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Scale 337: "Koptic"

Scale 337: Koptic, 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
Koptic
Dozenal
Cakian

Analysis

Cardinality

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

4 (tetratonic)

Pitch Class Set

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

{0,4,6,8}

Forte Number

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

4-24

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.

0 (anhemitonic)

Cohemitonia

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

0 (ancohemitonic)

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.

3

Prime Form

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

no
prime: 277

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.

[4, 2, 2, 4]

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.

<0, 2, 0, 3, 0, 1>

Interval Spectrum

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

m3s2t

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> = {2,4}
<2> = {4,6,8}
<3> = {8,10}

Spectra Variation

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

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.

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.

1.732

Polygon Perimeter

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

5.464

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".

Proper

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.

(0, 4, 13)

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
Augmented TriadsC+{0,4,8}000

The following pitch classes are not present in any of the common triads: {6}

Since there is only one common triad in this scale, there are no opportunities for parsimonious voice leading between triads.

Modes

Modes are the rotational transformation of this scale. Scale 337 can be rotated to make 3 other scales. The 1st mode is itself.

2nd mode:
Scale 277
Scale 277: Mixolyric, Ian Ring Music TheoryMixolyricThis is the prime mode
3rd mode:
Scale 1093
Scale 1093: Lydic, Ian Ring Music TheoryLydic
4th mode:
Scale 1297
Scale 1297: Aeolic, Ian Ring Music TheoryAeolic

Prime

The prime form of this scale is Scale 277

Scale 277Scale 277: Mixolyric, Ian Ring Music TheoryMixolyric

Complement

The tetratonic modal family [337, 277, 1093, 1297] (Forte: 4-24) is the complement of the octatonic modal family [1399, 1501, 1879, 1909, 2747, 2987, 3421, 3541] (Forte: 8-24)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 337 is itself, because it is a palindromic scale!

Scale 337Scale 337: Koptic, Ian Ring Music TheoryKoptic

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> 337       T0I <11,0> 337
T1 <1,1> 674      T1I <11,1> 674
T2 <1,2> 1348      T2I <11,2> 1348
T3 <1,3> 2696      T3I <11,3> 2696
T4 <1,4> 1297      T4I <11,4> 1297
T5 <1,5> 2594      T5I <11,5> 2594
T6 <1,6> 1093      T6I <11,6> 1093
T7 <1,7> 2186      T7I <11,7> 2186
T8 <1,8> 277      T8I <11,8> 277
T9 <1,9> 554      T9I <11,9> 554
T10 <1,10> 1108      T10I <11,10> 1108
T11 <1,11> 2216      T11I <11,11> 2216
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 337       T0MI <7,0> 337
T1M <5,1> 674      T1MI <7,1> 674
T2M <5,2> 1348      T2MI <7,2> 1348
T3M <5,3> 2696      T3MI <7,3> 2696
T4M <5,4> 1297      T4MI <7,4> 1297
T5M <5,5> 2594      T5MI <7,5> 2594
T6M <5,6> 1093      T6MI <7,6> 1093
T7M <5,7> 2186      T7MI <7,7> 2186
T8M <5,8> 277      T8MI <7,8> 277
T9M <5,9> 554      T9MI <7,9> 554
T10M <5,10> 1108      T10MI <7,10> 1108
T11M <5,11> 2216      T11MI <7,11> 2216

The transformations that map this set to itself are: T0, T0I, T0M, T0MI

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 339Scale 339: Zaptitonic, Ian Ring Music TheoryZaptitonic
Scale 341Scale 341: Bothitonic, Ian Ring Music TheoryBothitonic
Scale 345Scale 345: Gylitonic, Ian Ring Music TheoryGylitonic
Scale 321Scale 321: Cahian, Ian Ring Music TheoryCahian
Scale 329Scale 329: Mynic 2, Ian Ring Music TheoryMynic 2
Scale 353Scale 353: Cebian, Ian Ring Music TheoryCebian
Scale 369Scale 369: Laditonic, Ian Ring Music TheoryLaditonic
Scale 273Scale 273: Augmented Triad, Ian Ring Music TheoryAugmented Triad
Scale 305Scale 305: Gonic, Ian Ring Music TheoryGonic
Scale 401Scale 401: Epogic, Ian Ring Music TheoryEpogic
Scale 465Scale 465: Zoditonic, Ian Ring Music TheoryZoditonic
Scale 81Scale 81: Disian, Ian Ring Music TheoryDisian
Scale 209Scale 209: Birian, Ian Ring Music TheoryBirian
Scale 593Scale 593: Saric, Ian Ring Music TheorySaric
Scale 849Scale 849: Aerynitonic, Ian Ring Music TheoryAerynitonic
Scale 1361Scale 1361: Bolitonic, Ian Ring Music TheoryBolitonic
Scale 2385Scale 2385: Aeolanitonic, Ian Ring Music TheoryAeolanitonic

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.