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Scale 1171: "Raga Manaranjani I"

Scale 1171: Raga Manaranjani I, 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

Carnatic
Raga Manaranjani I
Zeitler
Loptitonic
Dozenal
Hezian

Analysis

Cardinality

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

5 (pentatonic)

Pitch Class Set

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

{0,1,4,7,10}

Forte Number

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

5-31

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: 2341

Hemitonia

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

1 (unhemitonic)

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.

4

Prime Form

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

no
prime: 587

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, 3, 3, 3, 2]

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.

<1, 1, 4, 1, 1, 2>

Interval Spectrum

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

pmn4sdt2

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

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.

2.183

Polygon Perimeter

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

5.76

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, 10, 32)

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}221.2
Diminished Triadsc♯°{1,4,7}221.2
{4,7,10}221.2
{7,10,1}221.2
a♯°{10,1,4}221.2
Parsimonious Voice Leading Between Common Triads of Scale 1171. Created by Ian Ring ©2019 C C c#° c#° C->c#° C->e° a#° a#° c#°->a#° e°->g° g°->a#°

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.

Diameter2
Radius2
Self-Centeredyes

Modes

Modes are the rotational transformation of this scale. Scale 1171 can be rotated to make 4 other scales. The 1st mode is itself.

2nd mode:
Scale 2633
Scale 2633: Bartók Beta Chord, Ian Ring Music TheoryBartók Beta Chord
3rd mode:
Scale 841
Scale 841: Phrothitonic, Ian Ring Music TheoryPhrothitonic
4th mode:
Scale 617
Scale 617: Katycritonic, Ian Ring Music TheoryKatycritonic
5th mode:
Scale 589
Scale 589: Ionalitonic, Ian Ring Music TheoryIonalitonic

Prime

The prime form of this scale is Scale 587

Scale 587Scale 587: Pathitonic, Ian Ring Music TheoryPathitonic

Complement

The pentatonic modal family [1171, 2633, 841, 617, 589] (Forte: 5-31) is the complement of the heptatonic modal family [731, 1627, 1739, 1753, 2413, 2861, 2917] (Forte: 7-31)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 1171 is 2341

Scale 2341Scale 2341: Raga Priyadharshini, Ian Ring Music TheoryRaga Priyadharshini

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 1171 is chiral, and its enantiomorph is scale 2341

Scale 2341Scale 2341: Raga Priyadharshini, Ian Ring Music TheoryRaga Priyadharshini

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> 1171       T0I <11,0> 2341
T1 <1,1> 2342      T1I <11,1> 587
T2 <1,2> 589      T2I <11,2> 1174
T3 <1,3> 1178      T3I <11,3> 2348
T4 <1,4> 2356      T4I <11,4> 601
T5 <1,5> 617      T5I <11,5> 1202
T6 <1,6> 1234      T6I <11,6> 2404
T7 <1,7> 2468      T7I <11,7> 713
T8 <1,8> 841      T8I <11,8> 1426
T9 <1,9> 1682      T9I <11,9> 2852
T10 <1,10> 3364      T10I <11,10> 1609
T11 <1,11> 2633      T11I <11,11> 3218
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 2341      T0MI <7,0> 1171
T1M <5,1> 587      T1MI <7,1> 2342
T2M <5,2> 1174      T2MI <7,2> 589
T3M <5,3> 2348      T3MI <7,3> 1178
T4M <5,4> 601      T4MI <7,4> 2356
T5M <5,5> 1202      T5MI <7,5> 617
T6M <5,6> 2404      T6MI <7,6> 1234
T7M <5,7> 713      T7MI <7,7> 2468
T8M <5,8> 1426      T8MI <7,8> 841
T9M <5,9> 2852      T9MI <7,9> 1682
T10M <5,10> 1609      T10MI <7,10> 3364
T11M <5,11> 3218      T11MI <7,11> 2633

The transformations that map this set to itself are: T0, 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 1169Scale 1169: Raga Mahathi, Ian Ring Music TheoryRaga Mahathi
Scale 1173Scale 1173: Dominant Pentatonic, Ian Ring Music TheoryDominant Pentatonic
Scale 1175Scale 1175: Epycrimic, Ian Ring Music TheoryEpycrimic
Scale 1179Scale 1179: Sonimic, Ian Ring Music TheorySonimic
Scale 1155Scale 1155, Ian Ring Music Theory
Scale 1163Scale 1163: Raga Rukmangi, Ian Ring Music TheoryRaga Rukmangi
Scale 1187Scale 1187: Kokin-joshi, Ian Ring Music TheoryKokin-joshi
Scale 1203Scale 1203: Pagimic, Ian Ring Music TheoryPagimic
Scale 1235Scale 1235: Messiaen Truncated Mode 2, Ian Ring Music TheoryMessiaen Truncated Mode 2
Scale 1043Scale 1043: Gizian, Ian Ring Music TheoryGizian
Scale 1107Scale 1107: Mogitonic, Ian Ring Music TheoryMogitonic
Scale 1299Scale 1299: Aerophitonic, Ian Ring Music TheoryAerophitonic
Scale 1427Scale 1427: Lolimic, Ian Ring Music TheoryLolimic
Scale 1683Scale 1683: Raga Malayamarutam, Ian Ring Music TheoryRaga Malayamarutam
Scale 147Scale 147: Bafian, Ian Ring Music TheoryBafian
Scale 659Scale 659: Raga Rasika Ranjani, Ian Ring Music TheoryRaga Rasika Ranjani
Scale 2195Scale 2195: Zalitonic, Ian Ring Music TheoryZalitonic
Scale 3219Scale 3219: Ionaphimic, Ian Ring Music TheoryIonaphimic

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.