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Cardinality | 5 (pentatonic) |
---|---|
Pitch Class Set | {0,3,7,9,10} |
Forte Number | 5-25 |
Rotational Symmetry | none |
Reflection Axes | none |
Palindromic | no |
Chirality | yes enantiomorph: 557 |
Hemitonia | 1 (unhemitonic) |
Cohemitonia | 0 (ancohemitonic) |
Imperfections | 3 |
Modes | 4 |
Prime? | no prime: 301 |
Deep Scale | no |
Interval Vector | 123121 |
Interval Spectrum | p2mn3s2dt |
Distribution Spectra | <1> = {1,2,3,4} <2> = {3,5,6,7} <3> = {5,6,7,9} <4> = {8,9,10,11} |
Spectra Variation | 2.8 |
Maximally Even | no |
Maximal Area Set | no |
Interior Area | 2.049 |
Myhill Property | no |
Balanced | no |
Ridge Tones | none |
Propriety | Improper |
Heliotonic | no |
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 Type | Triad* | Pitch Classes | Degree | Eccentricity | Closeness Centrality |
---|---|---|---|---|---|
Major Triads | D♯ | {3,7,10} | 1 | 2 | 1 |
Minor Triads | cm | {0,3,7} | 2 | 1 | 0.67 |
Diminished Triads | a° | {9,0,3} | 1 | 2 | 1 |
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.
Diameter | 2 |
---|---|
Radius | 1 |
Self-Centered | no |
Central Vertices | cm |
Peripheral Vertices | D♯, a° |
Modes are the rotational transformation of this scale. Scale 1673 can be rotated to make 4 other scales. The 1st mode is itself.
2nd mode: Scale 721 | ![]() | Raga Dhavalashri | |||
3rd mode: Scale 301 | ![]() | Raga Audav Tukhari | This is the prime mode | ||
4th mode: Scale 1099 | ![]() | Dyritonic | |||
5th mode: Scale 2597 | ![]() | Raga Rasranjani |
The prime form of this scale is Scale 301
Scale 301 | ![]() | Raga Audav Tukhari |
The pentatonic modal family [1673, 721, 301, 1099, 2597] (Forte: 5-25) is the complement of the heptatonic modal family [733, 1207, 1769, 1867, 2651, 2981, 3373] (Forte: 7-25)
The inverse of a scale is a reflection using the root as its axis. The inverse of 1673 is 557
Scale 557 | ![]() | Raga Abhogi |
Only scales that are chiral will have an enantiomorph. Scale 1673 is chiral, and its enantiomorph is scale 557
Scale 557 | ![]() | Raga Abhogi |
T0 | 1673 | T0I | 557 | |||||
T1 | 3346 | T1I | 1114 | |||||
T2 | 2597 | T2I | 2228 | |||||
T3 | 1099 | T3I | 361 | |||||
T4 | 2198 | T4I | 722 | |||||
T5 | 301 | T5I | 1444 | |||||
T6 | 602 | T6I | 2888 | |||||
T7 | 1204 | T7I | 1681 | |||||
T8 | 2408 | T8I | 3362 | |||||
T9 | 721 | T9I | 2629 | |||||
T10 | 1442 | T10I | 1163 | |||||
T11 | 2884 | T11I | 2326 |
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 1675 | ![]() | Raga Salagavarali | ||
Scale 1677 | ![]() | Raga Manavi | ||
Scale 1665 | ![]() | |||
Scale 1669 | ![]() | Raga Matha Kokila | ||
Scale 1681 | ![]() | Raga Valaji | ||
Scale 1689 | ![]() | Lorimic | ||
Scale 1705 | ![]() | Raga Manohari | ||
Scale 1737 | ![]() | Raga Madhukauns | ||
Scale 1545 | ![]() | |||
Scale 1609 | ![]() | Thyritonic | ||
Scale 1801 | ![]() | |||
Scale 1929 | ![]() | Aeolycrimic | ||
Scale 1161 | ![]() | Bi Yu | ||
Scale 1417 | ![]() | Raga Shailaja | ||
Scale 649 | ![]() | Byptic | ||
Scale 2697 | ![]() | Katagitonic | ||
Scale 3721 | ![]() | Phragimic |
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.