10

The Supertonic Triad

I. The supertonic triad is a minor triad in the major mode and a diminished triad (indicated by the symbol ) in
the minor mode. It is found more often in first inversion than in root position, especially in the minor mode.
II. Function. The supertonic triad will generally function as a dominant preparation, a progression analogous to
IVV. The supertonic triad may be understood as a quasi dominant to the dominant, the descending fifth relationship corresponding to that from dominant to tonic. See the circle of fifths, Part I, Unit 5.
III. Doubling.
A. ii in root position: Doubled root is preferable, and third or fifth is next.
B. ii in first inversion: Doubled third is preferable, and root or fifth is next.
C. ii and ii6: Doubled third is preferable; the root is doubled occasionally, but never the fifth.
IV. The supertonic triad may be preceded by tonic or subdominant chords.
A. When moving from tonic to supertonic, both in root position, upper voices generally move contrary to the
bass, but the third of the I may move to the third of the ii.

B. When moving from subdominant to supertonic, both in root position, hold the common tones.

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C. When either chord is in inversion, move in the smoothest way.

V. Connection of the supertonic triad with V and V7.

A. 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 ii may remain stationary, becoming the seventh of V7.
4. The fifth of ii in the minor mode is a tendency tone, usually resolving downward to the root of V.

5.

The common tone connection can be used only when the quality of the ii is minor. A doubled root
allows one tone to leap to the seventh of the V7 or remain stationary.

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B. Supertonic triad in first inversion.

1. Voice leading is analogous to the IVV progression. Note the doubling; here again, a doubled root may
leap or remain stationary.

2.

Common tone connection in major mode.

3.

In the common tone connection in minor mode, note that the fifth of the supertonic triad must resolve
down to avoid the melodic augmented second.

VI. The seventh chord built on the supertonic has the same function as the supertonic triad. This chord will be
fully discussed in Part II, Unit 17.

Analysis
Analyze the examples in Unit 7 of Music for Analysis. Bring other examples from the literature into class.

Exercises
1.

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Harmonize the following sopranos in both keyboard and choral voicing:

a. Use ii in root position where indicated by the asterisk.

DIATONIC MATERIALS

b.

2.

Use ii in first inversion where indicated by the asterisk.

Realize the following figured basses, employing nonharmonic tones where appropriate. Strive for a musical melody line, and analyze all work completely. Some of these may be worked out in two- or three-voice
contrapuntal texture.
a.

b.

c.

d.

3.

Harmonize the following melodies. Work for a musical bass line, and analyze all work completely. Refer
to Part V, Units 8 and 11, for discussions of chord functions and harmonizing a melody.

a.

b.

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c.

d.

4.

Complete the following in the given texture:

5.

Complete the following contrapuntal exercises:

a.

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DIATONIC MATERIALS

b.

6.

7.

The following patterns may be used for composition or improvisation:

a.

B major:

b.

E minor:

Compose a piece using the following phrase design: a

a!

a!

*mm. = measures.

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