THE SUPERTONIC TRIAD
Appear as a minor triad in the major mode and a diminished triad in
minor
The diminished triad is indicated by a small ( ° ) placed next to the
roman numeral
WHAT’S YOUR FUNCTION?
Generally functions as a dominant preparation (in the predominant
area)
May be considered as a dominant to the dominant
(consult the Circle of Fifths for further explanation)
DOUBLING WITH THE SUPERTONIC
A. ii in root position – preferential order: root, third, then fifth
B. ii in first inversion – preferential order: third, root, then fifth
C. ii ° and ii °6 – double the third; root is doubled occasionally
NEVER double the fifth!
VOICE LEADING WITH THE SUPERTONIC
The Supertonic may be preceded by tonic or subdominant chords
Moving from Tonic – Supertonic, both
in root position:
- upper voices move contrary
to the bass
- the third of I may move to
third of ii
Moving from Subdom. – supertonic,
both in root position:
- maintain the common tones
VOICE LEADING WITH THE SUPERTONIC
When either chord is in inversion, move in the smoothest way.
CONNECTING SUPERTONIC TO DOMINANT
Supertonic triad in root position:
1. the bass moves from the root of ii to the root of V
2. upper voices move in contrary motion to the nearest chord tone
3. the third of the ii may remain stationary, becoming the seventh of V 7
4. the fifth of iio in the minor mode is a tendency tone, usually
resolving downward to the root of V
COMMON TONE CONNECTION
Can be used only when the quality of the ii is minor – never
diminished
A doubled root allows one tone to leap to the seventh of the V7 or
remain stationary
SUPERTONIC TRIAD IN FIRST INVERSION
Voice leading is nearly the same to the IV – V progression
Recall: The three upper voices move in contrary motion to the bass
Note the doubling; the doubled root may leap or remain stationary
COMMON TONE CONNECTION: MAJOR
COMMON TONE CONNECTION: MINOR
Note that the fifth of the supertonic triad must resolve down to avoid a
melodic augmented second!
DOUBLING / VOICE LEADING RECAP:
A. ii in root position – preferential order: root, third, then fifth
B. ii in first inversion – preferential order: third, root, then fifth
C. ii ° and ii °6 – double the third; root is doubled occasionally
NEVER double the fifth!
Supertonic triad in root position:
1. the bass moves from the root of ii to the root of V
2. upper voices move in contrary motion to the nearest chord tone
3. the third of the ii may remain stationary, becoming the seventh of V7
4. the fifth of iio in the minor mode is a tendency tone, usually
resolving downward to the root of V
First Inversion voice leading is nearly the same to the IV – V progression
Recall: The three upper voices move in contrary motion to the bass