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Scale 3231: "Kataptyllic"

Scale 3231: Kataptyllic, 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
Kataptyllic
Dozenal
Ushian

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

{0,1,2,3,4,7,10,11}

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.

[1]

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.

[1, 1, 1, 1, 3, 3, 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.

[2]

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 TriadsC{0,4,7}342
D♯{3,7,10}341.91
G{7,11,2}242.09
Minor Triadscm{0,3,7}242.09
em{4,7,11}341.91
gm{7,10,2}342
Augmented TriadsD♯+{3,7,11}441.82
Diminished Triadsc♯°{1,4,7}242.27
{4,7,10}242.18
{7,10,1}242.27
a♯°{10,1,4}242.36
Parsimonious Voice Leading Between Common Triads of Scale 3231. Created by Ian Ring ©2019 cm cm C C cm->C D#+ D#+ cm->D#+ c#° c#° C->c#° em em C->em a#° a#° c#°->a#° D# D# D#->D#+ D#->e° gm gm D#->gm D#+->em Parsimonious Voice Leading Between Common Triads of Scale 3231. Created by Ian Ring ©2019 G D#+->G e°->em g°->gm g°->a#° gm->G

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 3231 can be rotated to make 7 other scales. The 1st mode is itself.

2nd mode:
Scale 3663
Scale 3663: Sonyllic, Ian Ring Music TheorySonyllic
3rd mode:
Scale 3879
Scale 3879: Pathyllic, Ian Ring Music TheoryPathyllic
4th mode:
Scale 3987
Scale 3987: Loryllic, Ian Ring Music TheoryLoryllic
5th mode:
Scale 4041
Scale 4041: Zaryllic, Ian Ring Music TheoryZaryllic
6th mode:
Scale 1017
Scale 1017: Dythyllic, Ian Ring Music TheoryDythyllic
7th mode:
Scale 639
Scale 639: Ionaryllic, Ian Ring Music TheoryIonaryllicThis is the prime mode
8th mode:
Scale 2367
Scale 2367: Laryllic, Ian Ring Music TheoryLaryllic

Prime

The prime form of this scale is Scale 639

Scale 639Scale 639: Ionaryllic, Ian Ring Music TheoryIonaryllic

Complement

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

Scale 3879Scale 3879: Pathyllic, Ian Ring Music TheoryPathyllic

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

The transformations that map this set to itself are: T0, T2I

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 3229Scale 3229: Aeolaptian, Ian Ring Music TheoryAeolaptian
Scale 3227Scale 3227: Aeolocrian, Ian Ring Music TheoryAeolocrian
Scale 3223Scale 3223: Thyphian, Ian Ring Music TheoryThyphian
Scale 3215Scale 3215: Katydian, Ian Ring Music TheoryKatydian
Scale 3247Scale 3247: Aeolonyllic, Ian Ring Music TheoryAeolonyllic
Scale 3263Scale 3263: Pyrygic, Ian Ring Music TheoryPyrygic
Scale 3295Scale 3295: Phroptygic, Ian Ring Music TheoryPhroptygic
Scale 3103Scale 3103: Heptatonic Chromatic 3, Ian Ring Music TheoryHeptatonic Chromatic 3
Scale 3167Scale 3167: Thynyllic, Ian Ring Music TheoryThynyllic
Scale 3359Scale 3359: Bonyllic, Ian Ring Music TheoryBonyllic
Scale 3487Scale 3487: Byptygic, Ian Ring Music TheoryByptygic
Scale 3743Scale 3743: Thadygic, Ian Ring Music TheoryThadygic
Scale 2207Scale 2207: Mygian, Ian Ring Music TheoryMygian
Scale 2719Scale 2719: Zocryllic, Ian Ring Music TheoryZocryllic
Scale 1183Scale 1183: Sadian, Ian Ring Music TheorySadian

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.