The "cadence" scale??

[cuberdrift]

I've limited insight on music theory. I'm not that bright when it comes to terminologies.

The "scale" I'm talking about is a certain scale that I discover if played, can be used to resolve a piece. If the key is in C Major, for instance, the notes are D, F, G, A, B, and D. In other words, the 2nd, 4th, 5th, 6th, and 7th scale degrees. Play these notes over a dominant, supertonic, or leading tone and apparently, it sounds harmonically correct   and makes you feel like you want to end in the tonic.

Can anyone tell me what this "scale" is called? Is there information regarding this? As I've said I'm not well versed with music theory. Thank you!  

[cuberdrift]

bump 

[andreslr6]

well, those same notes make up the actual Dominant Chord, the 6th degree can also be added to the dominant (A in C major). Although we are taught that you omit the 5th of the dominant chord when you add the 9th (to keep 4 voices) when you apply it to a real composition these rules becomes guidelines.

To be clear, V7 or "dominant chord" of C major is made up of G, B and D (the base Gmajor chord) adding F on top which creates a tritone/diminished 5th interval between the 3rd of the dominant/leading tone (B in the case of C major) and the added 7th of the dominant (F in this case), hence "V7". The 'generally accepted sensation' of this interval (the tritone/diminished 5th) is that of great tension which yells resolution and does so by solving the leading tone to the tonic (B-C) and the 7th of the dominant to the 3rd of the tonic (F-E), 'closing' the diminished 5th into the tonic major 3rd and bringing a 'generally accepted sensation' of rest or resolution.

V9 is just the same dominant chord with the added 9th (A in this case) just as an embellishment, right now I don't recall any important function other than that, and that when writing a 4 part chorale you must omit the 5th  .


{TL;DR VERSION:
In a sense, that "scale" you're talking about is actually an arpeggiated dominant chord V9 . Although, depending on the era, composer and context of whole piece, that "A" might simply be just a passing note between G and B with no harmonic function other than filling the gap. }


Graphic of movement and resolution of the voices on a V7-I and V9-I in fundamental position:

in C major:                        
(9th   A ---------------             5th    G)                                                                    
7th    F  ---------------             3rd    E
        
5th    D (omit if V9)---            tonic  C
                                      
3rd    B (leading tone)-           tonic C

Tonic G ----- if bass then         tonic C
                 *if middle note then 5th G

        (V9 -------------------             I)
         V7 --------------------            I
      
The basic 'rule' for voice leading/resolution/movement between chords with 7ths:
- 7th moves 1 semitone downwards , lands on 3rd of next chord.
- 5th moves 1 whole tone downwards, lands on tonic of next chord.
- 3rd moves 1 semitone upwards, lands on tonic of next chord OR 1 semitone downwards, lands on 7th of next chord.
- tonic jumps a 4th upwards or 5th downwards, lands of tonic of next chord OR turns into 5th of next chord.

[cuberdrift]

*stuff*

Thank you very much! I had been trying to find out something like that. Best of regards