You can play the two pipes independently by pressing the designated keys on your keyboard, and you can choose one of the available frequency sources via a dropdown menu. The estimated frequencies published in the literature are loaded automatically, and the relevant bibliography is displayed in the sidebar.

iAulos then identifies the equivalent modern notes, as well as their Greek counterparts, on the basis of a given concert pitch (e.g. the Koilē standard of A4 = 432 Hz; cf. Lynch 2023; Lynch 2025). 

You can activate/deactivate the overblown mode by pressing Shift. This will update the frequencies that are produced by each finger-hole accordingly, and will display the relative modern notes as well as Greek notation signs (up to the highest note available in the Greek notation system, D5).

The concert pitch, as well as the pipe diagram size and relative position of the lower pipe, can be adjusted by using the relative sliders in the sidebar.

Given that instruments such as the Louvre aulos doubled the male voice an octave higher, the Greek notation signs are adjusted accordingly. A checkbox at the bottom of the sidebar allows you to switch to direct 1:1 equivalences.

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Tabs 1-2: H Pipe and L Pipe

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The first two tabs are dedicated to the H and L pipes respectively. A diagram at the top displays the structure of the instrument on the basis of published measurements and estimates provided in the literature Thumbholes are marked in grey; the double reed mouthpiece is represented as an orange rectangle, and reflects the values provided in the first publication (on the Louvre aulos, see Hagel 2014)..

Please note that the effective reed lengths displayed in the diagrams may differ significantly from the physical length of reeds used on working replicas of these instruments, due to their different structures (Hagel 2010b, 71-2) and the variable properties of individual pairs of reeds. Double reeds are also known to change their acoustic behaviour over time, and are extremely sensitive to changes in embouchure. These reed lengths are therefore only indicative, and a starting point for practical experimentation.

– The diagrams are followed by a table that shows the frequencies produced by each hole alongside the relative modern notes and their Greek equivalents, as well as the intervals formed by subsequent holes, their classification, and any deviation from the standard value.

– A subsequent chart displays the total number of fourths, fifths, and octaves produced in a given setting, and their position in the scale.

– These intervals are identified within a tolerance range that can be adjusted by using the relative slider in the sidebar . The initial tolerance value is set at 20 cents (i.e. < 20.5), which is a common threshold in modern studies and is also just under the tolerance range identified by Ptolemy (22 cents; cf. Lynch 2022b, 420 n.7).

– A searchable table at the bottom of the tab lists the intervals produced by each pair of holes, classifies them, and marks any deviations from the standard value.
This table enables you to explore and easily reproduce these intervals by pressing the keys listed in dedicated columns, building a bridge between abstract, and at times unfamiliar, intervals and their aesthetic qualities.
 

Tab 3: Pipes and Frequency Plot

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The third tab displays the two pipes side by side, alongside the modern notes produced by each open hole and the equivalent Greek notes (vocal and instrumental). 
This diagram is followed by a chart that plots the frequencies produced by each hole against its distance from the reed tip. 
 

Tab 4: Interval Summary

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The fourth tab provides a summary of the consonant intervals produced by the two pipes.

– The first table displays the number of fourths, fifths, and octaves, as well as unisons, that are produced by each pipe taken individually, and by both pipes combined, within a given tolerance range.

– A bar chart displays the total number of consonances produced in a given setting, and the following chart displays their placement within the scale.

– A searchable table at the bottom of the tab provides a comprehensive list of the intervals produced by the holes of both pipes combined, and classifies them. Once again, you can easily reproduce and compare these intervals with each other by pressing the keys listed in dedicated columns. Enjoy!

 

References

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Bakogiannis, K., Polychronopoulos, S., Marini, D., Terzēs, C., Kouroupetroglou, G.T. (2020). ‘ENTROTUNER: A Computational Method Adopting the Musician’s Interaction With the Instrument to Estimate Its Tuning’, IEEEAccess 8, 53185-53195.

Hagel, S. (2004). ‘Calculating Auloi – the Louvre Aulos Scale’, in: E. Hickmann – R. Eichmann (eds), Studien zur Musikarchäologie IV, Orient-Archäologie 15, 373–390.

Hagel, S. (2010b). ‘Understanding the Aulos Berlin Egyptian Museum 12461/12462’, in Eichmann, R., Hickmann, E. and Koch, L.-C. (eds), Musical Perceptions—Past and Present: On Ethnographic Analogy in Music Archaeology. Rahden, Westf.: Verlag Marie Leidorf GmbH, 67–87.

Hagel, S. (2014). ‘Better Understanding the Louvre Aulos’, in Eichmann, R., Jianjun, F., Koch, L.-Ch., (eds), Papers from the 8th Symposium of the International Study Group on Music Archaeology. Rahden, Westf.: Marie Leidorf, 131–142.

Lynch, T.A.C. (2023). ‘Singing with the Muses: New Paths into Ancient Mousikē’. Dramaturgias 22.8, 488–522.

Lynch, T.A.C. (2025). ‘Absolute pitch standards: Method and Music’. Zenodo: https://zenodo.org/records/15124388

Terzēs, C. (2020). ‘Musical Instruments of Greek and Roman Antiquity’, in Lynch, T. A.C. and Rocconi, E. (eds), A Companion to Ancient Greek and Roman Music, Blackwell, 213–227.

West, M. (1992). Ancient Greek Music. Oxford University Press.