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Scale 1733: "Raga Sarasvati"

Scale 1733: Raga Sarasvati, 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 Sarasvati
Zeitler
Socrimic

Analysis

Cardinality6 (hexatonic)
Pitch Class Set{0,2,6,7,9,10}
Forte Number6-Z24
Rotational Symmetrynone
Reflection Axesnone
Palindromicno
Chiralityyes
enantiomorph: 1133
Hemitonia2 (dihemitonic)
Cohemitonia0 (ancohemitonic)
Imperfections3
Modes5
Prime?no
prime: 347
Deep Scaleno
Interval Vector233331
Interval Spectrump3m3n3s3d2t
Distribution Spectra<1> = {1,2,4}
<2> = {3,4,5,6}
<3> = {4,5,7,8}
<4> = {6,7,8,9}
<5> = {8,10,11}
Spectra Variation2.667
Maximally Evenno
Maximal Area Setno
Interior Area2.232
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 TriadsD{2,6,9}221
Minor Triadsgm{7,10,2}131.5
Augmented TriadsD+{2,6,10}221
Diminished Triadsf♯°{6,9,0}131.5
Parsimonious Voice Leading Between Common Triads of Scale 1733. Created by Ian Ring ©2019 D D D+ D+ D->D+ f#° f#° D->f#° 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 VerticesD, D+
Peripheral Verticesf♯°, gm

Modes

Modes are the rotational transformation of this scale. Scale 1733 can be rotated to make 5 other scales. The 1st mode is itself.

2nd mode:
Scale 1457
Scale 1457: Raga Kamalamanohari, Ian Ring Music TheoryRaga Kamalamanohari
3rd mode:
Scale 347
Scale 347: Barimic, Ian Ring Music TheoryBarimicThis is the prime mode
4th mode:
Scale 2221
Scale 2221: Raga Sindhura Kafi, Ian Ring Music TheoryRaga Sindhura Kafi
5th mode:
Scale 1579
Scale 1579: Sagimic, Ian Ring Music TheorySagimic
6th mode:
Scale 2837
Scale 2837: Aelothimic, Ian Ring Music TheoryAelothimic

Prime

The prime form of this scale is Scale 347

Scale 347Scale 347: Barimic, Ian Ring Music TheoryBarimic

Complement

The hexatonic modal family [1733, 1457, 347, 2221, 1579, 2837] (Forte: 6-Z24) is the complement of the hexatonic modal family [599, 697, 1481, 1829, 2347, 3221] (Forte: 6-Z46)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 1733 is 1133

Scale 1133Scale 1133: Stycrimic, Ian Ring Music TheoryStycrimic

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 1733 is chiral, and its enantiomorph is scale 1133

Scale 1133Scale 1133: Stycrimic, Ian Ring Music TheoryStycrimic

Transformations:

T0 1733  T0I 1133
T1 3466  T1I 2266
T2 2837  T2I 437
T3 1579  T3I 874
T4 3158  T4I 1748
T5 2221  T5I 3496
T6 347  T6I 2897
T7 694  T7I 1699
T8 1388  T8I 3398
T9 2776  T9I 2701
T10 1457  T10I 1307
T11 2914  T11I 2614

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 1735Scale 1735: Mela Navanitam, Ian Ring Music TheoryMela Navanitam
Scale 1729Scale 1729, Ian Ring Music Theory
Scale 1731Scale 1731, Ian Ring Music Theory
Scale 1737Scale 1737: Raga Madhukauns, Ian Ring Music TheoryRaga Madhukauns
Scale 1741Scale 1741: Lydian Diminished, Ian Ring Music TheoryLydian Diminished
Scale 1749Scale 1749: Acoustic, Ian Ring Music TheoryAcoustic
Scale 1765Scale 1765: Lonian, Ian Ring Music TheoryLonian
Scale 1669Scale 1669: Raga Matha Kokila, Ian Ring Music TheoryRaga Matha Kokila
Scale 1701Scale 1701: Dominant Seventh, Ian Ring Music TheoryDominant Seventh
Scale 1605Scale 1605: Zanitonic, Ian Ring Music TheoryZanitonic
Scale 1861Scale 1861: Phrygimic, Ian Ring Music TheoryPhrygimic
Scale 1989Scale 1989: Dydian, Ian Ring Music TheoryDydian
Scale 1221Scale 1221: Epyritonic, Ian Ring Music TheoryEpyritonic
Scale 1477Scale 1477: Raga Jaganmohanam, Ian Ring Music TheoryRaga Jaganmohanam
Scale 709Scale 709: Raga Shri Kalyan, Ian Ring Music TheoryRaga Shri Kalyan
Scale 2757Scale 2757: Raga Nishadi, Ian Ring Music TheoryRaga Nishadi
Scale 3781Scale 3781: Gyphian, Ian Ring Music TheoryGyphian

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.