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Scale 479: "Kocryllic"

Scale 479: Kocryllic, 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
Kocryllic
Dozenal
Uprian

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

{0,1,2,3,4,6,7,8}

Forte Number

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

8-5

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: 3953

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.

7

Prime Form

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

yes

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, 1, 1, 2, 1, 1, 4]

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, 4, 5, 5, 3>

Interval Spectrum

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

p5m5n4s5d6t3

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

Spectra Variation

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

2.75

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.

2.366

Polygon Perimeter

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

5.838

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, 51, 130)

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}321.29
G♯{8,0,3}231.57
Minor Triadscm{0,3,7}331.43
c♯m{1,4,8}241.86
Augmented TriadsC+{0,4,8}331.43
Diminished Triads{0,3,6}142.14
c♯°{1,4,7}231.71

The following pitch classes are not present in any of the common triads: {2}

Parsimonious Voice Leading Between Common Triads of Scale 479. Created by Ian Ring ©2019 cm cm c°->cm C C cm->C G# G# cm->G# C+ C+ C->C+ c#° c#° C->c#° c#m c#m C+->c#m C+->G# c#°->c#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.

Diameter4
Radius2
Self-Centeredno
Central VerticesC
Peripheral Verticesc°, c♯m

Modes

Modes are the rotational transformation of this scale. Scale 479 can be rotated to make 7 other scales. The 1st mode is itself.

2nd mode:
Scale 2287
Scale 2287: Lodyllic, Ian Ring Music TheoryLodyllic
3rd mode:
Scale 3191
Scale 3191: Bynyllic, Ian Ring Music TheoryBynyllic
4th mode:
Scale 3643
Scale 3643: Kydyllic, Ian Ring Music TheoryKydyllic
5th mode:
Scale 3869
Scale 3869: Bygyllic, Ian Ring Music TheoryBygyllic
6th mode:
Scale 1991
Scale 1991: Phryptyllic, Ian Ring Music TheoryPhryptyllic
7th mode:
Scale 3043
Scale 3043: Ionayllic, Ian Ring Music TheoryIonayllic
8th mode:
Scale 3569
Scale 3569: Aeoladyllic, Ian Ring Music TheoryAeoladyllic

Prime

This is the prime form of this scale.

Complement

The octatonic modal family [479, 2287, 3191, 3643, 3869, 1991, 3043, 3569] (Forte: 8-5) is the complement of the tetratonic modal family [71, 449, 2083, 3089] (Forte: 4-5)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 479 is 3953

Scale 3953Scale 3953: Thagyllic, Ian Ring Music TheoryThagyllic

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 479 is chiral, and its enantiomorph is scale 3953

Scale 3953Scale 3953: Thagyllic, Ian Ring Music TheoryThagyllic

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> 479       T0I <11,0> 3953
T1 <1,1> 958      T1I <11,1> 3811
T2 <1,2> 1916      T2I <11,2> 3527
T3 <1,3> 3832      T3I <11,3> 2959
T4 <1,4> 3569      T4I <11,4> 1823
T5 <1,5> 3043      T5I <11,5> 3646
T6 <1,6> 1991      T6I <11,6> 3197
T7 <1,7> 3982      T7I <11,7> 2299
T8 <1,8> 3869      T8I <11,8> 503
T9 <1,9> 3643      T9I <11,9> 1006
T10 <1,10> 3191      T10I <11,10> 2012
T11 <1,11> 2287      T11I <11,11> 4024
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 3449      T0MI <7,0> 983
T1M <5,1> 2803      T1MI <7,1> 1966
T2M <5,2> 1511      T2MI <7,2> 3932
T3M <5,3> 3022      T3MI <7,3> 3769
T4M <5,4> 1949      T4MI <7,4> 3443
T5M <5,5> 3898      T5MI <7,5> 2791
T6M <5,6> 3701      T6MI <7,6> 1487
T7M <5,7> 3307      T7MI <7,7> 2974
T8M <5,8> 2519      T8MI <7,8> 1853
T9M <5,9> 943      T9MI <7,9> 3706
T10M <5,10> 1886      T10MI <7,10> 3317
T11M <5,11> 3772      T11MI <7,11> 2539

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 477Scale 477: Stacrian, Ian Ring Music TheoryStacrian
Scale 475Scale 475: Aeolygian, Ian Ring Music TheoryAeolygian
Scale 471Scale 471: Dodian, Ian Ring Music TheoryDodian
Scale 463Scale 463: Zythian, Ian Ring Music TheoryZythian
Scale 495Scale 495: Bocryllic, Ian Ring Music TheoryBocryllic
Scale 511Scale 511: Chromatic Nonamode, Ian Ring Music TheoryChromatic Nonamode
Scale 415Scale 415: Aeoladian, Ian Ring Music TheoryAeoladian
Scale 447Scale 447: Thyphyllic, Ian Ring Music TheoryThyphyllic
Scale 351Scale 351: Epanian, Ian Ring Music TheoryEpanian
Scale 223Scale 223: Bizian, Ian Ring Music TheoryBizian
Scale 735Scale 735: Sylyllic, Ian Ring Music TheorySylyllic
Scale 991Scale 991: Aeolygic, Ian Ring Music TheoryAeolygic
Scale 1503Scale 1503: Padygic, Ian Ring Music TheoryPadygic
Scale 2527Scale 2527: Phradygic, Ian Ring Music TheoryPhradygic

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.