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Scale 725: "Raga Yamuna Kalyani"

Scale 725: Raga Yamuna Kalyani, 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 Yamuna Kalyani
Kalyani Keseri
Dozenal
Ebbian
Hindustani
Airavati
Exoticisms
Ancient Chinese
Zeitler
Lonimic

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

{0,2,4,6,7,9}

Forte Number

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

6-33

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: 1385

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.

2

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: 685

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, 2, 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, 4, 3, 2, 4, 1>

Interval Spectrum

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

p4m2n3s4dt

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}
<3> = {5,6,7}
<4> = {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.

1.667

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.

2.482

Polygon Perimeter

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

5.932

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".

Proper

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.

(0, 12, 54)

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}131.5
D{2,6,9}131.5
Minor Triadsam{9,0,4}221
Diminished Triadsf♯°{6,9,0}221
Parsimonious Voice Leading Between Common Triads of Scale 725. Created by Ian Ring ©2019 C C am am C->am D D f#° f#° D->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.

Diameter3
Radius2
Self-Centeredno
Central Verticesf♯°, am
Peripheral VerticesC, D

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.


Major: {0, 4, 7}
Major: {2, 6, 9}

Modes

Modes are the rotational transformation of this scale. Scale 725 can be rotated to make 5 other scales. The 1st mode is itself.

2nd mode:
Scale 1205
Scale 1205: Raga Siva Kambhoji, Ian Ring Music TheoryRaga Siva Kambhoji
3rd mode:
Scale 1325
Scale 1325: Phradimic, Ian Ring Music TheoryPhradimic
4th mode:
Scale 1355
Scale 1355: Raga Bhavani, Ian Ring Music TheoryRaga Bhavani
5th mode:
Scale 2725
Scale 2725: Raga Nagagandhari, Ian Ring Music TheoryRaga Nagagandhari
6th mode:
Scale 1705
Scale 1705: Raga Manohari, Ian Ring Music TheoryRaga Manohari

Prime

The prime form of this scale is Scale 685

Scale 685Scale 685: Raga Suddha Bangala, Ian Ring Music TheoryRaga Suddha Bangala

Complement

The hexatonic modal family [725, 1205, 1325, 1355, 2725, 1705] (Forte: 6-33) is the complement of the hexatonic modal family [685, 1195, 1385, 1445, 1685, 2645] (Forte: 6-33)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 725 is 1385

Scale 1385Scale 1385: Phracrimic, Ian Ring Music TheoryPhracrimic

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 725 is chiral, and its enantiomorph is scale 1385

Scale 1385Scale 1385: Phracrimic, Ian Ring Music TheoryPhracrimic

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> 725       T0I <11,0> 1385
T1 <1,1> 1450      T1I <11,1> 2770
T2 <1,2> 2900      T2I <11,2> 1445
T3 <1,3> 1705      T3I <11,3> 2890
T4 <1,4> 3410      T4I <11,4> 1685
T5 <1,5> 2725      T5I <11,5> 3370
T6 <1,6> 1355      T6I <11,6> 2645
T7 <1,7> 2710      T7I <11,7> 1195
T8 <1,8> 1325      T8I <11,8> 2390
T9 <1,9> 2650      T9I <11,9> 685
T10 <1,10> 1205      T10I <11,10> 1370
T11 <1,11> 2410      T11I <11,11> 2740
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 3905      T0MI <7,0> 95
T1M <5,1> 3715      T1MI <7,1> 190
T2M <5,2> 3335      T2MI <7,2> 380
T3M <5,3> 2575      T3MI <7,3> 760
T4M <5,4> 1055      T4MI <7,4> 1520
T5M <5,5> 2110      T5MI <7,5> 3040
T6M <5,6> 125      T6MI <7,6> 1985
T7M <5,7> 250      T7MI <7,7> 3970
T8M <5,8> 500      T8MI <7,8> 3845
T9M <5,9> 1000      T9MI <7,9> 3595
T10M <5,10> 2000      T10MI <7,10> 3095
T11M <5,11> 4000      T11MI <7,11> 2095

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 727Scale 727: Phradian, Ian Ring Music TheoryPhradian
Scale 721Scale 721: Raga Dhavalashri, Ian Ring Music TheoryRaga Dhavalashri
Scale 723Scale 723: Ionadimic, Ian Ring Music TheoryIonadimic
Scale 729Scale 729: Stygimic, Ian Ring Music TheoryStygimic
Scale 733Scale 733: Donian, Ian Ring Music TheoryDonian
Scale 709Scale 709: Raga Shri Kalyan, Ian Ring Music TheoryRaga Shri Kalyan
Scale 717Scale 717: Raga Vijayanagari, Ian Ring Music TheoryRaga Vijayanagari
Scale 741Scale 741: Gathimic, Ian Ring Music TheoryGathimic
Scale 757Scale 757: Ionyptian, Ian Ring Music TheoryIonyptian
Scale 661Scale 661: Major Pentatonic, Ian Ring Music TheoryMajor Pentatonic
Scale 693Scale 693: Arezzo Major Diatonic Hexachord, Ian Ring Music TheoryArezzo Major Diatonic Hexachord
Scale 597Scale 597: Kung, Ian Ring Music TheoryKung
Scale 853Scale 853: Epothimic, Ian Ring Music TheoryEpothimic
Scale 981Scale 981: Mela Kantamani, Ian Ring Music TheoryMela Kantamani
Scale 213Scale 213: Bitian, Ian Ring Music TheoryBitian
Scale 469Scale 469: Katyrimic, Ian Ring Music TheoryKatyrimic
Scale 1237Scale 1237: Salimic, Ian Ring Music TheorySalimic
Scale 1749Scale 1749: Acoustic, Ian Ring Music TheoryAcoustic
Scale 2773Scale 2773: Lydian, Ian Ring Music TheoryLydian

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.