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Scale 1449: "Raga Gopikavasantam"

Scale 1449: Raga Gopikavasantam, 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 Raga
Raga Gopikavasantam
Unknown / Unsorted
Desya Todi
Jayantasri
Western Modern
Phrygian Hexatonic
Zeitler
Epathimic

Analysis

Cardinality6 (hexatonic)
Pitch Class Set{0,3,5,7,8,10}
Forte Number6-32
Rotational Symmetrynone
Reflection Axes1.5
Palindromicno
Chiralityno
Hemitonia1 (unhemitonic)
Cohemitonia0 (ancohemitonic)
Imperfections1
Modes5
Prime?no
prime: 693
Deep Scaleyes
Interval Vector143250
Interval Spectrump5m2n3s4d
Distribution Spectra<1> = {1,2,3}
<2> = {3,4,5}
<3> = {5,7}
<4> = {7,8,9}
<5> = {9,10,11}
Spectra Variation1.667
Maximally Evenno
Maximal Area Setno
Interior Area2.482
Myhill Propertyno
Balancedno
Ridge Tones[3]
ProprietyProper
Heliotonicno

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 TriadsD♯{3,7,10}131.5
G♯{8,0,3}221
Minor Triadscm{0,3,7}221
fm{5,8,0}131.5
Parsimonious Voice Leading Between Common Triads of Scale 1449. Created by Ian Ring ©2019 cm cm D# D# cm->D# G# G# cm->G# fm fm fm->G#

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
Radius2
Self-Centeredno
Central Verticescm, G♯
Peripheral VerticesD♯, fm

Modes

Modes are the rotational transformation of this scale. Scale 1449 can be rotated to make 5 other scales. The 1st mode is itself.

2nd mode:
Scale 693
Scale 693: Arezzo Major Diatonic Hexachord, Ian Ring Music TheoryArezzo Major Diatonic HexachordThis is the prime mode
3rd mode:
Scale 1197
Scale 1197: Minor Hexatonic, Ian Ring Music TheoryMinor Hexatonic
4th mode:
Scale 1323
Scale 1323: Ritsu, Ian Ring Music TheoryRitsu
5th mode:
Scale 2709
Scale 2709: Raga Kumud, Ian Ring Music TheoryRaga Kumud
6th mode:
Scale 1701
Scale 1701: Dominant Seventh, Ian Ring Music TheoryDominant Seventh

Prime

The prime form of this scale is Scale 693

Scale 693Scale 693: Arezzo Major Diatonic Hexachord, Ian Ring Music TheoryArezzo Major Diatonic Hexachord

Complement

The hexatonic modal family [1449, 693, 1197, 1323, 2709, 1701] (Forte: 6-32) is the complement of the hexatonic modal family [693, 1197, 1323, 1449, 1701, 2709] (Forte: 6-32)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 1449 is 693

Scale 693Scale 693: Arezzo Major Diatonic Hexachord, Ian Ring Music TheoryArezzo Major Diatonic Hexachord

Transformations:

T0 1449  T0I 693
T1 2898  T1I 1386
T2 1701  T2I 2772
T3 3402  T3I 1449
T4 2709  T4I 2898
T5 1323  T5I 1701
T6 2646  T6I 3402
T7 1197  T7I 2709
T8 2394  T8I 1323
T9 693  T9I 2646
T10 1386  T10I 1197
T11 2772  T11I 2394

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 1451Scale 1451: Phrygian, Ian Ring Music TheoryPhrygian
Scale 1453Scale 1453: Aeolian, Ian Ring Music TheoryAeolian
Scale 1441Scale 1441, Ian Ring Music Theory
Scale 1445Scale 1445: Raga Navamanohari, Ian Ring Music TheoryRaga Navamanohari
Scale 1457Scale 1457: Raga Kamalamanohari, Ian Ring Music TheoryRaga Kamalamanohari
Scale 1465Scale 1465: Mela Ragavardhani, Ian Ring Music TheoryMela Ragavardhani
Scale 1417Scale 1417: Raga Shailaja, Ian Ring Music TheoryRaga Shailaja
Scale 1433Scale 1433: Dynimic, Ian Ring Music TheoryDynimic
Scale 1481Scale 1481: Zagimic, Ian Ring Music TheoryZagimic
Scale 1513Scale 1513: Stathian, Ian Ring Music TheoryStathian
Scale 1321Scale 1321: Blues Minor, Ian Ring Music TheoryBlues Minor
Scale 1385Scale 1385: Phracrimic, Ian Ring Music TheoryPhracrimic
Scale 1193Scale 1193: Minor Pentatonic, Ian Ring Music TheoryMinor Pentatonic
Scale 1705Scale 1705: Raga Manohari, Ian Ring Music TheoryRaga Manohari
Scale 1961Scale 1961: Soptian, Ian Ring Music TheorySoptian
Scale 425Scale 425: Raga Kokil Pancham, Ian Ring Music TheoryRaga Kokil Pancham
Scale 937Scale 937: Stothimic, Ian Ring Music TheoryStothimic
Scale 2473Scale 2473: Raga Takka, Ian Ring Music TheoryRaga Takka
Scale 3497Scale 3497: Phrolian, Ian Ring Music TheoryPhrolian

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.