryLaryllic
5th mode:
Scale 3231
Scale 3231: Kataptyllic, Ian Ring Music TheoryKataptyllic
6th mode:
Scale 3663
Scale 3663: Sonyllic, Ian Ring Music TheorySonyllic
7th mode:
Scale 3879
Scale 3879: Pathyllic, Ian Ring Music TheoryPathyllic
8th mode:
Scale 3987
Scale 3987: Loryllic, Ian Ring Music TheoryLoryllic

Prime

The prime form of this scale is Scale 639

Scale 639Scale 639: Ionaryllic, Ian Ring Music TheoryIonaryllic

Complement

The octatonic modal family [4041, 1017, 639, 2367, 3231, 3663, 3879, 3987] (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 4041 is 639

Scale 639Scale 639: Ionaryllic, Ian Ring Music TheoryIonaryllic

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

The transformations that map this set to itself are: T0, T6I

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 4043Scale 4043: Phrocrygic, Ian Ring Music TheoryPhrocrygic
Scale 4045Scale 4045: Gyptygic, Ian Ring Music TheoryGyptygic
Scale 4033Scale 4033: Heptatonic Chromatic Descending, Ian Ring Music TheoryHeptatonic Chromatic Descending
Scale 4037Scale 4037: Ionyllic, Ian Ring Music TheoryIonyllic
Scale 4049Scale 4049: Stycryllic, Ian Ring Music TheoryStycryllic
Scale 4057Scale 4057: Phrygic, Ian Ring Music TheoryPhrygic
Scale 4073Scale 4073: Sathygic, Ian Ring Music TheorySathygic
Scale 3977Scale 3977: Kythian, Ian Ring Music TheoryKythian
Scale 4009Scale 4009: Phranyllic, Ian Ring Music TheoryPhranyllic
Scale 3913Scale 3913: Bonian, Ian Ring Music TheoryBonian
Scale 3785Scale 3785: Epagian, Ian Ring Music TheoryEpagian
Scale 3529Scale 3529: Stalian, Ian Ring Music TheoryStalian
Scale 3017Scale 3017: Gacrian, Ian Ring Music TheoryGacrian
Scale 1993Scale 1993: Katoptian, Ian Ring Music TheoryKatoptian

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.