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Scale 565: "Aeolyphritonic"

Scale 565: Aeolyphritonic, 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

Zeitler
Aeolyphritonic

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

{0,2,4,5,9}

Forte Number

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

5-27

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: 1417

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.

4

Prime Form

Describes if this scale is in prime form, using the Rahn/Ring formula.

no
prime: 299

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.

[2, 2, 1, 4, 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, 2, 2, 3, 0>

Interval Spectrum

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

p3m2n2s2d

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> = {3,4,5,7}
<3> = {5,7,8,9}
<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.

(3, 8, 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 TriadsF{5,9,0}210.67
Minor Triadsdm{2,5,9}121
am{9,0,4}121
Parsimonious Voice Leading Between Common Triads of Scale 565. Created by Ian Ring ©2019 dm dm F F dm->F am am 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 VerticesF
Peripheral Verticesdm, am

Modes

Modes are the rotational transformation of this scale. Scale 565 can be rotated to make 4 other scales. The 1st mode is itself.

2nd mode:
Scale 1165
Scale 1165: Gycritonic, Ian Ring Music TheoryGycritonic
3rd mode:
Scale 1315
Scale 1315: Pyritonic, Ian Ring Music TheoryPyritonic
4th mode:
Scale 2705
Scale 2705: Raga Mamata, Ian Ring Music TheoryRaga Mamata
5th mode:
Scale 425
Scale 425: Raga Kokil Pancham, Ian Ring Music TheoryRaga Kokil Pancham

Prime

The prime form of this scale is Scale 299

Scale 299Scale 299: Raga Chitthakarshini, Ian Ring Music TheoryRaga Chitthakarshini

Complement

The pentatonic modal family [565, 1165, 1315, 2705, 425] (Forte: 5-27) is the complement of the heptatonic modal family [695, 1465, 1765, 1835, 2395, 2965, 3245] (Forte: 7-27)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 565 is 1417

Scale 1417Scale 1417: Raga Shailaja, Ian Ring Music TheoryRaga Shailaja

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 565 is chiral, and its enantiomorph is scale 1417

Scale 1417Scale 1417: Raga Shailaja, Ian Ring Music TheoryRaga Shailaja

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> 565       T0I <11,0> 1417
T1 <1,1> 1130      T1I <11,1> 2834
T2 <1,2> 2260      T2I <11,2> 1573
T3 <1,3> 425      T3I <11,3> 3146
T4 <1,4> 850      T4I <11,4> 2197
T5 <1,5> 1700      T5I <11,5> 299
T6 <1,6> 3400      T6I <11,6> 598
T7 <1,7> 2705      T7I <11,7> 1196
T8 <1,8> 1315      T8I <11,8> 2392
T9 <1,9> 2630      T9I <11,9> 689
T10 <1,10> 1165      T10I <11,10> 1378
T11 <1,11> 2330      T11I <11,11> 2756
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 1795      T0MI <7,0> 2077
T1M <5,1> 3590      T1MI <7,1> 59
T2M <5,2> 3085      T2MI <7,2> 118
T3M <5,3> 2075      T3MI <7,3> 236
T4M <5,4> 55      T4MI <7,4> 472
T5M <5,5> 110      T5MI <7,5> 944
T6M <5,6> 220      T6MI <7,6> 1888
T7M <5,7> 440      T7MI <7,7> 3776
T8M <5,8> 880      T8MI <7,8> 3457
T9M <5,9> 1760      T9MI <7,9> 2819
T10M <5,10> 3520      T10MI <7,10> 1543
T11M <5,11> 2945      T11MI <7,11> 3086

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 567Scale 567: Aeoladimic, Ian Ring Music TheoryAeoladimic
Scale 561Scale 561: Phratic, Ian Ring Music TheoryPhratic
Scale 563Scale 563: Thacritonic, Ian Ring Music TheoryThacritonic
Scale 569Scale 569: Mothitonic, Ian Ring Music TheoryMothitonic
Scale 573Scale 573: Saptimic, Ian Ring Music TheorySaptimic
Scale 549Scale 549: Raga Bhavani, Ian Ring Music TheoryRaga Bhavani
Scale 557Scale 557: Raga Abhogi, Ian Ring Music TheoryRaga Abhogi
Scale 533Scale 533, Ian Ring Music Theory
Scale 597Scale 597: Kung, Ian Ring Music TheoryKung
Scale 629Scale 629: Aeronimic, Ian Ring Music TheoryAeronimic
Scale 693Scale 693: Arezzo Major Diatonic Hexachord, Ian Ring Music TheoryArezzo Major Diatonic Hexachord
Scale 821Scale 821: Aeranimic, Ian Ring Music TheoryAeranimic
Scale 53Scale 53, Ian Ring Music Theory
Scale 309Scale 309: Palitonic, Ian Ring Music TheoryPalitonic
Scale 1077Scale 1077, Ian Ring Music Theory
Scale 1589Scale 1589: Raga Rageshri, Ian Ring Music TheoryRaga Rageshri
Scale 2613Scale 2613: Raga Hamsa Vinodini, Ian Ring Music TheoryRaga Hamsa Vinodini

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.