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Scale 2597: "Raga Rasranjani"

Scale 2597: Raga Rasranjani, 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
Raga Rasranjani
Zeitler
Koptitonic

Analysis

Cardinality

Cardinality is the count of how many pitches are in the scale.

5 (pentatonic)

Pitch Class Set

The tones in this scale, expressed as numbers from 0 to 11

{0,2,5,9,11}

Forte Number

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

5-25

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: 1163

Hemitonia

A hemitone is two tones separated by a semitone interval. Hemitonia describes how many such hemitones exist.

1 (unhemitonic)

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.

4

Prime Form

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

no
prime: 301

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 Formula

Defines the scale as the sequence of intervals between one tone and the next.

[2, 3, 4, 2, 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.

<1, 2, 3, 1, 2, 1>

Interval Spectrum

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

p2mn3s2dt

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> = {1,2,3,4}
<2> = {3,5,6,7}
<3> = {5,6,7,9}
<4> = {8,9,10,11}

Spectra Variation

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

2.8

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.

2.049

Polygon Perimeter

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

5.664

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, 7, 36)

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 TriadsF{5,9,0}121
Minor Triadsdm{2,5,9}210.67
Diminished Triads{11,2,5}121
Parsimonious Voice Leading Between Common Triads of Scale 2597. Created by Ian Ring ©2019 dm dm F F dm->F dm->b°

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.

Diameter2
Radius1
Self-Centeredno
Central Verticesdm
Peripheral VerticesF, b°

Modes

Modes are the rotational transformation of this scale. Scale 2597 can be rotated to make 4 other scales. The 1st mode is itself.

2nd mode:
Scale 1673
Scale 1673: Thocritonic, Ian Ring Music TheoryThocritonic
3rd mode:
Scale 721
Scale 721: Raga Dhavalashri, Ian Ring Music TheoryRaga Dhavalashri
4th mode:
Scale 301
Scale 301: Raga Audav Tukhari, Ian Ring Music TheoryRaga Audav TukhariThis is the prime mode
5th mode:
Scale 1099
Scale 1099: Dyritonic, Ian Ring Music TheoryDyritonic

Prime

The prime form of this scale is Scale 301

Scale 301Scale 301: Raga Audav Tukhari, Ian Ring Music TheoryRaga Audav Tukhari

Complement

The pentatonic modal family [2597, 1673, 721, 301, 1099] (Forte: 5-25) is the complement of the heptatonic modal family [733, 1207, 1769, 1867, 2651, 2981, 3373] (Forte: 7-25)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 2597 is 1163

Scale 1163Scale 1163: Raga Rukmangi, Ian Ring Music TheoryRaga Rukmangi

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 2597 is chiral, and its enantiomorph is scale 1163

Scale 1163Scale 1163: Raga Rukmangi, Ian Ring Music TheoryRaga Rukmangi

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> 2597       T0I <11,0> 1163
T1 <1,1> 1099      T1I <11,1> 2326
T2 <1,2> 2198      T2I <11,2> 557
T3 <1,3> 301      T3I <11,3> 1114
T4 <1,4> 602      T4I <11,4> 2228
T5 <1,5> 1204      T5I <11,5> 361
T6 <1,6> 2408      T6I <11,6> 722
T7 <1,7> 721      T7I <11,7> 1444
T8 <1,8> 1442      T8I <11,8> 2888
T9 <1,9> 2884      T9I <11,9> 1681
T10 <1,10> 1673      T10I <11,10> 3362
T11 <1,11> 3346      T11I <11,11> 2629
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 1667      T0MI <7,0> 2093
T1M <5,1> 3334      T1MI <7,1> 91
T2M <5,2> 2573      T2MI <7,2> 182
T3M <5,3> 1051      T3MI <7,3> 364
T4M <5,4> 2102      T4MI <7,4> 728
T5M <5,5> 109      T5MI <7,5> 1456
T6M <5,6> 218      T6MI <7,6> 2912
T7M <5,7> 436      T7MI <7,7> 1729
T8M <5,8> 872      T8MI <7,8> 3458
T9M <5,9> 1744      T9MI <7,9> 2821
T10M <5,10> 3488      T10MI <7,10> 1547
T11M <5,11> 2881      T11MI <7,11> 3094

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 2599Scale 2599: Malimic, Ian Ring Music TheoryMalimic
Scale 2593Scale 2593, Ian Ring Music Theory
Scale 2595Scale 2595: Rolitonic, Ian Ring Music TheoryRolitonic
Scale 2601Scale 2601: Raga Chandrakauns, Ian Ring Music TheoryRaga Chandrakauns
Scale 2605Scale 2605: Rylimic, Ian Ring Music TheoryRylimic
Scale 2613Scale 2613: Raga Hamsa Vinodini, Ian Ring Music TheoryRaga Hamsa Vinodini
Scale 2565Scale 2565, Ian Ring Music Theory
Scale 2581Scale 2581: Raga Neroshta, Ian Ring Music TheoryRaga Neroshta
Scale 2629Scale 2629: Raga Shubravarni, Ian Ring Music TheoryRaga Shubravarni
Scale 2661Scale 2661: Stydimic, Ian Ring Music TheoryStydimic
Scale 2725Scale 2725: Raga Nagagandhari, Ian Ring Music TheoryRaga Nagagandhari
Scale 2853Scale 2853: Baptimic, Ian Ring Music TheoryBaptimic
Scale 2085Scale 2085, Ian Ring Music Theory
Scale 2341Scale 2341: Raga Priyadharshini, Ian Ring Music TheoryRaga Priyadharshini
Scale 3109Scale 3109, Ian Ring Music Theory
Scale 3621Scale 3621: Gylimic, Ian Ring Music TheoryGylimic
Scale 549Scale 549: Raga Bhavani, Ian Ring Music TheoryRaga Bhavani
Scale 1573Scale 1573: Raga Guhamanohari, Ian Ring Music TheoryRaga Guhamanohari

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.