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Scale 1669: "Raga Matha Kokila"

Scale 1669: Raga Matha Kokila, 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 Matha Kokila
Raga Matkokil
Dozenal
Kelian

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

{0,2,7,9,10}

Forte Number

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

5-23

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: 1069

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.

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.

4

Prime Form

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

no
prime: 173

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.

[2, 5, 2, 1, 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, 3, 2, 1, 3, 0>

Interval Spectrum

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

p3mn2s3d

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

Spectra Variation

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

3.2

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.

1.799

Polygon Perimeter

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

5.449

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.

(10, 4, 30)

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
Minor Triadsgm{7,10,2}000

The following pitch classes are not present in any of the common triads: {0,9}

Since there is only one common triad in this scale, there are no opportunities for parsimonious voice leading between triads.

Modes

Modes are the rotational transformation of this scale. Scale 1669 can be rotated to make 4 other scales. The 1st mode is itself.

2nd mode:
Scale 1441
Scale 1441: Jabian, Ian Ring Music TheoryJabian
3rd mode:
Scale 173
Scale 173: Raga Purnalalita, Ian Ring Music TheoryRaga PurnalalitaThis is the prime mode
4th mode:
Scale 1067
Scale 1067: Gopian, Ian Ring Music TheoryGopian
5th mode:
Scale 2581
Scale 2581: Raga Neroshta, Ian Ring Music TheoryRaga Neroshta

Prime

The prime form of this scale is Scale 173

Scale 173Scale 173: Raga Purnalalita, Ian Ring Music TheoryRaga Purnalalita

Complement

The pentatonic modal family [1669, 1441, 173, 1067, 2581] (Forte: 5-23) is the complement of the heptatonic modal family [701, 1199, 1513, 1957, 2647, 3371, 3733] (Forte: 7-23)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 1669 is 1069

Scale 1069Scale 1069: Goqian, Ian Ring Music TheoryGoqian

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 1669 is chiral, and its enantiomorph is scale 1069

Scale 1069Scale 1069: Goqian, Ian Ring Music TheoryGoqian

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> 1669       T0I <11,0> 1069
T1 <1,1> 3338      T1I <11,1> 2138
T2 <1,2> 2581      T2I <11,2> 181
T3 <1,3> 1067      T3I <11,3> 362
T4 <1,4> 2134      T4I <11,4> 724
T5 <1,5> 173      T5I <11,5> 1448
T6 <1,6> 346      T6I <11,6> 2896
T7 <1,7> 692      T7I <11,7> 1697
T8 <1,8> 1384      T8I <11,8> 3394
T9 <1,9> 2768      T9I <11,9> 2693
T10 <1,10> 1441      T10I <11,10> 1291
T11 <1,11> 2882      T11I <11,11> 2582
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 3589      T0MI <7,0> 1039
T1M <5,1> 3083      T1MI <7,1> 2078
T2M <5,2> 2071      T2MI <7,2> 61
T3M <5,3> 47      T3MI <7,3> 122
T4M <5,4> 94      T4MI <7,4> 244
T5M <5,5> 188      T5MI <7,5> 488
T6M <5,6> 376      T6MI <7,6> 976
T7M <5,7> 752      T7MI <7,7> 1952
T8M <5,8> 1504      T8MI <7,8> 3904
T9M <5,9> 3008      T9MI <7,9> 3713
T10M <5,10> 1921      T10MI <7,10> 3331
T11M <5,11> 3842      T11MI <7,11> 2567

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 1671Scale 1671: Kemian, Ian Ring Music TheoryKemian
Scale 1665Scale 1665: Kejian, Ian Ring Music TheoryKejian
Scale 1667Scale 1667: Kekian, Ian Ring Music TheoryKekian
Scale 1673Scale 1673: Thocritonic, Ian Ring Music TheoryThocritonic
Scale 1677Scale 1677: Raga Manavi, Ian Ring Music TheoryRaga Manavi
Scale 1685Scale 1685: Zeracrimic, Ian Ring Music TheoryZeracrimic
Scale 1701Scale 1701: Dominant Seventh, Ian Ring Music TheoryDominant Seventh
Scale 1733Scale 1733: Raga Sarasvati, Ian Ring Music TheoryRaga Sarasvati
Scale 1541Scale 1541: Jilian, Ian Ring Music TheoryJilian
Scale 1605Scale 1605: Zanitonic, Ian Ring Music TheoryZanitonic
Scale 1797Scale 1797: Lalian, Ian Ring Music TheoryLalian
Scale 1925Scale 1925: Lumian, Ian Ring Music TheoryLumian
Scale 1157Scale 1157: Alkian, Ian Ring Music TheoryAlkian
Scale 1413Scale 1413: Iruian, Ian Ring Music TheoryIruian
Scale 645Scale 645: Duyian, Ian Ring Music TheoryDuyian
Scale 2693Scale 2693: Rajian, Ian Ring Music TheoryRajian
Scale 3717Scale 3717: Xidian, Ian Ring Music TheoryXidian

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.