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Scale 983: "Thocryllic"

Scale 983: Thocryllic, 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

41161837294116105072918310504116183
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
Thocryllic

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

{0,1,2,4,6,7,8,9}

Forte Number

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

8-16

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: 3449

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.

3 (tricohemitonic)

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.

2

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: 943

Deep Scale

A deep scale is one where the interval vector has 6 different digits.

no

Interval Formula

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

[1, 1, 2, 2, 1, 1, 1, 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, 5, 4, 5, 6, 3>

Interval Spectrum

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

p6m5n4s5d5t3

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}
<3> = {3,4,5}
<4> = {5,6,7}
<5> = {7,8,9}
<6> = {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.

1.75

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 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

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}252.33
D{2,6,9}152.67
A{9,1,4}331.56
Minor Triadsc♯m{1,4,8}331.67
f♯m{6,9,1}341.89
am{9,0,4}331.67
Augmented TriadsC+{0,4,8}341.78
Diminished Triadsc♯°{1,4,7}242.22
f♯°{6,9,0}242
Parsimonious Voice Leading Between Common Triads of Scale 983. Created by Ian Ring ©2019 C C C+ C+ C->C+ c#° c#° C->c#° c#m c#m C+->c#m am am C+->am c#°->c#m A A c#m->A D D f#m f#m D->f#m f#° f#° f#°->f#m f#°->am f#m->A 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♯m, am, A
Peripheral VerticesC, D

Modes

Modes are the rotational transformation of this scale. Scale 983 can be rotated to make 7 other scales. The 1st mode is itself.

2nd mode:
Scale 2539
Scale 2539: Half-Diminished Bebop, Ian Ring Music TheoryHalf-Diminished Bebop
3rd mode:
Scale 3317
Scale 3317: Katynyllic, Ian Ring Music TheoryKatynyllic
4th mode:
Scale 1853
Scale 1853: Maryllic, Ian Ring Music TheoryMaryllic
5th mode:
Scale 1487
Scale 1487: Mothyllic, Ian Ring Music TheoryMothyllic
6th mode:
Scale 2791
Scale 2791: Mixothyllic, Ian Ring Music TheoryMixothyllic
7th mode:
Scale 3443
Scale 3443: Verdi's Scala Enigmatica, Ian Ring Music TheoryVerdi's Scala Enigmatica
8th mode:
Scale 3769
Scale 3769: Eponyllic, Ian Ring Music TheoryEponyllic

Prime

The prime form of this scale is Scale 943

Scale 943Scale 943: Aerygyllic, Ian Ring Music TheoryAerygyllic

Complement

The octatonic modal family [983, 2539, 3317, 1853, 1487, 2791, 3443, 3769] (Forte: 8-16) is the complement of the tetratonic modal family [163, 389, 1121, 2129] (Forte: 4-16)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 983 is 3449

Scale 3449Scale 3449: Bacryllic, Ian Ring Music TheoryBacryllic

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 983 is chiral, and its enantiomorph is scale 3449

Scale 3449Scale 3449: Bacryllic, Ian Ring Music TheoryBacryllic

Transformations:

T0 983  T0I 3449
T1 1966  T1I 2803
T2 3932  T2I 1511
T3 3769  T3I 3022
T4 3443  T4I 1949
T5 2791  T5I 3898
T6 1487  T6I 3701
T7 2974  T7I 3307
T8 1853  T8I 2519
T9 3706  T9I 943
T10 3317  T10I 1886
T11 2539  T11I 3772

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 981Scale 981: Mela Kantamani, Ian Ring Music TheoryMela Kantamani
Scale 979Scale 979: Mela Dhavalambari, Ian Ring Music TheoryMela Dhavalambari
Scale 987Scale 987: Aeraptyllic, Ian Ring Music TheoryAeraptyllic
Scale 991Scale 991: Aeolygic, Ian Ring Music TheoryAeolygic
Scale 967Scale 967: Mela Salaga, Ian Ring Music TheoryMela Salaga
Scale 975Scale 975: Messiaen Mode 4, Ian Ring Music TheoryMessiaen Mode 4
Scale 999Scale 999: Ionodyllic, Ian Ring Music TheoryIonodyllic
Scale 1015Scale 1015: Ionodygic, Ian Ring Music TheoryIonodygic
Scale 919Scale 919: Chromatic Phrygian Inverse, Ian Ring Music TheoryChromatic Phrygian Inverse
Scale 951Scale 951: Thogyllic, Ian Ring Music TheoryThogyllic
Scale 855Scale 855: Porian, Ian Ring Music TheoryPorian
Scale 727Scale 727: Phradian, Ian Ring Music TheoryPhradian
Scale 471Scale 471: Dodian, Ian Ring Music TheoryDodian
Scale 1495Scale 1495: Messiaen Mode 6, Ian Ring Music TheoryMessiaen Mode 6
Scale 2007Scale 2007: Stonygic, Ian Ring Music TheoryStonygic
Scale 3031Scale 3031: Epithygic, Ian Ring Music TheoryEpithygic

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. 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.