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Scale 1735: "Mela Navanitam"

Scale 1735: Mela Navanitam, 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 Mela
Mela Navanitam
Carnatic Raga
Raga Nabhomani
Zeitler
Dagian

Analysis

Cardinality7 (heptatonic)
Pitch Class Set{0,1,2,6,7,9,10}
Forte Number7-Z38
Rotational Symmetrynone
Reflection Axesnone
Palindromicno
Chiralityyes
enantiomorph: 3181
Hemitonia4 (multihemitonic)
Cohemitonia1 (uncohemitonic)
Imperfections3
Modes6
Prime?no
prime: 439
Deep Scaleno
Interval Vector434442
Interval Spectrump4m4n4s3d4t2
Distribution Spectra<1> = {1,2,4}
<2> = {2,3,5}
<3> = {4,5,6,7}
<4> = {5,6,7,8}
<5> = {7,9,10}
<6> = {8,10,11}
Spectra Variation2.571
Maximally Evenno
Maximal Area Setno
Interior Area2.299
Myhill Propertyno
Balancedno
Ridge Tonesnone
ProprietyImproper
Heliotonicyes

Harmonic Chords

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}231.57
F♯{6,10,1}321.29
Minor Triadsf♯m{6,9,1}331.43
gm{7,10,2}241.86
Augmented TriadsD+{2,6,10}331.43
Diminished Triadsf♯°{6,9,0}142.14
{7,10,1}231.71
Parsimonious Voice Leading Between Common Triads of Scale 1735. Created by Ian Ring ©2019 D D D+ D+ D->D+ f#m f#m D->f#m F# F# D+->F# gm gm D+->gm f#° f#° f#°->f#m f#m->F# F#->g° g°->gm

view full size

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.

Diameter4
Radius2
Self-Centeredno
Central VerticesF♯
Peripheral Verticesf♯°, gm

Modes

Modes are the rotational transformation of this scale. Scale 1735 can be rotated to make 6 other scales. The 1st mode is itself.

2nd mode:
Scale 2915
Scale 2915: Aeolydian, Ian Ring Music TheoryAeolydian
3rd mode:
Scale 3505
Scale 3505: Stygian, Ian Ring Music TheoryStygian
4th mode:
Scale 475
Scale 475: Aeolygian, Ian Ring Music TheoryAeolygian
5th mode:
Scale 2285
Scale 2285: Aerogian, Ian Ring Music TheoryAerogian
6th mode:
Scale 1595
Scale 1595: Dacrian, Ian Ring Music TheoryDacrian
7th mode:
Scale 2845
Scale 2845: Baptian, Ian Ring Music TheoryBaptian

Prime

The prime form of this scale is Scale 439

Scale 439Scale 439: Bythian, Ian Ring Music TheoryBythian

Complement

The heptatonic modal family [1735, 2915, 3505, 475, 2285, 1595, 2845] (Forte: 7-Z38) is the complement of the pentatonic modal family [295, 625, 905, 2195, 3145] (Forte: 5-Z38)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 1735 is 3181

Scale 3181Scale 3181: Rolian, Ian Ring Music TheoryRolian

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 1735 is chiral, and its enantiomorph is scale 3181

Scale 3181Scale 3181: Rolian, Ian Ring Music TheoryRolian

Transformations:

T0 1735  T0I 3181
T1 3470  T1I 2267
T2 2845  T2I 439
T3 1595  T3I 878
T4 3190  T4I 1756
T5 2285  T5I 3512
T6 475  T6I 2929
T7 950  T7I 1763
T8 1900  T8I 3526
T9 3800  T9I 2957
T10 3505  T10I 1819
T11 2915  T11I 3638

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 1733Scale 1733: Raga Sarasvati, Ian Ring Music TheoryRaga Sarasvati
Scale 1731Scale 1731, Ian Ring Music Theory
Scale 1739Scale 1739: Mela Sadvidhamargini, Ian Ring Music TheoryMela Sadvidhamargini
Scale 1743Scale 1743: Epigyllic, Ian Ring Music TheoryEpigyllic
Scale 1751Scale 1751: Aeolyryllic, Ian Ring Music TheoryAeolyryllic
Scale 1767Scale 1767: Dyryllic, Ian Ring Music TheoryDyryllic
Scale 1671Scale 1671, Ian Ring Music Theory
Scale 1703Scale 1703: Mela Vanaspati, Ian Ring Music TheoryMela Vanaspati
Scale 1607Scale 1607: Epytimic, Ian Ring Music TheoryEpytimic
Scale 1863Scale 1863: Pycrian, Ian Ring Music TheoryPycrian
Scale 1991Scale 1991: Phryptyllic, Ian Ring Music TheoryPhryptyllic
Scale 1223Scale 1223: Phryptimic, Ian Ring Music TheoryPhryptimic
Scale 1479Scale 1479: Mela Jalarnava, Ian Ring Music TheoryMela Jalarnava
Scale 711Scale 711: Raga Chandrajyoti, Ian Ring Music TheoryRaga Chandrajyoti
Scale 2759Scale 2759: Mela Pavani, Ian Ring Music TheoryMela Pavani
Scale 3783Scale 3783: Phrygyllic, Ian Ring Music TheoryPhrygyllic

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.