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Scale 2489: "Mela Gangeyabhusani"

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: Mela Gangeyabhusani; Raga Gangatarangini

Dozenal: Pelian

Modern Greek: Sengiach; Sengah

Exoticisms: Romani Hexatonic Inverse

Zeitler: Syrian

Carnatic Melakarta: Gangeyabhushani

Carnatic Numbered Melakarta: 33rd Melakarta raga

Analysis

Cardinality Cardinality is the count of how many pitches are in the scale.	7 (heptatonic)
Pitch Class Set The tones in this scale, expressed as numbers from 0 to 11	{0,3,4,5,7,8,11}
Forte Number A code assigned by theorist Allen Forte, for this pitch class set and all of its transpositional (rotation) and inversional (reflection) transformations.	7-21
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: 947
Hemitonia A hemitone is two tones separated by a semitone interval. Hemitonia describes how many such hemitones exist.	4 (multihemitonic)
Cohemitonia A cohemitone is an instance of two adjacent hemitones. Cohemitonia describes how many such cohemitones exist.	1 (uncohemitonic)
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.	6
Prime Form Describes if this scale is in prime form, using the Rahn/Ring formula.	no prime: 823
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.	[3, 1, 1, 2, 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.	<4, 2, 4, 6, 4, 1>
Interval Spectrum The same as the Interval Vector, but expressed in a syntax used by Howard Hanson.	p⁴m⁶n⁴s²d⁴t
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> = {2,3,4} <3> = {4,5,6,7} <4> = {5,6,7,8} <5> = {8,9,10} <6> = {9,10,11}
Spectra Variation Determined by the Distribution Spectra; this is the sum of all spectrum widths divided by the scale cardinality.	2
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.	2.433
Polygon Perimeter Perimeter of the polygon described by vertices placed for each tone of the scale dodecimetrically around a unit circle.	5.899
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, 33, 90)

Tertian Harmonic Chords

Tertian chords are made from alternating members of the scale, ie built from "stacked thirds". Not all scales lend themselves well to tertian harmony.

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 Type	Triad^*	Pitch Classes	Degree	Eccentricity	Closeness Centrality
Major Triads	C	{0,4,7}	3	3	1.7
	E	{4,8,11}	4	3	1.5
	G♯	{8,0,3}	3	3	1.7
Minor Triads	cm	{0,3,7}	3	4	1.9
	em	{4,7,11}	3	3	1.7
	fm	{5,8,0}	2	4	2.1
	g♯m	{8,11,3}	3	3	1.7
Augmented Triads	C+	{0,4,8}	4	3	1.5
Augmented Triads	D♯+	{3,7,11}	3	4	1.9
Diminished Triads	f°	{5,8,11}	2	4	2.1

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.

Diameter	4
Radius	3
Self-Centered	no
Central Vertices	C, C+, em, E, g♯m, G♯
Peripheral Vertices	cm, D♯+, f°, fm

Modes

Modes are the rotational transformation of this scale. Scale 2489 can be rotated to make 6 other scales. The 1st mode is itself.

2nd mode: Scale 823	Stodian	This is the prime mode
3rd mode: Scale 2459	Ionocrian
4th mode: Scale 3277	Mela Nitimati
5th mode: Scale 1843	Ionygian
6th mode: Scale 2969	Tholian
7th mode: Scale 883	Ralian

Prime

The prime form of this scale is Scale 823

Scale 823

Stodian

Complement

The heptatonic modal family [2489, 823, 2459, 3277, 1843, 2969, 883] (Forte: 7-21) is the complement of the pentatonic modal family [307, 787, 817, 2201, 2441] (Forte: 5-21)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 2489 is 947

Scale 947

Mela Gayakapriya

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 2489 is chiral, and its enantiomorph is scale 947

Scale 947

Mela Gayakapriya

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>	2489	T₀I	<11,0>	947
T₁	<1,1>	883	T₁I	<11,1>	1894
T₂	<1,2>	1766	T₂I	<11,2>	3788
T₃	<1,3>	3532	T₃I	<11,3>	3481
T₄	<1,4>	2969	T₄I	<11,4>	2867
T₅	<1,5>	1843	T₅I	<11,5>	1639
T₆	<1,6>	3686	T₆I	<11,6>	3278
T₇	<1,7>	3277	T₇I	<11,7>	2461
T₈	<1,8>	2459	T₈I	<11,8>	827
T₉	<1,9>	823	T₉I	<11,9>	1654
T₁₀	<1,10>	1646	T₁₀I	<11,10>	3308
T₁₁	<1,11>	3292	T₁₁I	<11,11>	2521
Abbrev	Operation	Result	Abbrev	Operation	Result
T₀M	<5,0>	2459	T₀MI	<7,0>	2867
T₁M	<5,1>	823	T₁MI	<7,1>	1639
T₂M	<5,2>	1646	T₂MI	<7,2>	3278
T₃M	<5,3>	3292	T₃MI	<7,3>	2461
T₄M	<5,4>	2489	T₄MI	<7,4>	827
T₅M	<5,5>	883	T₅MI	<7,5>	1654
T₆M	<5,6>	1766	T₆MI	<7,6>	3308
T₇M	<5,7>	3532	T₇MI	<7,7>	2521
T₈M	<5,8>	2969	T₈MI	<7,8>	947
T₉M	<5,9>	1843	T₉MI	<7,9>	1894
T₁₀M	<5,10>	3686	T₁₀MI	<7,10>	3788
T₁₁M	<5,11>	3277	T₁₁MI	<7,11>	3481

The transformations that map this set to itself are: T₀, T₄M

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 2491				Layllic
Scale 2493				Manyllic
Scale 2481				Raga Paraju
Scale 2485				Harmonic Major
Scale 2473				Raga Takka
Scale 2457				Augmented
Scale 2521				Mela Dhatuvardhani
Scale 2553				Aeolaptyllic
Scale 2361				Docrimic
Scale 2425				Rorian
Scale 2233				Donimic
Scale 2745				Mela Sulini
Scale 3001				Lonyllic
Scale 3513				Dydyllic
Scale 441				Thycrimic
Scale 1465				Mela Ragavardhani

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.