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.

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.

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 ii^o6 – 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.

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.

10. Part Writing ii⁶ - vii^o6

a. The supertonic triad in first inversion (ii⁶) connects to the leading tone triad in first inversion (vii^o6) with two common tones. The other voice moves in stepwise motion (Figure 8-22).

Figure 8-22. ii⁶ - vii^o6

b. The following is the scale pattern for connecting the ii⁶ chord to the vii^o6 chord.

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