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Scale 3367: "Moptian"

Scale 3367: Moptian, 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
Moptian

Analysis

Cardinality

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

7 (heptatonic)

Pitch Class Set

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

{0,1,2,5,8,10,11}

Forte Number

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

7-10

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: 3223

Hemitonia

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

4 (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.

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.

6

Prime Form

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

no
prime: 607

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, 3, 3, 2, 1, 1] 9

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.

<4, 4, 5, 3, 3, 2>

Interval Spectrum

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

p3m3n5s4d4t2

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

Spectra Variation

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

3.143

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.

2.433

Polygon Perimeter

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

5.899

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

Tertian Harmonic Chords

Tertian chords are made from alternating members of the scale, ie built from "stacked thirds". Not all scales lend themselves well to tertian harmony.

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♯{1,5,8}331.63
A♯{10,2,5}331.63
Minor Triadsfm{5,8,0}231.75
a♯m{10,1,5}231.75
Diminished Triads{2,5,8}231.75
{5,8,11}231.88
g♯°{8,11,2}231.88
{11,2,5}231.75
Parsimonious Voice Leading Between Common Triads of Scale 3367. Created by Ian Ring ©2019 C# C# C#->d° fm fm C#->fm a#m a#m C#->a#m A# A# d°->A# f°->fm g#° g#° f°->g#° g#°->b° a#m->A# A#->b°

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.

Diameter3
Radius3
Self-Centeredyes

Triadic Polychords

There is 1 way that this hexatonic scale can be split into two common triads.


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Modes

Modes are the rotational transformation of this scale. Scale 3367 can be rotated to make 6 other scales. The 1st mode is itself.

2nd mode:
Scale 3731
Scale 3731: Aeryrian, Ian Ring Music TheoryAeryrian
3rd mode:
Scale 3913
Scale 3913: Bonian, Ian Ring Music TheoryBonian
4th mode:
Scale 1001
Scale 1001: Badian, Ian Ring Music TheoryBadian
5th mode:
Scale 637
Scale 637: Debussy's Heptatonic, Ian Ring Music TheoryDebussy's Heptatonic
6th mode:
Scale 1183
Scale 1183: Sadian, Ian Ring Music TheorySadian
7th mode:
Scale 2639
Scale 2639: Dothian, Ian Ring Music TheoryDothian

Prime

The prime form of this scale is Scale 607

Scale 607Scale 607: Kadian, Ian Ring Music TheoryKadian

Complement

The heptatonic modal family [3367, 3731, 3913, 1001, 637, 1183, 2639] (Forte: 7-10) is the complement of the pentatonic modal family [91, 1547, 1729, 2093, 2821] (Forte: 5-10)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 3367 is 3223

Scale 3223Scale 3223: Thyphian, Ian Ring Music TheoryThyphian

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 3367 is chiral, and its enantiomorph is scale 3223

Scale 3223Scale 3223: Thyphian, Ian Ring Music TheoryThyphian

Transformations:

T0 3367  T0I 3223
T1 2639  T1I 2351
T2 1183  T2I 607
T3 2366  T3I 1214
T4 637  T4I 2428
T5 1274  T5I 761
T6 2548  T6I 1522
T7 1001  T7I 3044
T8 2002  T8I 1993
T9 4004  T9I 3986
T10 3913  T10I 3877
T11 3731  T11I 3659

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 3365Scale 3365: Katolimic, Ian Ring Music TheoryKatolimic
Scale 3363Scale 3363: Rogimic, Ian Ring Music TheoryRogimic
Scale 3371Scale 3371: Aeolylian, Ian Ring Music TheoryAeolylian
Scale 3375Scale 3375, Ian Ring Music Theory
Scale 3383Scale 3383: Zoptyllic, Ian Ring Music TheoryZoptyllic
Scale 3335Scale 3335, Ian Ring Music Theory
Scale 3351Scale 3351: Crater Scale, Ian Ring Music TheoryCrater Scale
Scale 3399Scale 3399: Zonian, Ian Ring Music TheoryZonian
Scale 3431Scale 3431: Zyptyllic, Ian Ring Music TheoryZyptyllic
Scale 3495Scale 3495: Banyllic, Ian Ring Music TheoryBanyllic
Scale 3111Scale 3111, Ian Ring Music Theory
Scale 3239Scale 3239: Mela Tanarupi, Ian Ring Music TheoryMela Tanarupi
Scale 3623Scale 3623: Aerocrian, Ian Ring Music TheoryAerocrian
Scale 3879Scale 3879: Pathyllic, Ian Ring Music TheoryPathyllic
Scale 2343Scale 2343: Tharimic, Ian Ring Music TheoryTharimic
Scale 2855Scale 2855: Epocrain, Ian Ring Music TheoryEpocrain
Scale 1319Scale 1319: Phronimic, Ian Ring Music TheoryPhronimic

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.