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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

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
Aeolyphritonic

Analysis

Cardinality5 (pentatonic)
Pitch Class Set{0,2,4,5,9}
Forte Number5-27
Rotational Symmetrynone
Reflection Axesnone
Palindromicno
Chiralityyes
enantiomorph: 1417
Hemitonia1 (unhemitonic)
Cohemitonia0 (ancohemitonic)
Imperfections2
Modes4
Prime?no
prime: 299
Deep Scaleno
Interval Vector122230
Interval Spectrump3m2n2s2d
Distribution Spectra<1> = {1,2,3,4}
<2> = {3,4,5,7}
<3> = {5,7,8,9}
<4> = {8,9,10,11}
Spectra Variation2.8
Maximally Evenno
Maximal Area Setno
Interior Area2.049
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 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:

T0 565  T0I 1417
T1 1130  T1I 2834
T2 2260  T2I 1573
T3 425  T3I 3146
T4 850  T4I 2197
T5 1700  T5I 299
T6 3400  T6I 598
T7 2705  T7I 1196
T8 1315  T8I 2392
T9 2630  T9I 689
T10 1165  T10I 1378
T11 2330  T11I 2756

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. 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.