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Scale 2637: "Raga Ranjani"

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 Ranjani

Dozenal: Wuwian; Qixian

Unknown / Unsorted: Rangini

Zeitler: Aeolonimic

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	{0,2,3,6,9,11}
Forte Number A code assigned by theorist Allen Forte, for this pitch class set and all of its transpositional (rotation) and inversional (reflection) transformations.	6-27
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: 1611
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.	4
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: 603
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, 1, 3, 3, 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.	<2, 2, 5, 2, 2, 2>
Interval Spectrum The same as the Interval Vector, but expressed in a syntax used by Howard Hanson.	p²m²n⁵s²d²t²
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> = {3,4,5,6} <3> = {4,5,6,7,8} <4> = {6,7,8,9} <5> = {9,10,11}
Spectra Variation Determined by the Distribution Spectra; this is the sum of all spectrum widths divided by the scale cardinality.	2.333
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".	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.	(6, 21, 62)

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	D	{2,6,9}	3	3	1.43
Major Triads	B	{11,3,6}	3	3	1.43
Minor Triads	bm	{11,2,6}	2	3	1.57
Diminished Triads	c°	{0,3,6}	2	3	1.57
	d♯°	{3,6,9}	2	3	1.57
	f♯°	{6,9,0}	2	3	1.57
	a°	{9,0,3}	2	3	1.71

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	3
Radius	3
Self-Centered	yes

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 is 1 way that this hexatonic scale can be split into two common triads.

Diminished: {9, 0, 3}
Minor: {11, 2, 6}

Modes

Modes are the rotational transformation of this scale. Scale 2637 can be rotated to make 5 other scales. The 1st mode is itself.

2nd mode: Scale 1683				Raga Malayamarutam
3rd mode: Scale 2889				Thoptimic
4th mode: Scale 873				Bagimic
5th mode: Scale 621				Pyramid Hexatonic
6th mode: Scale 1179				Sonimic

Prime

The prime form of this scale is Scale 603

Scale 603

Aeolygimic

Complement

The hexatonic modal family [2637, 1683, 2889, 873, 621, 1179] (Forte: 6-27) is the complement of the hexatonic modal family [603, 729, 1611, 1737, 2349, 2853] (Forte: 6-27)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 2637 is 1611

Scale 1611

Dacrimic

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 2637 is chiral, and its enantiomorph is scale 1611

Scale 1611

Dacrimic

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>	2637	T₀I	<11,0>	1611
T₁	<1,1>	1179	T₁I	<11,1>	3222
T₂	<1,2>	2358	T₂I	<11,2>	2349
T₃	<1,3>	621	T₃I	<11,3>	603
T₄	<1,4>	1242	T₄I	<11,4>	1206
T₅	<1,5>	2484	T₅I	<11,5>	2412
T₆	<1,6>	873	T₆I	<11,6>	729
T₇	<1,7>	1746	T₇I	<11,7>	1458
T₈	<1,8>	3492	T₈I	<11,8>	2916
T₉	<1,9>	2889	T₉I	<11,9>	1737
T₁₀	<1,10>	1683	T₁₀I	<11,10>	3474
T₁₁	<1,11>	3366	T₁₁I	<11,11>	2853
Abbrev	Operation	Result	Abbrev	Operation	Result
T₀M	<5,0>	1737	T₀MI	<7,0>	621
T₁M	<5,1>	3474	T₁MI	<7,1>	1242
T₂M	<5,2>	2853	T₂MI	<7,2>	2484
T₃M	<5,3>	1611	T₃MI	<7,3>	873
T₄M	<5,4>	3222	T₄MI	<7,4>	1746
T₅M	<5,5>	2349	T₅MI	<7,5>	3492
T₆M	<5,6>	603	T₆MI	<7,6>	2889
T₇M	<5,7>	1206	T₇MI	<7,7>	1683
T₈M	<5,8>	2412	T₈MI	<7,8>	3366
T₉M	<5,9>	729	T₉MI	<7,9>	2637
T₁₀M	<5,10>	1458	T₁₀MI	<7,10>	1179
T₁₁M	<5,11>	2916	T₁₁MI	<7,11>	2358

The transformations that map this set to itself are: T₀, T₉MI

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 2639				Dothian
Scale 2633				Bartók Beta Chord
Scale 2635				Gocrimic
Scale 2629				Raga Shubravarni
Scale 2645				Raga Mruganandana
Scale 2653				Sygian
Scale 2669				Jeths' Mode
Scale 2573				Pulian
Scale 2605				Rylimic
Scale 2701				Hawaiian
Scale 2765				Lydian Diminished
Scale 2893				Lylian
Scale 2125				Nadian
Scale 2381				Takemitsu Linea Mode 1
Scale 3149				Phrycrimic
Scale 3661				Mixodorian
Scale 589				Ionalitonic
Scale 1613				Thylimic

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.