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Scale 2453: "Raga Latika"

Scale 2453: Raga Latika, 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 Latika
Dozenal
Papian
Zeitler
Stonimic

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

{0,2,4,7,8,11}

Forte Number

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

6-31

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: 1331

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.

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.

5

Prime Form

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

no
prime: 691

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, 2, 3, 1, 3, 1]

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, 2, 3, 4, 3, 1>

Interval Spectrum

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

p3m4n3s2d2t

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

Spectra Variation

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

1.667

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.

2.366

Polygon Perimeter

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

5.864

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".

Proper

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.

(0, 8, 54)

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}231.5
E{4,8,11}321.17
G{7,11,2}231.5
Minor Triadsem{4,7,11}321.17
Augmented TriadsC+{0,4,8}231.5
Diminished Triadsg♯°{8,11,2}231.5
Parsimonious Voice Leading Between Common Triads of Scale 2453. Created by Ian Ring ©2019 C C C+ C+ C->C+ em em C->em E E C+->E em->E Parsimonious Voice Leading Between Common Triads of Scale 2453. Created by Ian Ring ©2019 G em->G g#° g#° E->g#° G->g#°

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 Verticesem, E
Peripheral VerticesC, C+, G, g♯°

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 are 2 ways that this hexatonic scale can be split into two common triads.


Major: {0, 4, 7}
Diminished: {8, 11, 2}

Augmented: {0, 4, 8}
Major: {7, 11, 2}

Modes

Modes are the rotational transformation of this scale. Scale 2453 can be rotated to make 5 other scales. The 1st mode is itself.

2nd mode:
Scale 1637
Scale 1637: Syptimic, Ian Ring Music TheorySyptimic
3rd mode:
Scale 1433
Scale 1433: Dynimic, Ian Ring Music TheoryDynimic
4th mode:
Scale 691
Scale 691: Raga Kalavati, Ian Ring Music TheoryRaga KalavatiThis is the prime mode
5th mode:
Scale 2393
Scale 2393: Zathimic, Ian Ring Music TheoryZathimic
6th mode:
Scale 811
Scale 811: Radimic, Ian Ring Music TheoryRadimic

Prime

The prime form of this scale is Scale 691

Scale 691Scale 691: Raga Kalavati, Ian Ring Music TheoryRaga Kalavati

Complement

The hexatonic modal family [2453, 1637, 1433, 691, 2393, 811] (Forte: 6-31) is the complement of the hexatonic modal family [691, 811, 1433, 1637, 2393, 2453] (Forte: 6-31)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 2453 is 1331

Scale 1331Scale 1331: Raga Vasantabhairavi, Ian Ring Music TheoryRaga Vasantabhairavi

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 2453 is chiral, and its enantiomorph is scale 1331

Scale 1331Scale 1331: Raga Vasantabhairavi, Ian Ring Music TheoryRaga Vasantabhairavi

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> 2453       T0I <11,0> 1331
T1 <1,1> 811      T1I <11,1> 2662
T2 <1,2> 1622      T2I <11,2> 1229
T3 <1,3> 3244      T3I <11,3> 2458
T4 <1,4> 2393      T4I <11,4> 821
T5 <1,5> 691      T5I <11,5> 1642
T6 <1,6> 1382      T6I <11,6> 3284
T7 <1,7> 2764      T7I <11,7> 2473
T8 <1,8> 1433      T8I <11,8> 851
T9 <1,9> 2866      T9I <11,9> 1702
T10 <1,10> 1637      T10I <11,10> 3404
T11 <1,11> 3274      T11I <11,11> 2713
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 3473      T0MI <7,0> 311
T1M <5,1> 2851      T1MI <7,1> 622
T2M <5,2> 1607      T2MI <7,2> 1244
T3M <5,3> 3214      T3MI <7,3> 2488
T4M <5,4> 2333      T4MI <7,4> 881
T5M <5,5> 571      T5MI <7,5> 1762
T6M <5,6> 1142      T6MI <7,6> 3524
T7M <5,7> 2284      T7MI <7,7> 2953
T8M <5,8> 473      T8MI <7,8> 1811
T9M <5,9> 946      T9MI <7,9> 3622
T10M <5,10> 1892      T10MI <7,10> 3149
T11M <5,11> 3784      T11MI <7,11> 2203

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 2455Scale 2455: Bothian, Ian Ring Music TheoryBothian
Scale 2449Scale 2449: Zacritonic, Ian Ring Music TheoryZacritonic
Scale 2451Scale 2451: Raga Bauli, Ian Ring Music TheoryRaga Bauli
Scale 2457Scale 2457: Augmented, Ian Ring Music TheoryAugmented
Scale 2461Scale 2461: Sagian, Ian Ring Music TheorySagian
Scale 2437Scale 2437: Pafian, Ian Ring Music TheoryPafian
Scale 2445Scale 2445: Zadimic, Ian Ring Music TheoryZadimic
Scale 2469Scale 2469: Raga Bhinna Pancama, Ian Ring Music TheoryRaga Bhinna Pancama
Scale 2485Scale 2485: Harmonic Major, Ian Ring Music TheoryHarmonic Major
Scale 2517Scale 2517: Harmonic Lydian, Ian Ring Music TheoryHarmonic Lydian
Scale 2325Scale 2325: Pynitonic, Ian Ring Music TheoryPynitonic
Scale 2389Scale 2389: Eskimo Hexatonic 2, Ian Ring Music TheoryEskimo Hexatonic 2
Scale 2197Scale 2197: Raga Hamsadhvani, Ian Ring Music TheoryRaga Hamsadhvani
Scale 2709Scale 2709: Raga Kumud, Ian Ring Music TheoryRaga Kumud
Scale 2965Scale 2965: Darian, Ian Ring Music TheoryDarian
Scale 3477Scale 3477: Kyptian, Ian Ring Music TheoryKyptian
Scale 405Scale 405: Raga Bhupeshwari, Ian Ring Music TheoryRaga Bhupeshwari
Scale 1429Scale 1429: Bythimic, Ian Ring Music TheoryBythimic

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.