Minor mode

Report
Chapter 14
The Pre-dominant
II and II7 Chords
The Supertonic Family
• Major mode: supertonic sounds minor and its seventh
chords is a minor seventh (m7)
• Supertonic occurs as ii and ii6
• Seventh chord occurs as ii7 ii6/5 ii4/3 and ii4/2
• Minor mode: supertonic sound diminished and usually
occurs as iio6 - avoid using this in root position
• As a seventh chord is becomes half-diminished and
appears in all four inversions
iiø7 iiø6/5 iiø4/3 and iiø4/2
• Avoid using a minor triad built on supertonic using a
raised 6th. 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 7th. An occasional passing
motion may occur.
I6
ii7
V
I
I6
ii6
ii7
V
I
Partwriting with Supertonic
Chords
• The progression of ii – V and ii6 – V represent
diatonic transpositions of V – I and V6 – I;
because their roots are a 5th apart
• Use the same doublings you would in a
V (V6) – I progression (Major keys)
▫ Double the bass in a root position chord
▫ Double the soprano in first inversion (ii6)
Partwriting with Supertonic
Chords
• Doubling the bass in minor iio6 chords can
produce parallel octaves (^4 - ^5) or a melodic
skip of an augmented 2nd (^b6 - ^#7) Ex. 14.3c
• When approaching a ii or ii6 from a I6, be wary of
using open structure; parallel 5th 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 ii7 chord
▫ Make sure the chordal 7th is prepared and
resolved correctly (by suspension)
• In root position ii7 to root position V7, one of
the chords must be incomplete, otherwise you
will get parallel 5th
▫ Omit the chordal fifth and double the root of the
V7 or else do the same with the ii7
ii6 and ii6/5 at the Cadences
• ii6 and ii6/5 can be considered close relatives to
the root position IV; they are both predominants and share the same ^4 in the bass
▫ This is important at the authentic cadence
• The IV has a 5th and
3rd above the bass, the
ii6 replaces the 5th with
a 6th and keeps the 3rd
C: IV
ii6
ii6/5
ii6 and ii6/5 at the Cadences
• I – ii6 – 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
bass
• The supertonic seventh requires preparation of its seventh
by suspension (^8-^8-^7)
^3
^2 ^2
I6
ii6
V
^3
^1
I
c:
i
^2
^2
^1
iiø6/5 V
i
Supertonic Harmony in Embellishing
Progressions
• Supertonic often occurs in short embellishing
progressions in tonic expansion
▫ I – (ii – V7) – I or i – (iiø6/5 – V7) – i6
▫ 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
I
(ii V6/5) I
I6
ii7
V
c:
V
i
(iiø6/5 V4/2) i6 (V6)
i
iiø4/3
Supertonic Harmony in Embellishing
Progressions
• Consider your options when doing a chordal
Roman numerals analysis…things aren’t
always what they seem.
avoid
C:
I6
(viio6)
Not ii
I
I
(ii)
I6
The viio6 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.
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. ii6 – 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
ii6/5
(6 ii7)
V
I
Schumann: “***” (No.21) from Album for the Young Op.
68
• The orange Xs show
the voice exchange
between the right
and left hands

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