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Scale 1681: "Raga Valaji"

Scale 1681: Raga Valaji, 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
Raga Valaji
Zeitler
Ionaditonic

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

{0,4,7,9,10}

Forte Number

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

5-25

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: 301

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.

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.

4

Prime Form

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

no
prime: 301

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 Formula

Defines the scale as the sequence of intervals between one tone and the next.

[4, 3, 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, 2, 3, 1, 2, 1>

Interval Spectrum

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

p2mn3s2dt

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

Spectra Variation

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

2.8

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.

2.049

Polygon Perimeter

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

5.664

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.

(7, 7, 36)

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}210.67
Minor Triadsam{9,0,4}121
Diminished Triads{4,7,10}121
Parsimonious Voice Leading Between Common Triads of Scale 1681. Created by Ian Ring ©2019 C C C->e° am am C->am

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.

Diameter2
Radius1
Self-Centeredno
Central VerticesC
Peripheral Verticese°, am

Modes

Modes are the rotational transformation of this scale. Scale 1681 can be rotated to make 4 other scales. The 1st mode is itself.

2nd mode:
Scale 361
Scale 361: Bocritonic, Ian Ring Music TheoryBocritonic
3rd mode:
Scale 557
Scale 557: Raga Abhogi, Ian Ring Music TheoryRaga Abhogi
4th mode:
Scale 1163
Scale 1163: Raga Rukmangi, Ian Ring Music TheoryRaga Rukmangi
5th mode:
Scale 2629
Scale 2629: Raga Shubravarni, Ian Ring Music TheoryRaga Shubravarni

Prime

The prime form of this scale is Scale 301

Scale 301Scale 301: Raga Audav Tukhari, Ian Ring Music TheoryRaga Audav Tukhari

Complement

The pentatonic modal family [1681, 361, 557, 1163, 2629] (Forte: 5-25) is the complement of the heptatonic modal family [733, 1207, 1769, 1867, 2651, 2981, 3373] (Forte: 7-25)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 1681 is 301

Scale 301Scale 301: Raga Audav Tukhari, Ian Ring Music TheoryRaga Audav Tukhari

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 1681 is chiral, and its enantiomorph is scale 301

Scale 301Scale 301: Raga Audav Tukhari, Ian Ring Music TheoryRaga Audav Tukhari

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> 1681       T0I <11,0> 301
T1 <1,1> 3362      T1I <11,1> 602
T2 <1,2> 2629      T2I <11,2> 1204
T3 <1,3> 1163      T3I <11,3> 2408
T4 <1,4> 2326      T4I <11,4> 721
T5 <1,5> 557      T5I <11,5> 1442
T6 <1,6> 1114      T6I <11,6> 2884
T7 <1,7> 2228      T7I <11,7> 1673
T8 <1,8> 361      T8I <11,8> 3346
T9 <1,9> 722      T9I <11,9> 2597
T10 <1,10> 1444      T10I <11,10> 1099
T11 <1,11> 2888      T11I <11,11> 2198
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 2821      T0MI <7,0> 1051
T1M <5,1> 1547      T1MI <7,1> 2102
T2M <5,2> 3094      T2MI <7,2> 109
T3M <5,3> 2093      T3MI <7,3> 218
T4M <5,4> 91      T4MI <7,4> 436
T5M <5,5> 182      T5MI <7,5> 872
T6M <5,6> 364      T6MI <7,6> 1744
T7M <5,7> 728      T7MI <7,7> 3488
T8M <5,8> 1456      T8MI <7,8> 2881
T9M <5,9> 2912      T9MI <7,9> 1667
T10M <5,10> 1729      T10MI <7,10> 3334
T11M <5,11> 3458      T11MI <7,11> 2573

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 1683Scale 1683: Raga Malayamarutam, Ian Ring Music TheoryRaga Malayamarutam
Scale 1685Scale 1685: Zeracrimic, Ian Ring Music TheoryZeracrimic
Scale 1689Scale 1689: Lorimic, Ian Ring Music TheoryLorimic
Scale 1665Scale 1665, Ian Ring Music Theory
Scale 1673Scale 1673: Thocritonic, Ian Ring Music TheoryThocritonic
Scale 1697Scale 1697: Raga Kuntvarali, Ian Ring Music TheoryRaga Kuntvarali
Scale 1713Scale 1713: Raga Khamas, Ian Ring Music TheoryRaga Khamas
Scale 1745Scale 1745: Raga Vutari, Ian Ring Music TheoryRaga Vutari
Scale 1553Scale 1553, Ian Ring Music Theory
Scale 1617Scale 1617: Phronitonic, Ian Ring Music TheoryPhronitonic
Scale 1809Scale 1809: Ranitonic, Ian Ring Music TheoryRanitonic
Scale 1937Scale 1937: Galimic, Ian Ring Music TheoryGalimic
Scale 1169Scale 1169: Raga Mahathi, Ian Ring Music TheoryRaga Mahathi
Scale 1425Scale 1425: Ryphitonic, Ian Ring Music TheoryRyphitonic
Scale 657Scale 657: Epathic, Ian Ring Music TheoryEpathic
Scale 2705Scale 2705: Raga Mamata, Ian Ring Music TheoryRaga Mamata
Scale 3729Scale 3729: Starimic, Ian Ring Music TheoryStarimic

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.