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Scale 3067: "Goptyllian"

Scale 3067: Goptyllian, 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
Goptyllian

Analysis

Cardinality

Cardinality is the count of how many pitches are in the scale.

10 (decatonic)

Pitch Class Set

The tones in this scale, expressed as numbers from 0 to 11

{0,1,3,4,5,6,7,8,9,11}

Forte Number

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

10-4

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.

[0]

Palindromicity

A palindromic scale has the same pattern of intervals both ascending and descending.

yes

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.

8 (multihemitonic)

Cohemitonia

A cohemitone is an instance of two adjacent hemitones. Cohemitonia describes how many such cohemitones exist.

6 (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.

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.

9

Prime Form

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

no
prime: 1919

Deep Scale

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

no

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.

[8, 8, 8, 9, 8, 4]

Interval Spectrum

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

p8m9n8s8d8t4

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

Spectra Variation

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

1.2

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.

yes

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.

2.866

Polygon Perimeter

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

6.141

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.

[0]

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}452.43
C♯{1,5,8}352.74
E{4,8,11}452.52
F{5,9,0}452.65
G♯{8,0,3}452.43
A{9,1,4}352.74
B{11,3,6}353
Minor Triadscm{0,3,7}452.65
c♯m{1,4,8}452.52
em{4,7,11}352.74
fm{5,8,0}452.43
f♯m{6,9,1}353
g♯m{8,11,3}352.74
am{9,0,4}452.43
Augmented TriadsC+{0,4,8}652.13
C♯+{1,5,9}452.78
D♯+{3,7,11}452.78
Diminished Triads{0,3,6}253.13
c♯°{1,4,7}252.91
d♯°{3,6,9}253.13
{5,8,11}252.91
f♯°{6,9,0}253.13
{9,0,3}252.83
Parsimonious Voice Leading Between Common Triads of Scale 3067. Created by Ian Ring ©2019 cm cm c°->cm B B c°->B C C cm->C D#+ D#+ cm->D#+ G# G# cm->G# 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 C+->G# 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 f#m f#m C#+->f#m C#+->A d#° d#° d#°->f#m d#°->B D#+->em g#m g#m D#+->g#m D#+->B em->E E->f° E->g#m f°->fm fm->F f#° f#° F->f#° F->am f#°->f#m g#m->G# G#->a° 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
Radius5
Self-Centeredyes

Modes

Modes are the rotational transformation of this scale. Scale 3067 can be rotated to make 9 other scales. The 1st mode is itself.

2nd mode:
Scale 3581
Scale 3581: Epocryllian, Ian Ring Music TheoryEpocryllian
3rd mode:
Scale 1919
Scale 1919: Rocryllian, Ian Ring Music TheoryRocryllianThis is the prime mode
4th mode:
Scale 3007
Scale 3007: Zyryllian, Ian Ring Music TheoryZyryllian
5th mode:
Scale 3551
Scale 3551: Sagyllian, Ian Ring Music TheorySagyllian
6th mode:
Scale 3823
Scale 3823: Epinyllian, Ian Ring Music TheoryEpinyllian
7th mode:
Scale 3959
Scale 3959: Katagyllian, Ian Ring Music TheoryKatagyllian
8th mode:
Scale 4027
Scale 4027: Ragyllian, Ian Ring Music TheoryRagyllian
9th mode:
Scale 4061
Scale 4061: Staptyllian, Ian Ring Music TheoryStaptyllian
10th mode:
Scale 2039
Scale 2039: Danyllian, Ian Ring Music TheoryDanyllian

Prime

The prime form of this scale is Scale 1919

Scale 1919Scale 1919: Rocryllian, Ian Ring Music TheoryRocryllian

Complement

The decatonic modal family [3067, 3581, 1919, 3007, 3551, 3823, 3959, 4027, 4061, 2039] (Forte: 10-4) is the complement of the modal family [17, 257] (Forte: 2-4)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 3067 is itself, because it is a palindromic scale!

Scale 3067Scale 3067: Goptyllian, Ian Ring Music TheoryGoptyllian

Transformations:

T0 3067  T0I 3067
T1 2039  T1I 2039
T2 4078  T2I 4078
T3 4061  T3I 4061
T4 4027  T4I 4027
T5 3959  T5I 3959
T6 3823  T6I 3823
T7 3551  T7I 3551
T8 3007  T8I 3007
T9 1919  T9I 1919
T10 3838  T10I 3838
T11 3581  T11I 3581

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 3065Scale 3065: Zothygic, Ian Ring Music TheoryZothygic
Scale 3069Scale 3069: Maqam Shawq Afza, Ian Ring Music TheoryMaqam Shawq Afza
Scale 3071Scale 3071: Solatic, Ian Ring Music TheorySolatic
Scale 3059Scale 3059: Madygic, Ian Ring Music TheoryMadygic
Scale 3063Scale 3063: Solyllian, Ian Ring Music TheorySolyllian
Scale 3051Scale 3051: Stalygic, Ian Ring Music TheoryStalygic
Scale 3035Scale 3035: Gocrygic, Ian Ring Music TheoryGocrygic
Scale 3003Scale 3003: Genus Chromaticum, Ian Ring Music TheoryGenus Chromaticum
Scale 2939Scale 2939: Goptygic, Ian Ring Music TheoryGoptygic
Scale 2811Scale 2811: Barygic, Ian Ring Music TheoryBarygic
Scale 2555Scale 2555: Bythygic, Ian Ring Music TheoryBythygic
Scale 3579Scale 3579: Zyphyllian, Ian Ring Music TheoryZyphyllian
Scale 4091Scale 4091: Thydatic, Ian Ring Music TheoryThydatic
Scale 1019Scale 1019: Aeranygic, Ian Ring Music TheoryAeranygic
Scale 2043Scale 2043: Maqam Tarzanuyn, Ian Ring Music TheoryMaqam Tarzanuyn

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.