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Scale 1483: "Mela Bhavapriya"

Scale 1483: Mela Bhavapriya, 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
Mela Bhavapriya
Raga Bhavani
Dozenal
Jebian
Unknown / Unsorted
Kalamurti
Neveseri ascending
Zeitler
Dygian
Carnatic Melakarta
Bhavapriya
Carnatic Numbered Melakarta
44th Melakarta raga

Analysis

Cardinality

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

7 (heptatonic)

Pitch Class Set

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

{0,1,3,6,7,8,10}

Forte Number

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

7-29

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: 2677

Hemitonia

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

3 (trihemitonic)

Cohemitonia

A cohemitone is an instance of two adjacent hemitones. Cohemitonia describes how many such cohemitones exist.

1 (uncohemitonic)

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.

6

Prime Form

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

no
prime: 727

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, 2, 3, 1, 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.

<3, 4, 4, 3, 5, 2>

Interval Spectrum

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

p5m3n4s4d3t2

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

2.549

Polygon Perimeter

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

5.967

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.

(4, 28, 92)

Tertian Harmonic Chords

Tertian chords are made from alternating members of the scale, ie built from "stacked thirds". Not all scales lend themselves well to tertian harmony.

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}321.29
F♯{6,10,1}241.86
G♯{8,0,3}142.14
Minor Triadscm{0,3,7}331.43
d♯m{3,6,10}331.43
Diminished Triads{0,3,6}231.57
{7,10,1}231.71
Parsimonious Voice Leading Between Common Triads of Scale 1483. Created by Ian Ring ©2019 cm cm c°->cm d#m d#m c°->d#m D# D# cm->D# G# G# cm->G# d#m->D# F# F# d#m->F# D#->g° F#->g°

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 VerticesD♯
Peripheral VerticesF♯, G♯

Modes

Modes are the rotational transformation of this scale. Scale 1483 can be rotated to make 6 other scales. The 1st mode is itself.

2nd mode:
Scale 2789
Scale 2789: Zolian, Ian Ring Music TheoryZolian
3rd mode:
Scale 1721
Scale 1721: Mela Vagadhisvari, Ian Ring Music TheoryMela Vagadhisvari
4th mode:
Scale 727
Scale 727: Phradian, Ian Ring Music TheoryPhradianThis is the prime mode
5th mode:
Scale 2411
Scale 2411: Aeolorian, Ian Ring Music TheoryAeolorian
6th mode:
Scale 3253
Scale 3253: Mela Naganandini, Ian Ring Music TheoryMela Naganandini
7th mode:
Scale 1837
Scale 1837: Dalian, Ian Ring Music TheoryDalian

Prime

The prime form of this scale is Scale 727

Scale 727Scale 727: Phradian, Ian Ring Music TheoryPhradian

Complement

The heptatonic modal family [1483, 2789, 1721, 727, 2411, 3253, 1837] (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 1483 is 2677

Scale 2677Scale 2677: Thodian, Ian Ring Music TheoryThodian

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 1483 is chiral, and its enantiomorph is scale 2677

Scale 2677Scale 2677: Thodian, Ian Ring Music TheoryThodian

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> 1483       T0I <11,0> 2677
T1 <1,1> 2966      T1I <11,1> 1259
T2 <1,2> 1837      T2I <11,2> 2518
T3 <1,3> 3674      T3I <11,3> 941
T4 <1,4> 3253      T4I <11,4> 1882
T5 <1,5> 2411      T5I <11,5> 3764
T6 <1,6> 727      T6I <11,6> 3433
T7 <1,7> 1454      T7I <11,7> 2771
T8 <1,8> 2908      T8I <11,8> 1447
T9 <1,9> 1721      T9I <11,9> 2894
T10 <1,10> 3442      T10I <11,10> 1693
T11 <1,11> 2789      T11I <11,11> 3386
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 2173      T0MI <7,0> 1987
T1M <5,1> 251      T1MI <7,1> 3974
T2M <5,2> 502      T2MI <7,2> 3853
T3M <5,3> 1004      T3MI <7,3> 3611
T4M <5,4> 2008      T4MI <7,4> 3127
T5M <5,5> 4016      T5MI <7,5> 2159
T6M <5,6> 3937      T6MI <7,6> 223
T7M <5,7> 3779      T7MI <7,7> 446
T8M <5,8> 3463      T8MI <7,8> 892
T9M <5,9> 2831      T9MI <7,9> 1784
T10M <5,10> 1567      T10MI <7,10> 3568
T11M <5,11> 3134      T11MI <7,11> 3041

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 1481Scale 1481: Zagimic, Ian Ring Music TheoryZagimic
Scale 1485Scale 1485: Minor Romani, Ian Ring Music TheoryMinor Romani
Scale 1487Scale 1487: Mothyllic, Ian Ring Music TheoryMothyllic
Scale 1475Scale 1475: Uffian, Ian Ring Music TheoryUffian
Scale 1479Scale 1479: Mela Jalarnava, Ian Ring Music TheoryMela Jalarnava
Scale 1491Scale 1491: Namanarayani, Ian Ring Music TheoryNamanarayani
Scale 1499Scale 1499: Bebop Locrian, Ian Ring Music TheoryBebop Locrian
Scale 1515Scale 1515: Phrygian/Locrian Mixed, Ian Ring Music TheoryPhrygian/Locrian Mixed
Scale 1419Scale 1419: Raga Kashyapi, Ian Ring Music TheoryRaga Kashyapi
Scale 1451Scale 1451: Phrygian, Ian Ring Music TheoryPhrygian
Scale 1355Scale 1355: Raga Bhavani, Ian Ring Music TheoryRaga Bhavani
Scale 1227Scale 1227: Thacrimic, Ian Ring Music TheoryThacrimic
Scale 1739Scale 1739: Mela Sadvidhamargini, Ian Ring Music TheoryMela Sadvidhamargini
Scale 1995Scale 1995: Sideways Scale, Ian Ring Music TheorySideways Scale
Scale 459Scale 459: Zaptimic, Ian Ring Music TheoryZaptimic
Scale 971Scale 971: Mela Gavambodhi, Ian Ring Music TheoryMela Gavambodhi
Scale 2507Scale 2507: Todi That, Ian Ring Music TheoryTodi That
Scale 3531Scale 3531: Neveseri, Ian Ring Music TheoryNeveseri

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.