| A | B |
|---|
| II^7 | II7 and its inversions function as predominants (the presence of a dissonant 7th, moreover, intensifies their tendency towards the dominant)= ii^[6/5] is the most common form, followed by ii^7 and ii^[4/2] (ii^[4/3] is RARE) |
| II^7: Major Keys | The harmony is a minor/minor seventh chord and is denoted with a lower case ii followed by the figured bass symbol indicating the inversion |
| II^7: Minor Keys | The harmony is a half-diminished seventh chord, and thus, also requires a "ø" between the Roman numeral and figured bass symbols |
| Supertonic Seventh Chords | Generally occur in metrically strong positions relative to the dominant to which they move |
| II^7: Rules for Usage | The 7th of the chord MUST resolve DOWN by STEP= The 7th of the chord must be prepared (can be done in 2 ways: (a) COMMON TONE PREPARATION: 7th approached by same note in same voice [this is most common]; (b) 7th enters as a descending passing tone in an expanded II or IV) |
| ii^[6/5] and ii^[ø6/5] | Very frequent= Must be complete= Soprano Progressions: 2-2-1 works very well (especially if you have a CRUNCHY 2nd between the soprano and alto= This soprano works well whether you're moving to V or passing through V^[4/2] to I^6)= For sopranos that move from 2-7, use ii^6= 1-7-1 also works well= 6-5-5 is less frequent= You should avoid 4 since it results in an incomplete inversion |
| ii^7 and ii^ø7 | Less frequent= In minor keys, it is common to omit the 5th and double the bass or 5th, especially when moving to V7= In minor, omitting the 5th is LESS common since it removes the characteristic diminished 5th= Soprano Progressions: 1-1-7-1 and 3-4-4-3 |
| ii^[4/2] and ii^[ø4/2] | I-ii^[4/2]-V^6-I is a common opening progression= Soprano Progressions: 3-4-4-3 and 1-2-2-3 |
