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Scale 1447: "Mela Ratnangi"

Scale 1447: Mela Ratnangi, 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

Carnatic Mela
Mela Ratnangi
Carnatic Raga
Raga Phenadyuti
Zeitler
Mixopyrian

Analysis

Cardinality7 (heptatonic)
Pitch Class Set{0,1,2,5,7,8,10}
Forte Number7-29
Rotational Symmetrynone
Reflection Axesnone
Palindromicno
Chiralityyes
enantiomorph: 3253
Hemitonia3 (trihemitonic)
Cohemitonia1 (uncohemitonic)
Imperfections2
Modes6
Prime?no
prime: 727
Deep Scaleno
Interval Vector344352
Interval Spectrump5m3n4s4d3t2
Distribution Spectra<1> = {1,2,3}
<2> = {2,3,4,5}
<3> = {4,5,6}
<4> = {6,7,8}
<5> = {7,8,9,10}
<6> = {9,10,11}
Spectra Variation2
Maximally Evenno
Maximal Area Setno
Interior Area2.549
Myhill Propertyno
Balancedno
Ridge Tonesnone
ProprietyImproper
Heliotonicyes

Harmonic Chords

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}331.43
A♯{10,2,5}331.43
Minor Triadsfm{5,8,0}142.14
gm{7,10,2}241.86
a♯m{10,1,5}321.29
Diminished Triads{2,5,8}231.57
{7,10,1}231.71
Parsimonious Voice Leading Between Common Triads of Scale 1447. Created by Ian Ring ©2019 C# C# C#->d° fm fm C#->fm a#m a#m C#->a#m A# A# d°->A# gm gm g°->gm g°->a#m gm->A# a#m->A#

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
Radius2
Self-Centeredno
Central Verticesa♯m
Peripheral Verticesfm, gm

Modes

Modes are the rotational transformation of this scale. Scale 1447 can be rotated to make 6 other scales. The 1st mode is itself.

2nd mode:
Scale 2771
Scale 2771: Marva That, Ian Ring Music TheoryMarva That
3rd mode:
Scale 3433
Scale 3433: Thonian, Ian Ring Music TheoryThonian
4th mode:
Scale 941
Scale 941: Mela Jhankaradhvani, Ian Ring Music TheoryMela Jhankaradhvani
5th mode:
Scale 1259
Scale 1259: Stadian, Ian Ring Music TheoryStadian
6th mode:
Scale 2677
Scale 2677: Thodian, Ian Ring Music TheoryThodian
7th mode:
Scale 1693
Scale 1693: Dogian, Ian Ring Music TheoryDogian

Prime

The prime form of this scale is Scale 727

Scale 727Scale 727: Phradian, Ian Ring Music TheoryPhradian

Complement

The heptatonic modal family [1447, 2771, 3433, 941, 1259, 2677, 1693] (Forte: 7-29) is the complement of the pentatonic modal family [331, 709, 1201, 1577, 2213] (Forte: 5-29)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 1447 is 3253

Scale 3253Scale 3253: Mela Naganandini, Ian Ring Music TheoryMela Naganandini

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 1447 is chiral, and its enantiomorph is scale 3253

Scale 3253Scale 3253: Mela Naganandini, Ian Ring Music TheoryMela Naganandini

Transformations:

T0 1447  T0I 3253
T1 2894  T1I 2411
T2 1693  T2I 727
T3 3386  T3I 1454
T4 2677  T4I 2908
T5 1259  T5I 1721
T6 2518  T6I 3442
T7 941  T7I 2789
T8 1882  T8I 1483
T9 3764  T9I 2966
T10 3433  T10I 1837
T11 2771  T11I 3674

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 1445Scale 1445: Raga Navamanohari, Ian Ring Music TheoryRaga Navamanohari
Scale 1443Scale 1443: Raga Phenadyuti, Ian Ring Music TheoryRaga Phenadyuti
Scale 1451Scale 1451: Phrygian, Ian Ring Music TheoryPhrygian
Scale 1455Scale 1455: Phrygiolian, Ian Ring Music TheoryPhrygiolian
Scale 1463Scale 1463, Ian Ring Music Theory
Scale 1415Scale 1415, Ian Ring Music Theory
Scale 1431Scale 1431: Phragian, Ian Ring Music TheoryPhragian
Scale 1479Scale 1479: Mela Jalarnava, Ian Ring Music TheoryMela Jalarnava
Scale 1511Scale 1511: Styptyllic, Ian Ring Music TheoryStyptyllic
Scale 1319Scale 1319: Phronimic, Ian Ring Music TheoryPhronimic
Scale 1383Scale 1383: Pynian, Ian Ring Music TheoryPynian
Scale 1191Scale 1191: Pyrimic, Ian Ring Music TheoryPyrimic
Scale 1703Scale 1703: Mela Vanaspati, Ian Ring Music TheoryMela Vanaspati
Scale 1959Scale 1959: Katolyllic, Ian Ring Music TheoryKatolyllic
Scale 423Scale 423: Sogimic, Ian Ring Music TheorySogimic
Scale 935Scale 935: Chromatic Dorian, Ian Ring Music TheoryChromatic Dorian
Scale 2471Scale 2471: Mela Ganamurti, Ian Ring Music TheoryMela Ganamurti
Scale 3495Scale 3495: Banyllic, Ian Ring Music TheoryBanyllic

This scale analysis was created by Ian Ring, Canadian Composer of works for Piano, and total music theory nerd. The software used to generate this analysis is an open source project at GitHub. 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.