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Scale 1683: "Raga Malayamarutam"

Scale 1683: Raga Malayamarutam, 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

41161837294116105072918310504116183
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 Malayamarutam
Zeitler
Rygimic

Analysis

Cardinality6 (hexatonic)
Pitch Class Set{0,1,4,7,9,10}
Forte Number6-27
Rotational Symmetrynone
Reflection Axesnone
Palindromicno
Chiralityyes
enantiomorph: 2349
Hemitonia2 (dihemitonic)
Cohemitonia0 (ancohemitonic)
Imperfections4
Modes5
Prime?no
prime: 603
Deep Scaleno
Interval Vector225222
Interval Spectrump2m2n5s2d2t2
Distribution Spectra<1> = {1,2,3}
<2> = {3,4,5,6}
<3> = {4,5,6,7,8}
<4> = {6,7,8,9}
<5> = {9,10,11}
Spectra Variation2.333
Maximally Evenno
Maximal Area Setno
Interior Area2.366
Myhill Propertyno
Balancedno
Ridge Tonesnone
ProprietyImproper
Heliotonicno

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}331.43
A{9,1,4}331.43
Minor Triadsam{9,0,4}231.57
Diminished Triadsc♯°{1,4,7}231.57
{4,7,10}231.57
{7,10,1}231.71
a♯°{10,1,4}231.57
Parsimonious Voice Leading Between Common Triads of Scale 1683. Created by Ian Ring ©2019 C C c#° c#° C->c#° C->e° am am C->am A A c#°->A e°->g° a#° a#° g°->a#° am->A A->a#°

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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
Radius3
Self-Centeredyes

Modes

Modes are the rotational transformation of this scale. Scale 1683 can be rotated to make 5 other scales. The 1st mode is itself.

2nd mode:
Scale 2889
Scale 2889: Thoptimic, Ian Ring Music TheoryThoptimic
3rd mode:
Scale 873
Scale 873: Bagimic, Ian Ring Music TheoryBagimic
4th mode:
Scale 621
Scale 621: Pyramid Hexatonic, Ian Ring Music TheoryPyramid Hexatonic
5th mode:
Scale 1179
Scale 1179: Sonimic, Ian Ring Music TheorySonimic
6th mode:
Scale 2637
Scale 2637: Raga Ranjani, Ian Ring Music TheoryRaga Ranjani

Prime

The prime form of this scale is Scale 603

Scale 603Scale 603: Aeolygimic, Ian Ring Music TheoryAeolygimic

Complement

The hexatonic modal family [1683, 2889, 873, 621, 1179, 2637] (Forte: 6-27) is the complement of the hexatonic modal family [603, 729, 1611, 1737, 2349, 2853] (Forte: 6-27)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 1683 is 2349

Scale 2349Scale 2349: Raga Ghantana, Ian Ring Music TheoryRaga Ghantana

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 1683 is chiral, and its enantiomorph is scale 2349

Scale 2349Scale 2349: Raga Ghantana, Ian Ring Music TheoryRaga Ghantana

Transformations:

T0 1683  T0I 2349
T1 3366  T1I 603
T2 2637  T2I 1206
T3 1179  T3I 2412
T4 2358  T4I 729
T5 621  T5I 1458
T6 1242  T6I 2916
T7 2484  T7I 1737
T8 873  T8I 3474
T9 1746  T9I 2853
T10 3492  T10I 1611
T11 2889  T11I 3222

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 1681Scale 1681: Raga Valaji, Ian Ring Music TheoryRaga Valaji
Scale 1685Scale 1685: Zeracrimic, Ian Ring Music TheoryZeracrimic
Scale 1687Scale 1687: Phralian, Ian Ring Music TheoryPhralian
Scale 1691Scale 1691: Kathian, Ian Ring Music TheoryKathian
Scale 1667Scale 1667, Ian Ring Music Theory
Scale 1675Scale 1675: Raga Salagavarali, Ian Ring Music TheoryRaga Salagavarali
Scale 1699Scale 1699: Raga Rasavali, Ian Ring Music TheoryRaga Rasavali
Scale 1715Scale 1715: Harmonic Minor Inverse, Ian Ring Music TheoryHarmonic Minor Inverse
Scale 1747Scale 1747: Mela Ramapriya, Ian Ring Music TheoryMela Ramapriya
Scale 1555Scale 1555, Ian Ring Music Theory
Scale 1619Scale 1619: Prometheus Neapolitan, Ian Ring Music TheoryPrometheus Neapolitan
Scale 1811Scale 1811: Kyptimic, Ian Ring Music TheoryKyptimic
Scale 1939Scale 1939: Dathian, Ian Ring Music TheoryDathian
Scale 1171Scale 1171: Raga Manaranjani I, Ian Ring Music TheoryRaga Manaranjani I
Scale 1427Scale 1427: Lolimic, Ian Ring Music TheoryLolimic
Scale 659Scale 659: Raga Rasika Ranjani, Ian Ring Music TheoryRaga Rasika Ranjani
Scale 2707Scale 2707: Banimic, Ian Ring Music TheoryBanimic
Scale 3731Scale 3731: Aeryrian, Ian Ring Music TheoryAeryrian

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.