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Scale 1701: "Dominant Seventh"

Scale 1701: Dominant Seventh, 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

Western
Dominant Seventh
Dozenal
Kifian
Western Modern
Mixolydian Hexatonic
Korean
P'yongjo
Unknown / Unsorted
Yosen
Narayani
Suposhini
Andolika
Carnatic
Raga Darbar
Hindustani
Gorakh Kalyan
Zeitler
Lothimic

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

{0,2,5,7,9,10}

Forte Number

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

6-32

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.

[3.5]

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.

no

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.

1

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: 693

Generator

Indicates if the scale can be constructed using a generator, and an origin.

generator: 5
origin: 9

Deep Scale

A deep scale is one where the interval vector has 6 different digits.

yes

Interval Structure

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

[2, 3, 2, 2, 1, 2]

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, 4, 3, 2, 5, 0>

Interval Spectrum

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

p5m2n3s4d

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

Spectra Variation

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

1.667

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.

2.482

Polygon Perimeter

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

5.932

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.

[7]

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".

Proper

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.

(0, 16, 51)

Generator

This scale has a generator of 5, originating on 9.

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}131.5
A♯{10,2,5}221
Minor Triadsdm{2,5,9}221
gm{7,10,2}131.5
Parsimonious Voice Leading Between Common Triads of Scale 1701. Created by Ian Ring ©2019 dm dm F F dm->F A# A# dm->A# gm gm gm->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.

Diameter3
Radius2
Self-Centeredno
Central Verticesdm, A♯
Peripheral VerticesF, gm

Triad Polychords

Also known as Bi-Triadic Hexatonics (a term coined by mDecks), and related to Generic Modality Compression (a method for guitar by Mick Goodrick and Tim Miller), these are two common triads that when combined use all the tones in this scale.

There is 1 way that this hexatonic scale can be split into two common triads.


Major: {5, 9, 0}
Minor: {7, 10, 2}

Modes

Modes are the rotational transformation of this scale. Scale 1701 can be rotated to make 5 other scales. The 1st mode is itself.

2nd mode:
Scale 1449
Scale 1449: Raga Gopikavasantam, Ian Ring Music TheoryRaga Gopikavasantam
3rd mode:
Scale 693
Scale 693: Arezzo Major Diatonic Hexachord, Ian Ring Music TheoryArezzo Major Diatonic HexachordThis is the prime mode
4th mode:
Scale 1197
Scale 1197: Minor Hexatonic, Ian Ring Music TheoryMinor Hexatonic
5th mode:
Scale 1323
Scale 1323: Ritsu, Ian Ring Music TheoryRitsu
6th mode:
Scale 2709
Scale 2709: Raga Kumud, Ian Ring Music TheoryRaga Kumud

Prime

The prime form of this scale is Scale 693

Scale 693Scale 693: Arezzo Major Diatonic Hexachord, Ian Ring Music TheoryArezzo Major Diatonic Hexachord

Complement

The hexatonic modal family [1701, 1449, 693, 1197, 1323, 2709] (Forte: 6-32) is the complement of the hexatonic modal family [693, 1197, 1323, 1449, 1701, 2709] (Forte: 6-32)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 1701 is 1197

Scale 1197Scale 1197: Minor Hexatonic, Ian Ring Music TheoryMinor Hexatonic

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> 1701       T0I <11,0> 1197
T1 <1,1> 3402      T1I <11,1> 2394
T2 <1,2> 2709      T2I <11,2> 693
T3 <1,3> 1323      T3I <11,3> 1386
T4 <1,4> 2646      T4I <11,4> 2772
T5 <1,5> 1197      T5I <11,5> 1449
T6 <1,6> 2394      T6I <11,6> 2898
T7 <1,7> 693      T7I <11,7> 1701
T8 <1,8> 1386      T8I <11,8> 3402
T9 <1,9> 2772      T9I <11,9> 2709
T10 <1,10> 1449      T10I <11,10> 1323
T11 <1,11> 2898      T11I <11,11> 2646
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 3591      T0MI <7,0> 3087
T1M <5,1> 3087      T1MI <7,1> 2079
T2M <5,2> 2079      T2MI <7,2> 63
T3M <5,3> 63      T3MI <7,3> 126
T4M <5,4> 126      T4MI <7,4> 252
T5M <5,5> 252      T5MI <7,5> 504
T6M <5,6> 504      T6MI <7,6> 1008
T7M <5,7> 1008      T7MI <7,7> 2016
T8M <5,8> 2016      T8MI <7,8> 4032
T9M <5,9> 4032      T9MI <7,9> 3969
T10M <5,10> 3969      T10MI <7,10> 3843
T11M <5,11> 3843      T11MI <7,11> 3591

The transformations that map this set to itself are: T0, T7I

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 1703Scale 1703: Mela Vanaspati, Ian Ring Music TheoryMela Vanaspati
Scale 1697Scale 1697: Raga Kuntvarali, Ian Ring Music TheoryRaga Kuntvarali
Scale 1699Scale 1699: Raga Rasavali, Ian Ring Music TheoryRaga Rasavali
Scale 1705Scale 1705: Raga Manohari, Ian Ring Music TheoryRaga Manohari
Scale 1709Scale 1709: Dorian, Ian Ring Music TheoryDorian
Scale 1717Scale 1717: Mixolydian, Ian Ring Music TheoryMixolydian
Scale 1669Scale 1669: Raga Matha Kokila, Ian Ring Music TheoryRaga Matha Kokila
Scale 1685Scale 1685: Zeracrimic, Ian Ring Music TheoryZeracrimic
Scale 1733Scale 1733: Raga Sarasvati, Ian Ring Music TheoryRaga Sarasvati
Scale 1765Scale 1765: Lonian, Ian Ring Music TheoryLonian
Scale 1573Scale 1573: Raga Guhamanohari, Ian Ring Music TheoryRaga Guhamanohari
Scale 1637Scale 1637: Syptimic, Ian Ring Music TheorySyptimic
Scale 1829Scale 1829: Pathimic, Ian Ring Music TheoryPathimic
Scale 1957Scale 1957: Pyrian, Ian Ring Music TheoryPyrian
Scale 1189Scale 1189: Suspended Pentatonic, Ian Ring Music TheorySuspended Pentatonic
Scale 1445Scale 1445: Raga Navamanohari, Ian Ring Music TheoryRaga Navamanohari
Scale 677Scale 677: Scottish Pentatonic, Ian Ring Music TheoryScottish Pentatonic
Scale 2725Scale 2725: Raga Nagagandhari, Ian Ring Music TheoryRaga Nagagandhari
Scale 3749Scale 3749: Raga Sorati, Ian Ring Music TheoryRaga Sorati

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.