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Scale 3805: "Moptygic"

Scale 3805: Moptygic, 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
Moptygic

Analysis

Cardinality

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

9 (enneatonic)

Pitch Class Set

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

{0,2,3,4,6,7,9,10,11}

Forte Number

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

9-11

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: 1903

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.

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.

8

Prime Form

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

no
prime: 1775

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 Formula

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

[2, 1, 1, 2, 1, 2, 1, 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, 6, 7, 7, 7, 3>

Interval Spectrum

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

p7m7n7s6d6t3

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

Spectra Variation

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

1.111

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.

2.799

Polygon Perimeter

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

6.106

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".

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, 51, 138)

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}342.5
D{2,6,9}342.56
D♯{3,7,10}442.17
G{7,11,2}342.39
B{11,3,6}442.17
Minor Triadscm{0,3,7}442.28
d♯m{3,6,10}442.22
em{4,7,11}342.39
gm{7,10,2}342.44
am{9,0,4}342.67
bm{11,2,6}342.44
Augmented TriadsD+{2,6,10}442.33
D♯+{3,7,11}542
Diminished Triads{0,3,6}242.56
d♯°{3,6,9}242.67
{4,7,10}242.67
f♯°{6,9,0}242.72
{9,0,3}242.72
Parsimonious Voice Leading Between Common Triads of Scale 3805. Created by Ian Ring ©2019 cm cm c°->cm B B c°->B C C cm->C D#+ D#+ cm->D#+ cm->a° em em C->em am am C->am D D D+ D+ D->D+ d#° d#° D->d#° f#° f#° D->f#° d#m d#m D+->d#m gm gm D+->gm bm bm D+->bm d#°->d#m D# D# d#m->D# d#m->B D#->D#+ D#->e° D#->gm D#+->em Parsimonious Voice Leading Between Common Triads of Scale 3805. Created by Ian Ring ©2019 G D#+->G D#+->B e°->em f#°->am gm->G G->bm a°->am bm->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.

Diameter4
Radius4
Self-Centeredyes

Modes

Modes are the rotational transformation of this scale. Scale 3805 can be rotated to make 8 other scales. The 1st mode is itself.

2nd mode:
Scale 1975
Scale 1975: Ionocrygic, Ian Ring Music TheoryIonocrygic
3rd mode:
Scale 3035
Scale 3035: Gocrygic, Ian Ring Music TheoryGocrygic
4th mode:
Scale 3565
Scale 3565: Aeolorygic, Ian Ring Music TheoryAeolorygic
5th mode:
Scale 1915
Scale 1915: Thydygic, Ian Ring Music TheoryThydygic
6th mode:
Scale 3005
Scale 3005: Gycrygic, Ian Ring Music TheoryGycrygic
7th mode:
Scale 1775
Scale 1775: Lyrygic, Ian Ring Music TheoryLyrygicThis is the prime mode
8th mode:
Scale 2935
Scale 2935: Modygic, Ian Ring Music TheoryModygic
9th mode:
Scale 3515
Scale 3515: Moorish Phrygian, Ian Ring Music TheoryMoorish Phrygian

Prime

The prime form of this scale is Scale 1775

Scale 1775Scale 1775: Lyrygic, Ian Ring Music TheoryLyrygic

Complement

The enneatonic modal family [3805, 1975, 3035, 3565, 1915, 3005, 1775, 2935, 3515] (Forte: 9-11) is the complement of the tritonic modal family [137, 289, 529] (Forte: 3-11)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 3805 is 1903

Scale 1903Scale 1903: Rocrygic, Ian Ring Music TheoryRocrygic

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 3805 is chiral, and its enantiomorph is scale 1903

Scale 1903Scale 1903: Rocrygic, Ian Ring Music TheoryRocrygic

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> 3805       T0I <11,0> 1903
T1 <1,1> 3515      T1I <11,1> 3806
T2 <1,2> 2935      T2I <11,2> 3517
T3 <1,3> 1775      T3I <11,3> 2939
T4 <1,4> 3550      T4I <11,4> 1783
T5 <1,5> 3005      T5I <11,5> 3566
T6 <1,6> 1915      T6I <11,6> 3037
T7 <1,7> 3830      T7I <11,7> 1979
T8 <1,8> 3565      T8I <11,8> 3958
T9 <1,9> 3035      T9I <11,9> 3821
T10 <1,10> 1975      T10I <11,10> 3547
T11 <1,11> 3950      T11I <11,11> 2999
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 4045      T0MI <7,0> 1663
T1M <5,1> 3995      T1MI <7,1> 3326
T2M <5,2> 3895      T2MI <7,2> 2557
T3M <5,3> 3695      T3MI <7,3> 1019
T4M <5,4> 3295      T4MI <7,4> 2038
T5M <5,5> 2495      T5MI <7,5> 4076
T6M <5,6> 895      T6MI <7,6> 4057
T7M <5,7> 1790      T7MI <7,7> 4019
T8M <5,8> 3580      T8MI <7,8> 3943
T9M <5,9> 3065      T9MI <7,9> 3791
T10M <5,10> 2035      T10MI <7,10> 3487
T11M <5,11> 4070      T11MI <7,11> 2879

The transformations that map this set to itself are: T0

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 3807Scale 3807: Bagyllian, Ian Ring Music TheoryBagyllian
Scale 3801Scale 3801: Maptyllic, Ian Ring Music TheoryMaptyllic
Scale 3803Scale 3803: Epidygic, Ian Ring Music TheoryEpidygic
Scale 3797Scale 3797: Rocryllic, Ian Ring Music TheoryRocryllic
Scale 3789Scale 3789: Eporyllic, Ian Ring Music TheoryEporyllic
Scale 3821Scale 3821: Epyrygic, Ian Ring Music TheoryEpyrygic
Scale 3837Scale 3837: Minor Pentatonic With Leading Tones, Ian Ring Music TheoryMinor Pentatonic With Leading Tones
Scale 3741Scale 3741: Zydyllic, Ian Ring Music TheoryZydyllic
Scale 3773Scale 3773: Raga Malgunji, Ian Ring Music TheoryRaga Malgunji
Scale 3677Scale 3677, Ian Ring Music Theory
Scale 3933Scale 3933: Ionidygic, Ian Ring Music TheoryIonidygic
Scale 4061Scale 4061: Staptyllian, Ian Ring Music TheoryStaptyllian
Scale 3293Scale 3293: Saryllic, Ian Ring Music TheorySaryllic
Scale 3549Scale 3549: Messiaen Mode 3 Inverse, Ian Ring Music TheoryMessiaen Mode 3 Inverse
Scale 2781Scale 2781: Gycryllic, Ian Ring Music TheoryGycryllic
Scale 1757Scale 1757, Ian Ring Music Theory

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.