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Scale 1457: "Raga Kamalamanohari"

Scale 1457: Raga Kamalamanohari, 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 Kamalamanohari
Zeitler
Modimic
Dozenal
Jalian

Analysis

Cardinality

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

6 (hexatonic)

Pitch Class Set

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

{0,4,5,7,8,10}

Forte Number

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

6-Z24

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: 437

Hemitonia

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

2 (dihemitonic)

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.

3

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.

5

Prime Form

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

no
prime: 347

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, 1, 2, 1, 2, 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.

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

Interval Spectrum

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

p3m3n3s3d2t

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> = {1,2,4}
<2> = {3,4,5,6}
<3> = {4,5,7,8}
<4> = {6,7,8,9}
<5> = {8,10,11}

Spectra Variation

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

2.667

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.

2.232

Polygon Perimeter

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

5.767

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".

Improper

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.

(14, 11, 59)

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
Minor Triadsfm{5,8,0}131.5
Augmented TriadsC+{0,4,8}221
Diminished Triads{4,7,10}131.5
Parsimonious Voice Leading Between Common Triads of Scale 1457. Created by Ian Ring ©2019 C C C+ C+ C->C+ C->e° fm fm C+->fm

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 VerticesC, C+
Peripheral Verticese°, fm

Triad Polychords

Also known as Bi-Triadic Hexatonics (a term coined by mDecks), and related to Generic Modality Compression (a method for guitar by Mick Goodrick and Tim Miller), these are two common triads that when combined use all the tones in this scale.

There is 1 way that this hexatonic scale can be split into two common triads.


Diminished: {4, 7, 10}
Minor: {5, 8, 0}

Modes

Modes are the rotational transformation of this scale. Scale 1457 can be rotated to make 5 other scales. The 1st mode is itself.

2nd mode:
Scale 347
Scale 347: Barimic, Ian Ring Music TheoryBarimicThis is the prime mode
3rd mode:
Scale 2221
Scale 2221: Raga Sindhura Kafi, Ian Ring Music TheoryRaga Sindhura Kafi
4th mode:
Scale 1579
Scale 1579: Sagimic, Ian Ring Music TheorySagimic
5th mode:
Scale 2837
Scale 2837: Aelothimic, Ian Ring Music TheoryAelothimic
6th mode:
Scale 1733
Scale 1733: Raga Sarasvati, Ian Ring Music TheoryRaga Sarasvati

Prime

The prime form of this scale is Scale 347

Scale 347Scale 347: Barimic, Ian Ring Music TheoryBarimic

Complement

The hexatonic modal family [1457, 347, 2221, 1579, 2837, 1733] (Forte: 6-Z24) is the complement of the hexatonic modal family [599, 697, 1481, 1829, 2347, 3221] (Forte: 6-Z46)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 1457 is 437

Scale 437Scale 437: Ronimic, Ian Ring Music TheoryRonimic

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 1457 is chiral, and its enantiomorph is scale 437

Scale 437Scale 437: Ronimic, Ian Ring Music TheoryRonimic

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> 1457       T0I <11,0> 437
T1 <1,1> 2914      T1I <11,1> 874
T2 <1,2> 1733      T2I <11,2> 1748
T3 <1,3> 3466      T3I <11,3> 3496
T4 <1,4> 2837      T4I <11,4> 2897
T5 <1,5> 1579      T5I <11,5> 1699
T6 <1,6> 3158      T6I <11,6> 3398
T7 <1,7> 2221      T7I <11,7> 2701
T8 <1,8> 347      T8I <11,8> 1307
T9 <1,9> 694      T9I <11,9> 2614
T10 <1,10> 1388      T10I <11,10> 1133
T11 <1,11> 2776      T11I <11,11> 2266
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 2327      T0MI <7,0> 3347
T1M <5,1> 559      T1MI <7,1> 2599
T2M <5,2> 1118      T2MI <7,2> 1103
T3M <5,3> 2236      T3MI <7,3> 2206
T4M <5,4> 377      T4MI <7,4> 317
T5M <5,5> 754      T5MI <7,5> 634
T6M <5,6> 1508      T6MI <7,6> 1268
T7M <5,7> 3016      T7MI <7,7> 2536
T8M <5,8> 1937      T8MI <7,8> 977
T9M <5,9> 3874      T9MI <7,9> 1954
T10M <5,10> 3653      T10MI <7,10> 3908
T11M <5,11> 3211      T11MI <7,11> 3721

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 1459Scale 1459: Phrygian Dominant, Ian Ring Music TheoryPhrygian Dominant
Scale 1461Scale 1461: Major-Minor, Ian Ring Music TheoryMajor-Minor
Scale 1465Scale 1465: Mela Ragavardhani, Ian Ring Music TheoryMela Ragavardhani
Scale 1441Scale 1441: Jabian, Ian Ring Music TheoryJabian
Scale 1449Scale 1449: Raga Gopikavasantam, Ian Ring Music TheoryRaga Gopikavasantam
Scale 1425Scale 1425: Ryphitonic, Ian Ring Music TheoryRyphitonic
Scale 1489Scale 1489: Raga Jyoti, Ian Ring Music TheoryRaga Jyoti
Scale 1521Scale 1521: Stanian, Ian Ring Music TheoryStanian
Scale 1329Scale 1329: Epygitonic, Ian Ring Music TheoryEpygitonic
Scale 1393Scale 1393: Mycrimic, Ian Ring Music TheoryMycrimic
Scale 1201Scale 1201: Mixolydian Pentatonic, Ian Ring Music TheoryMixolydian Pentatonic
Scale 1713Scale 1713: Raga Khamas, Ian Ring Music TheoryRaga Khamas
Scale 1969Scale 1969: Stylian, Ian Ring Music TheoryStylian
Scale 433Scale 433: Raga Zilaf, Ian Ring Music TheoryRaga Zilaf
Scale 945Scale 945: Raga Saravati, Ian Ring Music TheoryRaga Saravati
Scale 2481Scale 2481: Raga Paraju, Ian Ring Music TheoryRaga Paraju
Scale 3505Scale 3505: Stygian, Ian Ring Music TheoryStygian

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.