Supertonic and Subdominant
7th Chords

Homework: Workbook Chapter 12

OR

Write the following 3 short compositions: Submit a pdf of your Finale notation score and n mp3 of a piano rendering to musictheory2@gmail.com. You may also render your compositions using strings from the garritan library included with Finale.

1. In Major: 8 bars all half notes in 4 voices that contain the following useages:

1, 1-{VI or IV6} II65 where chordal 7th is prepared then properly resolved
2. 153 - II7 progression
3. Use of IV7 as intermediate harmony that does not proceed to V

2. In Minor: 8 bars all half notes in 4 voices that contain the following useages:

1. II65-V42 in minor
2. II43 -Cad64-V7 in minor
3. IV7-V7 in minor

3. In major or minor write the following syntax. Focus on harmonic rhythm. You must use 4 voice harmony at all times but may vary the rhythm beyond constant half notes. Only use two successive half notes once in this assignment. You may use quarter notes and whole notes as well.

1. I-vii6-I6-II65-cad64-V42-I6-V43-I-VI-II42-V65-I
2. Having written the above progression with an interesting harmonic rhythm, rewrite your soprano voice to enhance your melodic statement.

Adding a 7th to II and IV does not change their functions as intermediary harmonies. In fact, the dissonance created by the chordal 7th intensifies their motion to V. The resolution of that dissonance is similar to that of the V7: down and by step. Similar to the V7, the dissonance of the 7th often appears as a common tone prepared by the preceding chord or as a passing tone.

As we have seen with the V7, II7 (and inversions) and IV7 are often complete chords. When they are not, it is most common to omit the 5th and double the ^1 or ^3. (remember the ^1 identifies the chordal function, the ^3 identifies the quality)

Supertonic Seventh Chords

2.  II6/5
a. Much like the Cad64 where the dissonant ^1 resolves down to the L.T., the II65 presents ^1 as a dissonance which can not be the goal of motion but must also resolves to the LT. As well, given its tendancy to grow from a suspension, like the Cad64, it tends to fall on a relatively stronger beat than the V to which it resolves.

b. Since the 7th of the II65 contains a dissonance which strongly pulls us to the LT, it has a richer and somewhat more pronounced function as an intermediary harmony moving to V. As such, if you want to soften the cadential effect of this movement, you may want to consider a II6 instead of the II65.

c. H&VL presents a noteworthy discussion of the soprano voice in progressions containing II65. The most critical thing to watch here is the resolution of that dissonant chordal 7th. Since the ^1 (chordal 7th) resolves to the LT, you must watch carefully to avoid doubling the leading tone.

3. 1I7
a.    Just as II5 is less freqeuent than II6, so too is the use of root position II7 frequent yet less comman than II65 When leading to II7 or II65 from I or I6, for now, try to always prepare the ^1 from the I chord.

b. When leading from I5 to II7 one must be careful to avoid P5ths and P8s.

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4. Moving to V7
a. We have seen that when a dissonanc occurs, such as that in a V7 (and inversions) or II7 (and inversions) the dissonance has a tendancy to resolve down and by step. It is perfectly acceptable to have two consecutive dissonant chords so long as their respective dissonances resolve.

5. Metric Position
a.  The restrictions we saw governing the metrical placement of harmonies leading to V are somewhat more relaxed with the II7 and II65. Whereas the placement of the II7 (65) on a strong beat relative to V is very satisfying, it is common to see the II7 (65) in a metrically weak place. In such cases we hesitate to call the dissonance a suspension since the dissonance is not carried from a strong beat to a weak beat.

6. Moving to a Cad 6/4
a.  We have seen that the Cad64 is not really a I chord but rather an embelleshment of V. As such, the intermediary harmonies of II7 and II6/5 (that move AWAY from I and TOWARDS V) lead very satisfactorily to Cad 64.

b.  In such a case, the chordal 7th (^1) is a preparation of the 4th above the bass of the Cad64 and therefore further delays the resolution of the dissonant ^1.

c.  Since there is a tendancy for the Cad64 to be on a strong beat, we sometimes see the II7 (65) on a weak beat in these situations.

7. Vi-II6/5
a.  Any chord that can lead loically to II can also lead to II7 (+inversions) as long as the dissonance enters well
a.  One frequent example is I- VI-II65-V-I

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8. II7 Expanding Supertonic Harmony
a.  Just as II6 and II can be interchanged to expand intermediary harmonies so too can II6 (65) and II7
b.  Just as 16 can be used as a "PI6" between II and II6 or between II6 and II, so too can it be used between II7 and II65 or between II65 and II7

9. Noncadential uses of II7 and II65
a. Just as the V chord need not always be cadential, movements to V from II7 and II65 need not be cadential. Of particular mention is II65-V42 which share a common bass tone ^4 (remember: The V42 leads to I6 thus softening any cadential effect of the I chord.

10. Other inversions of II7
a. II4/2: Since this inversion carries the ^1 as its bass tone, it is particularly useful as an immediate expansion of tonic harmony. The resolution of the dissonant ^1 yields a V6 or V65.
b. II4/3: Since this inversion carries the ^6 as its bass tone, it is particularly useful as a predecessor to V(7) and Cad 64 as the ^6 will lead down to ^5

11. IV7
a. We have already seen that the intermediary harmonies II, II6 and IV are very closely related. As intermediary harmonies, they lead away from I and towards V. Similarly there is a close harmonic and functional connection between II7, II6/5 and IV7.

b. Since the II7 (65) contains the ^1 it can only be differentiated from the IV by the existense of its fundamental ^2. As well, the most distinguishing tone in the IV7 is the ^3, the chordal 7th. This tone is not present in any form of II we have seen. Thus the placement and function of the ^3 in the IV is critical.

c. Like the II7 and II65, the IV7 can appear on a weaker beat than the V to which it moves but it is more characteristic for it to occur on a relatively strong beat.

d. Because the progression IV7-V contains a dissonant ^3 that will lead to ^2 and a ^6 that under other circumstances would tend to move to ^5, the voice leading is somewhat anomalous as we must move by leap away from ^6. Moving from ^6 to ^5 would yield P5ths and moving from ^6 to LT ^7 could yield a doubled LT.

12. Inversions of IV7
a. IV65 is the most useful inversion of IV7. When leading to V or V7(inv) the dissonant ^3 of IV65 will lead down to ^2 as we have seen. Thus to avoid P5, the ^6 bass of the IV65 can not lead down to ^5 bass of V(7) and thus will most likely lead to V6 or V65

IN CLASS

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