TH0002.

13 Study Guide for Diatonic Four-Part Harmony &

Voice Leading, Part II
Pre-Dominant II and II& (Supertonic) chords

In major keys, the naturally occurring supertonic triad (ii) is minor, usually
occurring in root position (ii& ) or first inversion (ii^ ). The supertonic seventh
chord in major mode is a minor seventh chord (mm& ) and can be found in
root position and all three inversions: ii&, ii^5 , ii$3 , and ii$2 .

   
    
Major mode:

   

D: ii ii^ ii& ii^5 ii$3 ii$2

In minor keys, the naturally occurring supertonic triad is diminished, and

in most cases will appear in first inversion (ii•^ ). Adding a minor seventh to
a diminished triad will create a half-diminished seventh chord in the minor mode,
again occurring in root position and all three inversions: ii°&, ii°^5 , ii°$3 , and ii°$2 .
The inversions of ii& almost without exception use a suspension figure for the
preparation and resolution of the chordal seventh ($). On occasion a passing
motion may be employed.

Minor mode:

 
        
RARE RARE

  
d: ii• ii•^ ii°& ii°^5 ii°$3 ii°$2 ii

Resolving chordal seventh (!) with suspension figures in supertonic seventh chords.

     
S

           

  
       
S

       

f: i^ ii°^5 V i I ii$3 V I

Copyright © 2023 by Hayes Biggs, APNM/BMI.

2
Resolving chordal seventh (!) with
passing tone in supertonic seventh

    
       
P
 
chords.

      
    
                
S

      
S
G: I^ ii& V I b: i ii°$2 V^ i B¯: I^ ii^ ii& V I

Voice leading with supertonic chords:

1) ii-V and ii^ -V progressions, because their roots are a fifth apart, are diatonic transpositions

of V-I and V^ -I, so their voice leading is basically the same: double the bass (root) of the

root position ii and double the soprano in ii^ .

2) Be careful in the minor mode of doubling the bass in ii^, because of the danger of

// (parallel) 8ves and melodic augmented seconds because of moving from f^ to s& in the
same voice.

3) Be careful of open position when approaching ii or ii^ from I^ , as // fifths may result.

This is also true of root position I-ii. To avoid these in the case of I-ii, either move the
upper three voices in contrary motion to the bass or double the third in the ii chord.

4) In inversions of ii& — as is the case with inversions of V& — be sure that all four chord

tones are present (i.e., that the chord is complete), but if you are moving from ii& to V&,

one of those two chords must be incomplete, in order to avoid // fifths. When using
incomplete root position seventh chords, omit the fifth and double the root of V& or the ii&.

 
ii-V, V-I, same voice leading, root doubled ii^ -V^, ,, ,V^ -I, same voice leading, soprano doubled

       
 
    
      
  
B: ii V V I ii^ V V^ I
 3
Avoiding // 8ves,


melodic A2 Good Also good Also good Also good

    

 
 

  
       

           
            
Aug. 2nd, T

   
b: ii•^ V i ii•^ V i ii•^ V i ii•^ V i ii•^ V i

Avoiding // 5ths Better (doubling Moving upper voices in contrary

in open position the fifth instead motion to the bass or doubling the

 
        
of the root) third of the ii chord

    

         
// 5ths

    
B¯: I^ ii^ I^ ii^ I ii I ii

Avoiding // 5ths by using incomplete ii& and V& chords

   
Complete ii& , incomplete V& Incomplete ii& , complete V&

    

  

  


         
    
// 5ths

        

D: i^ ii& V& I i^ ii& V& I i^ ii& V& I

4

Cadential formulas that make use of Pre-dominant ii^ and ii^5 :

The ii^ and ii^5 have a pre-dominant function, as does root position IV,

and they share with IV the same bass note, $.


IV, ii^ , and ii^5 : Common tones

    

  
   

A: ii ii^ ii^5
Pre-dominant ii and ii& chords in Perfect Authentic Cadences (PAC)

 
     
# @ ! & !

     
@ @ @ !
      
# @ ! #

 
  
   

         




    
E: I^ ii^ V I e: i^ ii°^5 V i A¯: I^ ii^ V I

Pre-dominant ii and ii& chords in Imperfect Authentic Cadences (IAC)

RARE: Note that ii° is not

    
    
often used in root position.

             
    
 
                 
       
D: I^ ii V I d: i^ ii•^ V i E¯: I ii V^5 I I^ ii& V I

   
Pre-dominant ii and ii& chords in Half Cadences (HC)
        
Phrygian cadence

    

       


       
             
     
e¯: i ii°^5 V$2 i^ V^ i ii°$3 V f: i ii°$2 V^ i iv^ V
 5
In the following progression, the D in the apparent ii Direct motion from ii to I is
should be seen as an accented passing tone on the way very rare and generally should
to the leading tone of vii•^ , which is the “real” chord here. be avoided in this style.

       
  
 
    
   
F: I^ (“ii””
) vii•^ I I ii I^

Uses of the ^4 chord

In most contexts this chord is considered to be dissonant, and often this chord is used in
cadential contexts as an embellishment of V, not as an inversion of I. The ^4 chord in this instance,

rather than being independent of V in fact truly is part of it, as it requires resolution to %3 for

its fulfillment.

The Cadential ^4 (also known as the Accented ^4 ) has its origins in the suspension dissonance:

   
Cadential ^4 as embellishment of suspension cadence.

       
 

         
S

   
B¯: IV V$ - # I IV V^4 - %3 I
-
Avoiding // 5ths by employing the Cadential ^4 :

        
% $ # @ !

    
    


       



   
I^ IV ( IV& ) V I I^ IV V^4 Mm %3 I
6

      
Preceding Cadential ^4 with Pre-dominant ii and ii^ instead of IV:

          
        
        
   

A: I^ ii V*6¢ -- &5£ I g: i^ ii•^ V^4 %x i
-
Voice leading with Cadential ^4 : accented

  
      
passing APT masked by figuration

       
susp. tone (APT)

        
         

G¯: IV V^4 -- %3 ii^ V^4 -- %3 ii^ V^4 -- %3
Doubling in Cadential ^4 :

Since it is the root of the main harmony (V) to which ^4 resolves, the bass note is the best to double.

In strict four-part chorale style, the 6th above the bass may sometimes be doubled, to avoid //
fifths. The 4th above the bass should not be doubled, as it wants to move down to a 3rd above
the bass.
Don't even “Cadential” ^4 moving to V$2 :

 
think


To avoid // 5ths between ii^ and Cadential ^4 :

 
about it. This avoids the cadence.

             
    

      
Double the

      
X X
  
6th instead:

  
E: V^4 Mm %3 ii^ V*6¢ Mmµ *5£ ii^ V^6¢ Mmµ *5£ V^4¢ Mmµ *5£ ^4 $2 I^

The Cadential ^4 resolves easily to V& . In most cases the upper three voices descend by step.

It also is possible for the 6th above the bass to move up stepwise to the 7th. Lowell Mason’s
hymn tune Olivet features an unusual resolution of the Cadential ^4 to V& .

        

      
from Lowell Mason, Olivet

       
         
(tune briefly tonicizes B≤)


   
            
 
  
    
     


   

 
V*6¢ Mmµ &5£ V*6¢ Mmµ &5∑ ^6¢ Mmµ &5£ V m V& V^5 I V IV V*6¢ Mmµ &5¥ I
A¯: g≥: A¯: E¯: B¯:
Rhythm in Cadential ^4 : 7

In order for this chord to achieve maximum effect — that of a strong beat dissonance resolving
on a weak beat, like the suspension dissonance from which it is derived — it must be placed in a
strong metric position. There are various options, which vary with the meter: they can be placed
on beat 1 in a duple, triple, or quadruple meter, and 1 or 3 in a quadruple meter; in triple meter
they sometimes can occur on a second beat and resolve on the third beat.

In cases where a ^4 resolves within a divided beat, that ^4 will occur on a strong part of the

beat, and its resolution will appear on the weaker portion.

The examples given are by no means exhaustive. All except the one marked NO! are considered
to be good possibilities.

   
                  

           
          
       
D¯: ii^ V^4 Mm %3 I ii^ V^4 Mm %3 I ii^ V^4 Mm %3 I

                
        
NO!

     

            
                 

  
ii^ V*6¢ Mmµ &5£ I ii^ V^4 Mm %3 ii^ V^4 Mm %3 V*6¢ Mmµ &5≈ I

^4 chords that are merely “apparent”

     
Not ^4 Not ^4 Not ^4 Not ^4 Better understood as:
         
       

           
D: I I
8
Non-cadential (embellishing) ^4 chords:

Pedal ^4 chords

(Most of these do not have a Roman numeral assigned to the ^4 ):


Pedal ^4 (neighboring), prolonging I: Pedal ^4 (neighboring), prolonging V:
      
     
       
D: I ( ^4 ) I V ( ^4 ) V

Pedal ^4 (with passing motion), prolonging V and I

             

   
            
Prolonging V Prolonging I

    
F: I V ( ^4 V& ^4 V) I ( ^4 I ^4 I)

The Passing ^4 chord:

 
               

         
              
 
A: I IV^ ^4 ii^5 I^ vii•^ I^ ii^ V*6¢ Mmµ M5£ Mmµ &mµ I

The Arpeggiating ^4 chord:

        

                     
from Wolfgang Amadeus Mozart, Serenade in B≤, Gran Partita, K. 361, 3. Adagio

                 


    
   
Adagio


             
     

           
   

        
          
       
I I (I^ I^4 I) V^ (V^4 V V^ ) vi ( I I6 m ) ii^5 (ii) V& m I
III and VI chords 9

The functions of these chords are not as well defined as those of I, IV, and V.
Sometimes they act as “pre-pre-dominant” chords, acting as a bridge between I and
IV, for example. In certain cases they can substitute for I, as in the deceptive cadence.
and in other instances the first inversion forms of VI and III can be “apparent,” while
truly functioning as I or V.

Old Hundredth, the hymn tune we looked at in class, uses iii and vi frequently. Notice
that when vi i mmediately follows V, the chordal third of vi (!) is doubled. We will see
this later in deceptive cadences.
Old Hundredth, melody from Pseaumes octante trois David, alt.;


harmonization after Louis Bourgeois (1510?-1561?)

         






  
 

               

G: I m V vi iii vi V I m m m V vi

 
  
    
      
  

             
    
IV I V vi V I ii I^ IV vii•^ vi V^
 
    

  


 


        

I vii•& - ^ /V V IV V*6¢ Mmµ M5£ Mmµ &mµ I

        
vi acting as a bridge between I and IV

         


    
           

B¯: I (vi) IV I (vi ) IV i ( VI ) ii•^
10
Typical Progression employing VI

    
L‘italiana in Algeri, Overture Gioachino Rossini

    
 

                                   

 


Reduction of above:

    

    
  
I (vi) ii^ V I

Deceptive Cadences
(NOTE: to avoid // 5ths and 8ves, double the third of the vi (VI) chord when approaching it from V.)
Avoid ^ in soprano in vi
Doubled third in vi (good) Doubled third in vi (good) chord in deceptive cadence.

      
         
Í& !

   
@ ! & ^

   
     
                   
X

   
B: I^ ii^5 V vi b: I^ ii^ V*6¢ Mmµ &5£ vi B: I^ IV V vi

Good (open Good (close

Avoid // 5ths and 8ves position V to position V to
by doubling the third


VI, doubled 3rd open position

     
Avoid Aug. 2nds

  
in VI. VI, doubled 3rd)


in soprano, tenor)

    

          
X Aug. 2nd, T

 
X
 
b: V VI V VI V VI V VI
 11
Alternative approach in soprano to a deceptive cadence

     
    
$ # @ !

% % #
  
      
    

b: i V VI iv V*6¢ Mmµ M5≈ I

Apparent “First inversion” VI and III substituting for I and V

These are chords that look like VI or III chords, but in context they seem to function
as I or V

  
      

 
First chord appears to be vi^ but functions as I

   
First chord appears to be iii^ but functions as V


D¯: I6 - 5 V6 - 5
 
    


       
Second chord appears to be VI^ but functions as i Second chord appears to be III+^ but functions as V

c≥: i 5 - 6 V5 - 6

J. S. Bach: „Vater unser im Himmelreich” (Despite the key signature, this is in c minor;
the key signature is a holdover from Dorian mode.)

The apparent III+^ passes to a V& before ending with a deceptive cadence.

       

          

c: I^ iv V6 - 5 VI
12

             
     

         
       
C: “ V” I c: “V ” i “ V& ” i C: “ V& ” I


      
*

           

         
          
       

A¯: V I6 - 5 V$3 V V m I
7td -[' 6td
*Not really vii°& moving to V^5 , but V^5 with 7-6 suspension.