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Scale 791: "Aeoloptimic"

Scale 791: Aeoloptimic, 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
Aeoloptimic
Dozenal
Fabian

Analysis

Cardinality

Cardinality is the count of how many pitches are in the scale.

6 (hexatonic)

Pitch Class Set

The tones in this scale, expressed as numbers from 0 to 11

{0,1,2,4,8,9}

Forte Number

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

6-16

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: 3353

Hemitonia

A hemitone is two tones separated by a semitone interval. Hemitonia describes how many such hemitones exist.

3 (trihemitonic)

Cohemitonia

A cohemitone is an instance of two adjacent hemitones. Cohemitonia describes how many such cohemitones exist.

1 (uncohemitonic)

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.

3

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.

5

Prime Form

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

no
prime: 371

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 Structure

Defines the scale as the sequence of intervals between one tone and the next.

[1, 1, 2, 4, 1, 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.

<3, 2, 2, 4, 3, 1>

Interval Spectrum

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

p3m4n2s2d3t

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> = {2,3,4,5,6}
<3> = {4,5,7,8}
<4> = {6,7,8,9,10}
<5> = {8,9,10,11}

Spectra Variation

Determined by the Distribution Spectra; this is the sum of all spectrum widths divided by the scale cardinality.

3

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.

2.116

Polygon Perimeter

Perimeter of the polygon described by vertices placed for each tone of the scale dodecimetrically around a unit circle.

5.699

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.

(14, 19, 65)

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 TriadsA{9,1,4}221
Minor Triadsc♯m{1,4,8}221
am{9,0,4}221
Augmented TriadsC+{0,4,8}221

The following pitch classes are not present in any of the common triads: {2}

Parsimonious Voice Leading Between Common Triads of Scale 791. Created by Ian Ring ©2019 C+ C+ c#m c#m C+->c#m am am C+->am 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.

Diameter2
Radius2
Self-Centeredyes

Modes

Modes are the rotational transformation of this scale. Scale 791 can be rotated to make 5 other scales. The 1st mode is itself.

2nd mode:
Scale 2443
Scale 2443: Panimic, Ian Ring Music TheoryPanimic
3rd mode:
Scale 3269
Scale 3269: Raga Malarani, Ian Ring Music TheoryRaga Malarani
4th mode:
Scale 1841
Scale 1841: Thogimic, Ian Ring Music TheoryThogimic
5th mode:
Scale 371
Scale 371: Rythimic, Ian Ring Music TheoryRythimicThis is the prime mode
6th mode:
Scale 2233
Scale 2233: Donimic, Ian Ring Music TheoryDonimic

Prime

The prime form of this scale is Scale 371

Scale 371Scale 371: Rythimic, Ian Ring Music TheoryRythimic

Complement

The hexatonic modal family [791, 2443, 3269, 1841, 371, 2233] (Forte: 6-16) is the complement of the hexatonic modal family [371, 791, 1841, 2233, 2443, 3269] (Forte: 6-16)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 791 is 3353

Scale 3353Scale 3353: Phraptimic, Ian Ring Music TheoryPhraptimic

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 791 is chiral, and its enantiomorph is scale 3353

Scale 3353Scale 3353: Phraptimic, Ian Ring Music TheoryPhraptimic

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> 791       T0I <11,0> 3353
T1 <1,1> 1582      T1I <11,1> 2611
T2 <1,2> 3164      T2I <11,2> 1127
T3 <1,3> 2233      T3I <11,3> 2254
T4 <1,4> 371      T4I <11,4> 413
T5 <1,5> 742      T5I <11,5> 826
T6 <1,6> 1484      T6I <11,6> 1652
T7 <1,7> 2968      T7I <11,7> 3304
T8 <1,8> 1841      T8I <11,8> 2513
T9 <1,9> 3682      T9I <11,9> 931
T10 <1,10> 3269      T10I <11,10> 1862
T11 <1,11> 2443      T11I <11,11> 3724
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 1841      T0MI <7,0> 413
T1M <5,1> 3682      T1MI <7,1> 826
T2M <5,2> 3269      T2MI <7,2> 1652
T3M <5,3> 2443      T3MI <7,3> 3304
T4M <5,4> 791       T4MI <7,4> 2513
T5M <5,5> 1582      T5MI <7,5> 931
T6M <5,6> 3164      T6MI <7,6> 1862
T7M <5,7> 2233      T7MI <7,7> 3724
T8M <5,8> 371      T8MI <7,8> 3353
T9M <5,9> 742      T9MI <7,9> 2611
T10M <5,10> 1484      T10MI <7,10> 1127
T11M <5,11> 2968      T11MI <7,11> 2254

The transformations that map this set to itself are: T0, T4M

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 789Scale 789: Zogitonic, Ian Ring Music TheoryZogitonic
Scale 787Scale 787: Aeolapritonic, Ian Ring Music TheoryAeolapritonic
Scale 795Scale 795: Aeologimic, Ian Ring Music TheoryAeologimic
Scale 799Scale 799: Lolian, Ian Ring Music TheoryLolian
Scale 775Scale 775: Raga Putrika, Ian Ring Music TheoryRaga Putrika
Scale 783Scale 783: Etuian, Ian Ring Music TheoryEtuian
Scale 807Scale 807: Raga Suddha Mukhari, Ian Ring Music TheoryRaga Suddha Mukhari
Scale 823Scale 823: Stodian, Ian Ring Music TheoryStodian
Scale 855Scale 855: Porian, Ian Ring Music TheoryPorian
Scale 919Scale 919: Chromatic Phrygian Inverse, Ian Ring Music TheoryChromatic Phrygian Inverse
Scale 535Scale 535: Dejian, Ian Ring Music TheoryDejian
Scale 663Scale 663: Phrynimic, Ian Ring Music TheoryPhrynimic
Scale 279Scale 279: Poditonic, Ian Ring Music TheoryPoditonic
Scale 1303Scale 1303: Epolimic, Ian Ring Music TheoryEpolimic
Scale 1815Scale 1815: Godian, Ian Ring Music TheoryGodian
Scale 2839Scale 2839: Lyptian, Ian Ring Music TheoryLyptian

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, and George Howlett for assistance with the Carnatic ragas.