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Scale 703: "Aerocryllic"

Scale 703: Aerocryllic, 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
Aerocryllic
Dozenal
EFFian

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

{0,1,2,3,4,5,7,9}

Forte Number

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

8-11

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: 4009

Hemitonia

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

5 (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 Starr/Rahn algorithm.

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, an indicator of maximum hierarchization.

no

Interval Structure

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

[1, 1, 1, 1, 1, 2, 2, 3]

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.

<5, 6, 5, 5, 5, 2>

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.

<0.333, 0.667, 0.25, 0.333, 0.333, 0>

Interval Spectrum

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

p5m5n5s6d5t2

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

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.

2.616

Polygon Perimeter

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

6.002

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.

(59, 69, 149)

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.

0.519

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.

0.24

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 TriadsC{0,4,7}341.78
F{5,9,0}231.78
A{9,1,4}331.56
Minor Triadscm{0,3,7}252.33
dm{2,5,9}152.67
am{9,0,4}431.44
Augmented TriadsC♯+{1,5,9}341.89
Diminished Triadsc♯°{1,4,7}231.89
{9,0,3}242
Parsimonious Voice Leading Between Common Triads of Scale 703. Created by Ian Ring ©2019 cm cm C C cm->C cm->a° c#° c#° C->c#° am am C->am A A c#°->A C#+ C#+ dm dm C#+->dm F F C#+->F C#+->A F->am a°->am am->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.

Diameter5
Radius3
Self-Centeredno
Central Verticesc♯°, F, am, A
Peripheral Verticescm, dm

Modes

Modes are the rotational transformation of this scale. Scale 703 can be rotated to make 7 other scales. The 1st mode is itself.

2nd mode:
Scale 2399
Scale 2399: Zanyllic, Ian Ring Music TheoryZanyllic
3rd mode:
Scale 3247
Scale 3247: Aeolonyllic, Ian Ring Music TheoryAeolonyllic
4th mode:
Scale 3671
Scale 3671: Aeonyllic, Ian Ring Music TheoryAeonyllic
5th mode:
Scale 3883
Scale 3883: Kyryllic, Ian Ring Music TheoryKyryllic
6th mode:
Scale 3989
Scale 3989: Sythyllic, Ian Ring Music TheorySythyllic
7th mode:
Scale 2021
Scale 2021: Katycryllic, Ian Ring Music TheoryKatycryllic
8th mode:
Scale 1529
Scale 1529: Kataryllic, Ian Ring Music TheoryKataryllic

Prime

This is the prime form of this scale.

Complement

The octatonic modal family [703, 2399, 3247, 3671, 3883, 3989, 2021, 1529] (Forte: 8-11) is the complement of the tetratonic modal family [43, 1409, 1541, 2069] (Forte: 4-11)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 703 is 4009

Scale 4009Scale 4009: Phranyllic, Ian Ring Music TheoryPhranyllic

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 703 is chiral, and its enantiomorph is scale 4009

Scale 4009Scale 4009: Phranyllic, Ian Ring Music TheoryPhranyllic

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> 703       T0I <11,0> 4009
T1 <1,1> 1406      T1I <11,1> 3923
T2 <1,2> 2812      T2I <11,2> 3751
T3 <1,3> 1529      T3I <11,3> 3407
T4 <1,4> 3058      T4I <11,4> 2719
T5 <1,5> 2021      T5I <11,5> 1343
T6 <1,6> 4042      T6I <11,6> 2686
T7 <1,7> 3989      T7I <11,7> 1277
T8 <1,8> 3883      T8I <11,8> 2554
T9 <1,9> 3671      T9I <11,9> 1013
T10 <1,10> 3247      T10I <11,10> 2026
T11 <1,11> 2399      T11I <11,11> 4052
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 3883      T0MI <7,0> 2719
T1M <5,1> 3671      T1MI <7,1> 1343
T2M <5,2> 3247      T2MI <7,2> 2686
T3M <5,3> 2399      T3MI <7,3> 1277
T4M <5,4> 703       T4MI <7,4> 2554
T5M <5,5> 1406      T5MI <7,5> 1013
T6M <5,6> 2812      T6MI <7,6> 2026
T7M <5,7> 1529      T7MI <7,7> 4052
T8M <5,8> 3058      T8MI <7,8> 4009
T9M <5,9> 2021      T9MI <7,9> 3923
T10M <5,10> 4042      T10MI <7,10> 3751
T11M <5,11> 3989      T11MI <7,11> 3407

The transformations that map this set to itself are: T0, T4M

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 701Scale 701: Mixonyphian, Ian Ring Music TheoryMixonyphian
Scale 699Scale 699: Aerothian, Ian Ring Music TheoryAerothian
Scale 695Scale 695: Sarian, Ian Ring Music TheorySarian
Scale 687Scale 687: Aeolythian, Ian Ring Music TheoryAeolythian
Scale 671Scale 671: Stycrian, Ian Ring Music TheoryStycrian
Scale 735Scale 735: Sylyllic, Ian Ring Music TheorySylyllic
Scale 767Scale 767: Raptygic, Ian Ring Music TheoryRaptygic
Scale 575Scale 575: Ionydian, Ian Ring Music TheoryIonydian
Scale 639Scale 639: Ionaryllic, Ian Ring Music TheoryIonaryllic
Scale 831Scale 831: Rodyllic, Ian Ring Music TheoryRodyllic
Scale 959Scale 959: Katylygic, Ian Ring Music TheoryKatylygic
Scale 191Scale 191: BEGian, Ian Ring Music TheoryBEGian
Scale 447Scale 447: Thyphyllic, Ian Ring Music TheoryThyphyllic
Scale 1215Scale 1215: Aeolanyllic, Ian Ring Music TheoryAeolanyllic
Scale 1727Scale 1727: Sydygic, Ian Ring Music TheorySydygic
Scale 2751Scale 2751: Sylygic, Ian Ring Music TheorySylygic

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.