Chapter 14

The Pre-dominant II and II 7 Chords

The Supertonic Family

• • • Major mode: supertonic sounds minor and its seventh chords is a minor seventh (m7) Supertonic occurs as ii and ii 6 Seventh chord occurs as ii 7 ii 6/5 ii 4/3 and ii 4/2 • • Minor mode: supertonic sound diminished and usually occurs as ii o6 - avoid using this in root position As a seventh chord is becomes half-diminished and appears in all four inversions ii ø7 ii ø6/5 ii ø4/3 and ii ø4/2 • Avoid using a minor triad built on supertonic using a raised 6 th . This is theoretically possible in the minor mode but sounds horrible and is almost never used

The Supertonic Family

• The various inversions of the supertonic seventh chord almost always use suspension figuration for the preparation and resolution of the chordal 7 th . An occasional passing motion may occur.

I 6 ii 7 V I I 6 ii 6 ii 7 V I

Partwriting with Supertonic Chords

• The progression of ii – V and ii 6 – V represent diatonic transpositions of V – I and V 6 – I; because their roots are a 5 th apart • Use the same doublings you would in a V (V 6 ) – I progression (Major keys) ▫ ▫ Double the bass in a root position chord Double the soprano in first inversion (ii 6 )

Partwriting with Supertonic Chords

• Doubling the bass in minor ii skip of an augmented 2 nd o6 chords can produce parallel octaves (^4 - ^5) or a melodic (^b6 - ^#7) Ex. 14.3c

• When approaching a ii or ii 6 from a I 6 , be wary of using open structure; parallel 5 th may occur • Root position I – ii progression will also give you parallels: move the upper voices in contrary motion to the bass or double the third in the ii chord

Partwriting with Supertonic Chords

• All four tones should be present in a ii 7 ▫ chord Make sure the chordal 7 th is prepared and resolved correctly (by suspension) • In root position ii the chords must be incomplete, otherwise you will get parallel 5 7 th to root position V 7 , one of ▫ Omit the chordal fifth and double the root of the V 7 or else do the same with the ii 7

ii

6

and ii

6/5

at the Cadences

• ii 6 and ii 6/5 can be considered close relatives to the root position IV; they are both pre dominants and share the same ^4 in the bass ▫ This is important at the authentic cadence • The IV has a 5 th 3 rd and above the bass, the ii 6 replaces the 5 a 6 th th with and keeps the 3 rd C: IV ii 6 ii 6/5

ii

6

and ii

6/5

at the Cadences

• • I – ii ▫ 6 bass – V (7) – I or its seven chord inversion is one of the most frequent cadential formulas Strong conclusivity due to the stepwise descent of the soprano to the tonic (^3-^2-^2-^1) and the ^1 (or ^3) ^4-^5-^1 in the The supertonic seventh requires preparation of its seventh by suspension (^8-^8-^7) ^3 ^2 ^2 ^1 ^3 ^2 ^2 ^1 c: i ii ø6/5 V i I 6 ii 6 V I

Supertonic Harmony in Embellishing Progressions

• Supertonic often occurs in short embellishing progressions in tonic expansion ▫ I – (ii – V 7 ) – I or i – (ii ø6/5 – V 7 ) – i 6 ▫ ▫ These progressions avoid the cadential tonic formula and frequently originate and end on a weaker, inverted I chord These progressions should have parentheses placed around their Roman numerals

Supertonic Harmony in Embellishing Progressions

C: I (ii V 6/5 ) I I 6 I ii 7 V c: i V (ii ø6/5 V 4/2 ) i 6 (V 6 ) i ii ø4/3

Supertonic Harmony in Embellishing Progressions

• Consider your options when doing a chordal Roman numerals analysis…things aren’t always what they seem.

avoid C: I 6 (vii o6 ) I I (ii) I 6 The vii o6 is the most likely option for chordal motion to the tonic. Direct motion of ii to tonic is very rare. This motion is usually used at the opening of a phrase.

Not ii

Prolongation of the Pre-Dominant Function • • Triadic and seventh-chord forms of supertonic harmonies can be extended the same way tonic, dominant, and subdominant are in a phrase.

Supertonic can be extended by using different inversions of the same chord; i.e. ii 6 – ii ▫ These inversions are usually bridged by using a first-inversion tonic chord

Prolongation of the Pre-Dominant Function • See Ex. 14.16D for the voice leading reduction C: I ii 6/5 (6 ii 7 ) V I • The orange Xs show the voice exchange between the right and left hands Schumann: “* * *” (No.21) from Album for the Young Op. 68