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Scale 1995: "Aeolacryllic"

Scale 1995: Aeolacryllic, 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

Zeitler
Aeolacryllic

Analysis

Cardinality8 (octatonic)
Pitch Class Set{0,1,3,6,7,8,9,10}
Forte Number8-13
Rotational Symmetrynone
Reflection Axesnone
Palindromicno
Chiralityyes
enantiomorph: 2685
Hemitonia5 (multihemitonic)
Cohemitonia3 (tricohemitonic)
Imperfections3
Modes7
Prime?no
prime: 735
Deep Scaleno
Interval Vector556453
Interval Spectrump5m4n6s5d5t3
Distribution Spectra<1> = {1,2,3}
<2> = {2,3,4,5}
<3> = {3,4,5,6}
<4> = {4,5,6,7,8}
<5> = {6,7,8,9}
<6> = {7,8,9,10}
<7> = {9,10,11}
Spectra Variation2.5
Maximally Evenno
Maximal Area Setno
Interior Area2.616
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 TriadsD♯{3,7,10}341.91
F♯{6,10,1}341.91
G♯{8,0,3}242.27
Minor Triadscm{0,3,7}342
d♯m{3,6,10}441.82
f♯m{6,9,1}342
Diminished Triads{0,3,6}242.09
d♯°{3,6,9}242.09
f♯°{6,9,0}242.27
{7,10,1}242.18
{9,0,3}242.36
Parsimonious Voice Leading Between Common Triads of Scale 1995. Created by Ian Ring ©2019 cm cm c°->cm d#m d#m c°->d#m D# D# cm->D# G# G# cm->G# d#° d#° d#°->d#m f#m f#m d#°->f#m d#m->D# F# F# d#m->F# D#->g° f#° f#° f#°->f#m f#°->a° f#m->F# F#->g° G#->a°

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.

Diameter4
Radius4
Self-Centeredyes

Modes

Modes are the rotational transformation of this scale. Scale 1995 can be rotated to make 7 other scales. The 1st mode is itself.

2nd mode:
Scale 3045
Scale 3045: Raptyllic, Ian Ring Music TheoryRaptyllic
3rd mode:
Scale 1785
Scale 1785: Tharyllic, Ian Ring Music TheoryTharyllic
4th mode:
Scale 735
Scale 735: Sylyllic, Ian Ring Music TheorySylyllicThis is the prime mode
5th mode:
Scale 2415
Scale 2415: Lothyllic, Ian Ring Music TheoryLothyllic
6th mode:
Scale 3255
Scale 3255: Daryllic, Ian Ring Music TheoryDaryllic
7th mode:
Scale 3675
Scale 3675: Monyllic, Ian Ring Music TheoryMonyllic
8th mode:
Scale 3885
Scale 3885: Styryllic, Ian Ring Music TheoryStyryllic

Prime

The prime form of this scale is Scale 735

Scale 735Scale 735: Sylyllic, Ian Ring Music TheorySylyllic

Complement

The octatonic modal family [1995, 3045, 1785, 735, 2415, 3255, 3675, 3885] (Forte: 8-13) is the complement of the tetratonic modal family [75, 705, 1545, 2085] (Forte: 4-13)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 1995 is 2685

Scale 2685Scale 2685: Ionoryllic, Ian Ring Music TheoryIonoryllic

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 1995 is chiral, and its enantiomorph is scale 2685

Scale 2685Scale 2685: Ionoryllic, Ian Ring Music TheoryIonoryllic

Transformations:

T0 1995  T0I 2685
T1 3990  T1I 1275
T2 3885  T2I 2550
T3 3675  T3I 1005
T4 3255  T4I 2010
T5 2415  T5I 4020
T6 735  T6I 3945
T7 1470  T7I 3795
T8 2940  T8I 3495
T9 1785  T9I 2895
T10 3570  T10I 1695
T11 3045  T11I 3390

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 1993Scale 1993: Katoptian, Ian Ring Music TheoryKatoptian
Scale 1997Scale 1997: Raga Cintamani, Ian Ring Music TheoryRaga Cintamani
Scale 1999Scale 1999: Zacrygic, Ian Ring Music TheoryZacrygic
Scale 1987Scale 1987, Ian Ring Music Theory
Scale 1991Scale 1991: Phryptyllic, Ian Ring Music TheoryPhryptyllic
Scale 2003Scale 2003: Podyllic, Ian Ring Music TheoryPodyllic
Scale 2011Scale 2011: Raphygic, Ian Ring Music TheoryRaphygic
Scale 2027Scale 2027: Boptygic, Ian Ring Music TheoryBoptygic
Scale 1931Scale 1931: Stogian, Ian Ring Music TheoryStogian
Scale 1963Scale 1963: Epocryllic, Ian Ring Music TheoryEpocryllic
Scale 1867Scale 1867: Solian, Ian Ring Music TheorySolian
Scale 1739Scale 1739: Mela Sadvidhamargini, Ian Ring Music TheoryMela Sadvidhamargini
Scale 1483Scale 1483: Mela Bhavapriya, Ian Ring Music TheoryMela Bhavapriya
Scale 971Scale 971: Mela Gavambodhi, Ian Ring Music TheoryMela Gavambodhi
Scale 3019Scale 3019, Ian Ring Music Theory
Scale 4043Scale 4043: Phrocrygic, Ian Ring Music TheoryPhrocrygic

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. Tons of background resources contributed to the production of this summary; for a list of these peruse this Bibliography.