9-2  PART WRITING THE SUBMEDIANT TRIAD

5. Part Writing vi-ii. There are three common ways to part write the submediant triad to the supertonic triad.

a. Keep the common tone in the same voice and move the other voices stepwise (Figure 9-12).

Figure 9-12. Common Tone/Stepwise Motion, vi – ii

The following is the scale pattern for connecting the vi chord to the ii chord when you keep the common tone.

b. Move all three upper voices in similar motion to nearest chord tone (Figure 9-13).

Figure 9-13. Similar Motion, vi-ii

The following is the scale pattern for connecting the vi chord to the ii chord when you move in similar motion.

c. Move the third up a perfect fourth or down a perfect fifth to the third of the supertonic triad (ii), keep the common tone, and move the other voice stepwise (Figure 9-14).

Figure 9-14. Leap by Perfect Fifth, vi-ii

The following is the scale pattern for connecting the vi chord to the ii chord when the third leaps.

NOTE: This part writing is used to change from open to close or from close to open position.

SELF REVIEW EXERCISE 9-2

Write the missing voices in the following progressions (Figure 9-15).

Figure 9-15. Part Writing vi-ii

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6. Part writing the submediant triad is similar in both Major and minor keys.

a. Part writing vi-ii6. Keep the common tone, then move the other voices stepwise to the nearest chord tone (Figure 9-16).

Figure 9-16. Oblique Motion Major Key, vi-ii6

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

b. Part writing VI - iio6. Keep the common tone, and then move the other voices stepwise to the nearest chord tone (Figure 9-17).

Figure 9-17. Oblique Motion Minor Key, VI - iio6

The following is the scale pattern for connecting the VI chord to the iio6 chord.

NOTE: When using similar motion, avoid writing parallel fifths and parallel octaves (Figure 9-18).

Figure 9-18. Similar Motion, VI - iio6

The following is the scale pattern for connecting the VI chord to the iio6 chord when using similar motion.

SELF REVIEW EXERCISE 9-3

Write the missing voices in the following progressions (Figure 9-19).

Figure 9-19. Part Writing VI - iio6 and vi - ii6

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7. Part Writing vi-V

a. When the bass voice moves in stepwise motion, move the upper three voices in contrary motion (Figure 9-20).

Figure 9-20. Contrary Motion, vi-V

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

NOTE: Failure to write the upper three voices in contrary motion causes parallel fifths, parallel octaves, or a melodic augmented second to occur (Figure 9-21).

Figure 9-21. Common Errors, vi – V

8. Part Writing vi-IV.

a. Hold the two common tones and move the other voice stepwise (Figure 9-22).

Figure 9-22. Common Tones/Stepwise Motion, vi – IV

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

SELF REVIEW EXERCISE 9-4

Write the missing voices in the following progressions (Figure 9-23).

Figure 9-23. Part Writing vi-IV

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9. Part Writing vi – iii or VI – III

a. Keep the common tone in the same voice and move the other voices stepwise (Figure 9-24).

Figure 9-24. Common Tone/Stepwise Motion, vi – iii and VI – III

b. The following is the scale pattern for connecting the vi chord to the iii chord and the VI chord to the III chord.

NOTE: The submediant to mediant progression is normally found only when followed by the subdominant triad (vi – iii – IV).

10. Part Writing vi-I.

a. Keep the two common tones and move the other voice stepwise (Figure 9-25).

Figure 9-25. Two Common Tones/Stepwise Motion, vi-I

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

The deceptive cadence occurs when a phrase approaches a perfect cadence (V – I), but the expected final melody note is harmonized with an unexpected harmony (a substitute chord). The submediant triad is the most common substitute for the tonic triad. The third of the submediant triad is doubled. The deceptive cadence is followed by a chord that would normally follow the submediant triad. If the deceptive cadence occurs near the end of a composition, it is usually followed by an authentic cadence (Figure 9 – 26).

Figure 9-26. Deceptive Cadence