The Exciting Universe Of Music Theory
presents

more than you ever wanted to know about...

Scale 915: "Raga Kalagada"

Scale 915: Raga Kalagada, 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

41161837294116105072918310504116183
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 Kalagada
Raga Kalgada
Zeitler
Loptimic

Analysis

Cardinality6 (hexatonic)
Pitch Class Set{0,1,4,7,8,9}
Forte Number6-Z44
Rotational Symmetrynone
Reflection Axesnone
Palindromicno
Chiralityyes
enantiomorph: 2361
Hemitonia3 (trihemitonic)
Cohemitonia1 (uncohemitonic)
Imperfections3
Modes5
Prime?no
prime: 615
Deep Scaleno
Interval Vector313431
Interval Spectrump3m4n3sd3t
Distribution Spectra<1> = {1,3}
<2> = {2,4,6}
<3> = {5,7}
<4> = {6,8,10}
<5> = {9,11}
Spectra Variation2.333
Maximally Evenno
Maximal Area Setno
Interior Area2.25
Myhill Propertyno
Balancedno
Ridge Tonesnone
ProprietyImproper
Heliotonicno

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}231.5
A{9,1,4}231.5
Minor Triadsc♯m{1,4,8}321.17
am{9,0,4}231.5
Augmented TriadsC+{0,4,8}321.17
Diminished Triadsc♯°{1,4,7}231.5
Parsimonious Voice Leading Between Common Triads of Scale 915. Created by Ian Ring ©2019 C C C+ C+ C->C+ c#° c#° C->c#° c#m c#m C+->c#m am am C+->am c#°->c#m A A c#m->A am->A

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 VerticesC+, c♯m
Peripheral VerticesC, c♯°, am, A

Modes

Modes are the rotational transformation of this scale. Scale 915 can be rotated to make 5 other scales. The 1st mode is itself.

2nd mode:
Scale 2505
Scale 2505: Mydimic, Ian Ring Music TheoryMydimic
3rd mode:
Scale 825
Scale 825: Thyptimic, Ian Ring Music TheoryThyptimic
4th mode:
Scale 615
Scale 615: Phrothimic, Ian Ring Music TheoryPhrothimicThis is the prime mode
5th mode:
Scale 2355
Scale 2355: Raga Lalita, Ian Ring Music TheoryRaga Lalita
6th mode:
Scale 3225
Scale 3225: Ionalimic, Ian Ring Music TheoryIonalimic

Prime

The prime form of this scale is Scale 615

Scale 615Scale 615: Phrothimic, Ian Ring Music TheoryPhrothimic

Complement

The hexatonic modal family [915, 2505, 825, 615, 2355, 3225] (Forte: 6-Z44) is the complement of the hexatonic modal family [411, 867, 1587, 2253, 2481, 2841] (Forte: 6-Z19)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 915 is 2361

Scale 2361Scale 2361: Docrimic, Ian Ring Music TheoryDocrimic

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 915 is chiral, and its enantiomorph is scale 2361

Scale 2361Scale 2361: Docrimic, Ian Ring Music TheoryDocrimic

Transformations:

T0 915  T0I 2361
T1 1830  T1I 627
T2 3660  T2I 1254
T3 3225  T3I 2508
T4 2355  T4I 921
T5 615  T5I 1842
T6 1230  T6I 3684
T7 2460  T7I 3273
T8 825  T8I 2451
T9 1650  T9I 807
T10 3300  T10I 1614
T11 2505  T11I 3228

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 913Scale 913: Aeolyritonic, Ian Ring Music TheoryAeolyritonic
Scale 917Scale 917: Dygimic, Ian Ring Music TheoryDygimic
Scale 919Scale 919: Chromatic Phrygian Inverse, Ian Ring Music TheoryChromatic Phrygian Inverse
Scale 923Scale 923: Ultraphrygian, Ian Ring Music TheoryUltraphrygian
Scale 899Scale 899, Ian Ring Music Theory
Scale 907Scale 907: Tholimic, Ian Ring Music TheoryTholimic
Scale 931Scale 931: Raga Kalakanthi, Ian Ring Music TheoryRaga Kalakanthi
Scale 947Scale 947: Mela Gayakapriya, Ian Ring Music TheoryMela Gayakapriya
Scale 979Scale 979: Mela Dhavalambari, Ian Ring Music TheoryMela Dhavalambari
Scale 787Scale 787: Aeolapritonic, Ian Ring Music TheoryAeolapritonic
Scale 851Scale 851: Raga Hejjajji, Ian Ring Music TheoryRaga Hejjajji
Scale 659Scale 659: Raga Rasika Ranjani, Ian Ring Music TheoryRaga Rasika Ranjani
Scale 403Scale 403: Raga Reva, Ian Ring Music TheoryRaga Reva
Scale 1427Scale 1427: Lolimic, Ian Ring Music TheoryLolimic
Scale 1939Scale 1939: Dathian, Ian Ring Music TheoryDathian
Scale 2963Scale 2963: Bygian, Ian Ring Music TheoryBygian

This scale analysis was created by Ian Ring, Canadian Composer of works for Piano, and total music theory nerd. The software used to generate this analysis is an open source project at GitHub. Scale notation generated by VexFlow, graph visualization by Graphviz, and MIDI playback by MIDI.js. 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.