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Scale 721: "Raga Dhavalashri"

Scale 721: Raga Dhavalashri, 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 Dhavalashri
Zeitler
Aeolacritonic

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

{0,4,6,7,9}

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: 361

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.

[4, 2, 1, 2, 3]

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 TriadsC{0,4,7}121
Minor Triadsam{9,0,4}210.67
Diminished Triadsf♯°{6,9,0}121
Parsimonious Voice Leading Between Common Triads of Scale 721. Created by Ian Ring ©2019 C C am am C->am f#° f#° f#°->am

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 Verticesam
Peripheral VerticesC, f♯°

Modes

Modes are the rotational transformation of this scale. Scale 721 can be rotated to make 4 other scales. The 1st mode is itself.

2nd mode:
Scale 301
Scale 301: Raga Audav Tukhari, Ian Ring Music TheoryRaga Audav TukhariThis is the prime mode
3rd mode:
Scale 1099
Scale 1099: Dyritonic, Ian Ring Music TheoryDyritonic
4th mode:
Scale 2597
Scale 2597: Raga Rasranjani, Ian Ring Music TheoryRaga Rasranjani
5th mode:
Scale 1673
Scale 1673: Thocritonic, Ian Ring Music TheoryThocritonic

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 [721, 301, 1099, 2597, 1673] (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 721 is 361

Scale 361Scale 361: Bocritonic, Ian Ring Music TheoryBocritonic

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 721 is chiral, and its enantiomorph is scale 361

Scale 361Scale 361: Bocritonic, Ian Ring Music TheoryBocritonic

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

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 723Scale 723: Ionadimic, Ian Ring Music TheoryIonadimic
Scale 725Scale 725: Raga Yamuna Kalyani, Ian Ring Music TheoryRaga Yamuna Kalyani
Scale 729Scale 729: Stygimic, Ian Ring Music TheoryStygimic
Scale 705Scale 705, Ian Ring Music Theory
Scale 713Scale 713: Thoptitonic, Ian Ring Music TheoryThoptitonic
Scale 737Scale 737, Ian Ring Music Theory
Scale 753Scale 753: Aeronimic, Ian Ring Music TheoryAeronimic
Scale 657Scale 657: Epathic, Ian Ring Music TheoryEpathic
Scale 689Scale 689: Raga Nagasvaravali, Ian Ring Music TheoryRaga Nagasvaravali
Scale 593Scale 593: Saric, Ian Ring Music TheorySaric
Scale 849Scale 849: Aerynitonic, Ian Ring Music TheoryAerynitonic
Scale 977Scale 977: Kocrimic, Ian Ring Music TheoryKocrimic
Scale 209Scale 209, Ian Ring Music Theory
Scale 465Scale 465: Zoditonic, Ian Ring Music TheoryZoditonic
Scale 1233Scale 1233: Ionoditonic, Ian Ring Music TheoryIonoditonic
Scale 1745Scale 1745: Raga Vutari, Ian Ring Music TheoryRaga Vutari
Scale 2769Scale 2769: Dyrimic, Ian Ring Music TheoryDyrimic

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.