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8-2  PART WRITING THE SUPERTONIC TRIAD

5. Part Writing I - ii and i - iio.

a. Move the three upper voices of the tonic triad to the nearest chord tone of the supertonic triad in contrary motion to the bass voice (Figure 8-12).

Figure 8-12. Part writing I ii and i - iio

b. The following is the scale pattern for connecting the I chord to the ii chord and the i chord to the iio chord.

NOTE: Failure to write contrary motion causes parallel fifths or octaves.

SELF REVIEW EXERCISE 8-2

Part write the following tonic to supertonic progressions (Figure 8-13).

Figure 8-13. Part Writing I - ii and i - iio

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6. Part Writing IV-ii6

a. Hold the two common tones and move the other voices stepwise (Figure 8-14).

Figure 8-14. IV - ii6

b. The following is the scale pattern for connecting the IV chord to the ii6 chord.

SELF REVIEW EXERCISE 8-3

Part write the following subdominant to supertonic progressions (Figure 8-15).

Figure 8-15. Part Writing IV - ii6 and iv - iio6

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7. Part Writing ii - V

a. When the melody moves by step, keep the common tone and move the other voices stepwise (Figure 8-16).

Figure 8-16. Stepwise Melody, ii - V

The following is the scale pattern for connecting the ii chord to the V chord.

b. When there is a leap in the melody, move the three upper voices in similar motion to the nearest chord tones of the dominant triad (Figure 8-17).

Figure 8-17. Leap in Melody, ii - V

The following is the scale pattern for connecting the ii chord to the V chord.

8. Part Writing ii6 - V and iio6 V.

a. Connect the two voices, ii6 V, moving from the doubled note first, using contrary or oblique motion, if possible. Next, connect the remaining voices to the nearest chord tone (Figure 8-18).

Figure 8-18. ii6 - V and iio6 V

NOTE: You must use the same chromatic symbol of the key for the chord symbol analysis. If you use a to raise the third of the V, then you must use a in the chord symbol (V ).

b. The following is the scale pattern for connecting the ii6 chord to the V chord and the iio6 chord to the V chord.

NOTE: In minor, avoid writing the augmented second between the lowered sixth degree (A) and the raised seventh degree (B) of the harmonic minor key.

SELF REVIEW EXERCISE 8-4

Part write the following supertonic to dominant progressions (Figure 8-19).

Figure 8-19. Part Writing ii - V and iio6 - V#

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9. Part Writing ii-I

a. The supertonic triad (ii) connects to the tonic six-four triad when the bass note leaps up a fourth. The upper three voices move stepwise to the nearest chord tone of the tonic six-four chord (Figure 8-20).

Figure 8-20. ii-I

b. The following is the scale pattern for connecting the ii chord to the I chord.

SELF REVIEW EXERCISE 8-5

Part write the following supertonic to tonic six-four progressions (Figure 8-21).

Figure 8-21. Part Writing ii-I 6 4

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10. Part Writing ii6 - viio6

a. The supertonic triad in first inversion (ii6) connects to the leading tone triad in first inversion (viio6) with two common tones. The other voice moves in stepwise motion (Figure 8-22).

Figure 8-22. ii6 - viio6

b. The following is the scale pattern for connecting the ii6 chord to the viio6 chord.

SELF REVIEW EXERCISE 8-6

Part write the following supertonic to subtonic progressions (Figure 8-23).

Figure 8-23. Part Writing ii6 - viio6

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David L. Heiserman, Editor

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Revised: June 06, 2015