The Exciting Universe Of Music Theory
presents

more than you ever wanted to know about...

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

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

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

Analysis

Cardinality6 (hexatonic)
Pitch Class Set{0,2,5,7,9,10}
Forte Number6-32
Rotational Symmetrynone
Reflection Axes3.5
Palindromicno
Chiralityno
Hemitonia1 (unhemitonic)
Cohemitonia0 (ancohemitonic)
Imperfections1
Modes5
Prime?no
prime: 693
Deep Scaleyes
Interval Vector143250
Interval Spectrump5m2n3s4d
Distribution Spectra<1> = {1,2,3}
<2> = {3,4,5}
<3> = {5,7}
<4> = {7,8,9}
<5> = {9,10,11}
Spectra Variation1.667
Maximally Evenno
Maximal Area Setno
Interior Area2.482
Myhill Propertyno
Balancedno
Ridge Tones[7]
ProprietyProper
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}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

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:

T0 1701  T0I 1197
T1 3402  T1I 2394
T2 2709  T2I 693
T3 1323  T3I 1386
T4 2646  T4I 2772
T5 1197  T5I 1449
T6 2394  T6I 2898
T7 693  T7I 1701
T8 1386  T8I 3402
T9 2772  T9I 2709
T10 1449  T10I 1323
T11 2898  T11I 2646

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. 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.