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Scale 2489: "Mela Gangeyabhusani"

Scale 2489: Mela Gangeyabhusani, 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
Mela Gangeyabhusani
Gangeyabusani
Raga Gangatarangini
Western
Drómos Segáh
Modern Greek
Sengiach
Sengah
Exoticisms
Romani Hexatonic Inverse
Zeitler
Syrian
Dozenal
PELian
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 Starr/Rahn algorithm.

 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, an indicator of maximum hierarchization.

 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>

Proportional Saturation Vector

First described by Michael Buchler (2001), this is a vector showing the prominence of intervals relative to the maximum and minimum possible for the scale's cardinality. A saturation of 0 means the interval is present minimally, a saturation of 1 means it is the maximum possible.

<0.5, 0, 0.5, 1, 0.5, 0>

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 Distribution Spectra have 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)

Coherence Quotient

The Coherence Quotient is a score between 0 and 1, indicating the proportion of coherence failures (ambiguity or contradiction) in the scale, against the maximum possible for a cardinality. A high coherence quotient indicates a less complex scale, whereas a quotient of 0 indicates a maximally complex scale.

0.714

Sameness Quotient

The Sameness Quotient is a score between 0 and 1, indicating the proportion of differences in the heteromorphic profile, against the maximum possible for a cardinality. A higher quotient indicates a less complex scale, whereas a quotient of 0 indicates a scale with maximum complexity.

0.286

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.

Generator

This scale has no generator.

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}331.7
E{4,8,11}431.5
G♯{8,0,3}331.7
Minor Triadscm{0,3,7}341.9
em{4,7,11}331.7
fm{5,8,0}242.1
g♯m{8,11,3}331.7
Augmented TriadsC+{0,4,8}431.5
D♯+{3,7,11}341.9
Diminished Triadsf°{5,8,11}242.1
Parsimonious Voice Leading Between Common Triads of Scale 2489. Created by Ian Ring ©2019 cm cm C C cm->C D#+ D#+ cm->D#+ G# G# cm->G# C+ C+ C->C+ em em C->em E E C+->E fm fm C+->fm C+->G# D#+->em g#m g#m D#+->g#m em->E f° f° E->f° E->g#m f°->fm g#m->G#

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
Radius3
Self-Centeredno
Central VerticesC, C+, em, E, g♯m, G♯
Peripheral Verticescm, 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		Scale 823: Stodian, Ian Ring Music TheoryStodianThis is the prime mode
3rd mode:
Scale 2459		Scale 2459: Ionocrian, Ian Ring Music TheoryIonocrian
4th mode:
Scale 3277		Scale 3277: Mela Nitimati, Ian Ring Music TheoryMela Nitimati
5th mode:
Scale 1843		Scale 1843: Ionygian, Ian Ring Music TheoryIonygian
6th mode:
Scale 2969		Scale 2969: Tholian, Ian Ring Music TheoryTholian
7th mode:
Scale 883		Scale 883: Ralian, Ian Ring Music TheoryRalian

Prime

The prime form of this scale is Scale 823

Scale 823Scale 823: Stodian, Ian Ring Music TheoryStodian

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 947Scale 947: Mela Gayakapriya, Ian Ring Music TheoryMela Gayakapriya

Enantiomorph

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

Scale 947Scale 947: Mela Gayakapriya, Ian Ring Music TheoryMela 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 2491Scale 2491: Layllic, Ian Ring Music TheoryLayllic
Scale 2493Scale 2493: Manyllic, Ian Ring Music TheoryManyllic
Scale 2481Scale 2481: Raga Paraju, Ian Ring Music TheoryRaga Paraju
Scale 2485Scale 2485: Harmonic Major, Ian Ring Music TheoryHarmonic Major
Scale 2473Scale 2473: Raga Takka, Ian Ring Music TheoryRaga Takka
Scale 2457Scale 2457: Augmented, Ian Ring Music TheoryAugmented
Scale 2521Scale 2521: Mela Dhatuvardhani, Ian Ring Music TheoryMela Dhatuvardhani
Scale 2553Scale 2553: Aeolaptyllic, Ian Ring Music TheoryAeolaptyllic
Scale 2361Scale 2361: Docrimic, Ian Ring Music TheoryDocrimic
Scale 2425Scale 2425: Rorian, Ian Ring Music TheoryRorian
Scale 2233Scale 2233: Donimic, Ian Ring Music TheoryDonimic
Scale 2745Scale 2745: Mela Sulini, Ian Ring Music TheoryMela Sulini
Scale 3001Scale 3001: Lonyllic, Ian Ring Music TheoryLonyllic
Scale 3513Scale 3513: Dydyllic, Ian Ring Music TheoryDydyllic
Scale 441Scale 441: Thycrimic, Ian Ring Music TheoryThycrimic
Scale 1465Scale 1465: Mela Ragavardhani, Ian Ring Music TheoryMela 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 and Lilypond, graph visualization by Graphviz, audio by TiMIDIty and FFMPEG. 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.