Dragon Balls

Dragon Balls
	ドラゴンボール (Doragon Bōru)
	Manga Anime Dragon Balls (Anime)
Manga Debut	Dragon Ball Chapter 1
Anime Debut	Dragon Ball Episode 1
	v · d · e

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The Dragon Balls are a set of seven mystical balls that, when gathered, can be used to summon a wish-granting Dragon. Bulma is searching for Earth's Dragon Balls when she encounters Goku in Dragon Ball Chapter 1.

Overview

While the story begins with Earth's Dragon Balls and mostly revolves around them, another set of Dragon Balls was eventually introduced: the Namekian Dragon Balls. Earth's Dragon Balls were created by Earth's God, a Namekian who was stranded on Earth after a climate catastrophe on Planet Namek when he was a child. His home planet also has its own set of Dragon Balls. While Earth's Dragon Balls summon Shenlong, the Namekian Dragon Balls summon Porunga.

In Dragon Ball GT, another set of Dragon Balls was introduced: the Ultimate Dragon Balls, also known as the "Black Star Dragon Balls". These are said to have been made before God split with Piccolo; they are therefore more powerful and also reflective of the evil that was still in God's heart at that time.

In Dragon Ball Super, the Super Dragon Balls are introduced. These balls summon Super Shenlong, who is said to be able to grant any with with no limitations.

In Dragon Ball Daima, the Demon Realm Dragon Balls are introduced. These three balls are guarded by Neva's three Tamagami, one in each of the three Demon Worlds.

Name

Music

Shunsuke Kikuchi composed a number of Dragon Ball–themed pieces of background music (BGM) for the Dragon Ball anime beginning in 1986. The essence of the leitmotif is introduced in K-6 and further developed in K-14. K-44 is a brief punctuational piece using the chime sounds of K-6 and K-14. Shenlong's Theme from Dragon Ball Movie 1 (M262) references the melodic shape of the leitmotif in a whole-tone setting that transitions into the fully diminished setting of the Shenlong theme.

Dragon Ball theme
Kanzenshuu Catalogue	Official Catalogue	Tonality	Availability
K-6	K-6	C⁺	Unreleased
K-14	K-14
K-44	K-44
K-258	M262	D˚⁷	Daizenshuu 5:2(e)

The pieces of this theme group are largely built on a whole-tone scale beginning on C: C-D-E-F♯-G♯-A♯(-C), though each (excluding K-44) alternates whole-tone movement with diatonic movement. The six tones of the whole-tone scale are equidistant, each one whole step (two semitones, or half-steps) apart.^[a]

K-6 ends on a C augmented triad, each note of which is in the whole-tone scale. K-14 ends with a full C whole-tone scale, followed by a C⁺ triad.^[b] M262 spells out each note of the C whole-tone scale at the beginning of its transition to the Shenlong theme, where fully diminished seventh chords are used instead.

External Links

Notes

↑ Since there are twelve tones, and six tones in the whole-tone scale, the tones of the C whole-tone scale are the exact same tones used in half of all whole-tone scales. The seven tones of the more common diatonic (major, minor, and modal) scales are built on a pattern of whole-tone and semi-tone intervals.
↑ Minor and major triads are distinguished by whether or not the third scale degree is a minor third from the root (minor triad) or a major third from the root (major triad). An augmented triad has a major third, but instead of a perfect fifth—the common denominator between major and minor triads—it has an augmented fifth. All of these notes are in the whole-tone scale, in this case: C-E-G♯(-C).

References

[1] Since there are twelve tones, and six tones in the whole-tone scale, the tones of the C whole-tone scale are the exact same tones used in half of all whole-tone scales. The seven tones of the more common diatonic (major, minor, and modal) scales are built on a pattern of whole-tone and semi-tone intervals.

[2] Minor and major triads are distinguished by whether or not the third scale degree is a minor third from the root (minor triad) or a major third from the root (major triad). An augmented triad has a major third, but instead of a perfect fifth—the common denominator between major and minor triads—it has an augmented fifth. All of these notes are in the whole-tone scale, in this case: C-E-G♯(-C).

[a]

[b]