The Exciting Universe Of Music Theory
presents

more than you ever wanted to know about...

Scale 1677: "Raga Manavi"

Scale 1677: Raga Manavi, 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 Manavi
Zeitler
Danimic
Dozenal
Keqian

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

{0,2,3,7,9,10}

Forte Number

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

6-Z25

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: 1581

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.

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.

5

Prime Form

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

no
prime: 363

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, 1, 4, 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.

<2, 3, 3, 2, 4, 1>

Interval Spectrum

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

p4m2n3s3d2t

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> = {5,7}
<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.

2.333

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.

(12, 9, 55)

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}221
Minor Triadscm{0,3,7}221
gm{7,10,2}131.5
Diminished Triads{9,0,3}131.5
Parsimonious Voice Leading Between Common Triads of Scale 1677. Created by Ian Ring ©2019 cm cm D# D# cm->D# cm->a° gm gm D#->gm

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, D♯
Peripheral Verticesgm, a°

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.


Minor: {7, 10, 2}
Diminished: {9, 0, 3}

Modes

Modes are the rotational transformation of this scale. Scale 1677 can be rotated to make 5 other scales. The 1st mode is itself.

2nd mode:
Scale 1443
Scale 1443: Raga Phenadyuti, Ian Ring Music TheoryRaga Phenadyuti
3rd mode:
Scale 2769
Scale 2769: Dyrimic, Ian Ring Music TheoryDyrimic
4th mode:
Scale 429
Scale 429: Koptimic, Ian Ring Music TheoryKoptimic
5th mode:
Scale 1131
Scale 1131: Honchoshi Plagal Form, Ian Ring Music TheoryHonchoshi Plagal Form
6th mode:
Scale 2613
Scale 2613: Raga Hamsa Vinodini, Ian Ring Music TheoryRaga Hamsa Vinodini

Prime

The prime form of this scale is Scale 363

Scale 363Scale 363: Soptimic, Ian Ring Music TheorySoptimic

Complement

The hexatonic modal family [1677, 1443, 2769, 429, 1131, 2613] (Forte: 6-Z25) is the complement of the hexatonic modal family [663, 741, 1209, 1833, 2379, 3237] (Forte: 6-Z47)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 1677 is 1581

Scale 1581Scale 1581: Raga Bagesri, Ian Ring Music TheoryRaga Bagesri

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 1677 is chiral, and its enantiomorph is scale 1581

Scale 1581Scale 1581: Raga Bagesri, Ian Ring Music TheoryRaga Bagesri

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> 1677       T0I <11,0> 1581
T1 <1,1> 3354      T1I <11,1> 3162
T2 <1,2> 2613      T2I <11,2> 2229
T3 <1,3> 1131      T3I <11,3> 363
T4 <1,4> 2262      T4I <11,4> 726
T5 <1,5> 429      T5I <11,5> 1452
T6 <1,6> 858      T6I <11,6> 2904
T7 <1,7> 1716      T7I <11,7> 1713
T8 <1,8> 3432      T8I <11,8> 3426
T9 <1,9> 2769      T9I <11,9> 2757
T10 <1,10> 1443      T10I <11,10> 1419
T11 <1,11> 2886      T11I <11,11> 2838
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 3597      T0MI <7,0> 1551
T1M <5,1> 3099      T1MI <7,1> 3102
T2M <5,2> 2103      T2MI <7,2> 2109
T3M <5,3> 111      T3MI <7,3> 123
T4M <5,4> 222      T4MI <7,4> 246
T5M <5,5> 444      T5MI <7,5> 492
T6M <5,6> 888      T6MI <7,6> 984
T7M <5,7> 1776      T7MI <7,7> 1968
T8M <5,8> 3552      T8MI <7,8> 3936
T9M <5,9> 3009      T9MI <7,9> 3777
T10M <5,10> 1923      T10MI <7,10> 3459
T11M <5,11> 3846      T11MI <7,11> 2823

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 1679Scale 1679: Kydian, Ian Ring Music TheoryKydian
Scale 1673Scale 1673: Thocritonic, Ian Ring Music TheoryThocritonic
Scale 1675Scale 1675: Raga Salagavarali, Ian Ring Music TheoryRaga Salagavarali
Scale 1669Scale 1669: Raga Matha Kokila, Ian Ring Music TheoryRaga Matha Kokila
Scale 1685Scale 1685: Zeracrimic, Ian Ring Music TheoryZeracrimic
Scale 1693Scale 1693: Dogian, Ian Ring Music TheoryDogian
Scale 1709Scale 1709: Dorian, Ian Ring Music TheoryDorian
Scale 1741Scale 1741: Lydian Diminished, Ian Ring Music TheoryLydian Diminished
Scale 1549Scale 1549: Joqian, Ian Ring Music TheoryJoqian
Scale 1613Scale 1613: Thylimic, Ian Ring Music TheoryThylimic
Scale 1805Scale 1805: Laqian, Ian Ring Music TheoryLaqian
Scale 1933Scale 1933: Mocrian, Ian Ring Music TheoryMocrian
Scale 1165Scale 1165: Gycritonic, Ian Ring Music TheoryGycritonic
Scale 1421Scale 1421: Raga Trimurti, Ian Ring Music TheoryRaga Trimurti
Scale 653Scale 653: Dorian Pentatonic, Ian Ring Music TheoryDorian Pentatonic
Scale 2701Scale 2701: Hawaiian, Ian Ring Music TheoryHawaiian
Scale 3725Scale 3725: Kyrian, Ian Ring Music TheoryKyrian

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.