The Exciting Universe Of Music Theory

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Scale 255

Scale 255, 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).


Cardinality8 (octatonic)
Pitch Class Set{0,1,2,3,4,5,6,7}
Forte Number8-1
Rotational Symmetrynone
Reflection Axes3.5
Hemitonia7 (multihemitonic)
Cohemitonia6 (multicohemitonic)
Deep Scaleno
Interval Vector765442
Interval Spectrump4m4n5s6d7t2
Distribution Spectra<1> = {1,5}
<2> = {2,6}
<3> = {3,7}
<4> = {4,8}
<5> = {5,9}
<6> = {6,10}
<7> = {7,11}
Spectra Variation3.5
Maximally Evenno
Maximal Area Setno
Interior Area2
Myhill Propertyyes
Ridge Tones[7]

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}221
Minor Triadscm{0,3,7}221
Diminished Triads{0,3,6}131.5
Parsimonious Voice Leading Between Common Triads of Scale 255. Created by Ian Ring ©2019 cm cm c°->cm C C cm->C c#° c#° C->c#°

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.

Central Verticescm, C
Peripheral Verticesc°, c♯°


Modes are the rotational transformation of this scale. Scale 255 can be rotated to make 7 other scales. The 1st mode is itself.

2nd mode:
Scale 2175
Scale 2175, Ian Ring Music Theory
3rd mode:
Scale 3135
Scale 3135, Ian Ring Music Theory
4th mode:
Scale 3615
Scale 3615, Ian Ring Music Theory
5th mode:
Scale 3855
Scale 3855, Ian Ring Music Theory
6th mode:
Scale 3975
Scale 3975, Ian Ring Music Theory
7th mode:
Scale 4035
Scale 4035, Ian Ring Music Theory
8th mode:
Scale 4065
Scale 4065, Ian Ring Music Theory


This is the prime form of this scale.


The octatonic modal family [255, 2175, 3135, 3615, 3855, 3975, 4035, 4065] (Forte: 8-1) is the complement of the tetratonic modal family [15, 2055, 3075, 3585] (Forte: 4-1)


The inverse of a scale is a reflection using the root as its axis. The inverse of 255 is 4065

Scale 4065Scale 4065, Ian Ring Music Theory


T0 255  T0I 4065
T1 510  T1I 4035
T2 1020  T2I 3975
T3 2040  T3I 3855
T4 4080  T4I 3615
T5 4065  T5I 3135
T6 4035  T6I 2175
T7 3975  T7I 255
T8 3855  T8I 510
T9 3615  T9I 1020
T10 3135  T10I 2040
T11 2175  T11I 4080

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 253Scale 253, Ian Ring Music Theory
Scale 251Scale 251, Ian Ring Music Theory
Scale 247Scale 247, Ian Ring Music Theory
Scale 239Scale 239, Ian Ring Music Theory
Scale 223Scale 223, Ian Ring Music Theory
Scale 191Scale 191, Ian Ring Music Theory
Scale 127Scale 127, Ian Ring Music Theory
Scale 383Scale 383: Logyllic, Ian Ring Music TheoryLogyllic
Scale 511Scale 511: Polygic, Ian Ring Music TheoryPolygic
Scale 767Scale 767: Raptygic, Ian Ring Music TheoryRaptygic
Scale 1279Scale 1279: Sarygic, Ian Ring Music TheorySarygic
Scale 2303Scale 2303: Stanygic, Ian Ring Music TheoryStanygic

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 ( 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.