For the 2020 Diana Ross remix album, see Supertonic: Mixes.
The scale and supertonic triad in C major (top) and C minor (bottom).
In music, the supertonic is the second degree () of a diatonic scale, one whole step above the tonic.[1] In the movable do solfège system, the supertonic note is sung as re.
The triad built on the supertonic note is called the supertonic chord. In Roman numeral analysis, the supertonic chord is typically symbolized by the Roman numeral "ii" in a major key, indicating that the chord is a minor chord (in C: D–F–A). In a minor key, it is indicated by "iio" if it is built on the a natural minor scale, indicating that the chord is a diminished chord (in C: D–F–A♭). Because it is a diminished chord, it usually appears in first inversion (iio6) so that no note dissonates with the bass note.
These chords may also appear as seventh chords: in major, as ii7 (in C: D–F–A–C), while in minor as iiø7 (in C: D–F–A♭–C) or rarely ii7. They are the second-most-common form of nondominant seventh chords.[2]
ii7 (first and third chords)
iiø 7 (second chord)
Supertonic (ii) in ii–V–I progression on C, found at the end of the circle progression
The supertonic chord normally functions as a predominant chord, a chord that naturally resolves to chord with dominant function. The supertonic chord lies a fifth above the V chord. Descending fifths are a strong basis for harmonic motion (see circle of fifths). The supertonic is one of the strongest predominants and approaches the V chord from above by descending fifth.
In C major: A Neapolitan sixth chord in first inversion contains an interval of a sixth between F and D♭Common-tone diminished seventh chord resolving to I 6
In major or minor, the major chord built on the lowered supertonic (♭) is called a Neapolitan chord (in C: D♭–F–A♭), notated as N6 or ♭II6, usually used in first inversion. The supertonic may be raised as part of the common-tone diminished seventh chord, ♯iio7 (in C: D♯–F♯–A–C). One variant of the supertonic seventh chord is the supertonic diminished seventh[3] with the raised supertonic, which equals the lowered third through enharmonic equivalence (in C: D♯=E♭).
The term supertonic may also refer to a relationship of musical keys. For example, relative to the key of C major, the key of D major (or D minor) is the supertonic.
In Riemannian theory, the supertonic is considered the subdominant parallel: Sp/T in major though sP/T in minor (A♭M).
^Benward & Saker (2003). Music: In Theory and Practice, Vol. I, p. 32. Seventh edition. ISBN 978-0-07-294262-0. "One step above the tonic."
^Kostka, Stefan; Payne, Dorothy (2004). Tonal Harmony (5th ed.). Boston: McGraw-Hill. p. 216. ISBN 0072852607. OCLC 51613969.
^Kitson, C. H. (2006). Elementary Harmony, p. 43. ISBN 1-4067-9372-8.
as re. The triad built on the supertonic note is called the supertonic chord. In Roman numeral analysis, the supertonic chord is typically symbolized...
in ragtime music. The secondary supertonic chord, or secondary second, is a secondary chord that is on the supertonic scale degree. Rather than tonicizing...
dominant seventh may work as part of a circle progression, preceded by the supertonic chord, ii. Importantly, non-diatonic dominant seventh chords (sometimes...
is consequently called the supertonic diminished triad. Like the supertonic minor triad found in a major key, the supertonic diminished triad has a predominant...
"Neapolitan") is a major chord built on the lowered (flatted) second (supertonic) scale degree. In Schenkerian analysis, it is known as a Phrygian II,...
| Dm7 G7 | One variant of the supertonic seventh chord is the supertonic diminished seventh with the raised supertonic, which is enharmonically equivalent...
chord progression moves from tonic I, to the submediant (vi), to the supertonic ii, to the dominant V7. Chromatic submediants, like chromatic mediants...
minor scales are The scale-degree chords of F minor are: Tonic – F minor Supertonic – G diminished Mediant – A-flat major Subdominant – B-flat minor Dominant...
horn also often sounds an octave and a fifth lower.) Tonic – F major Supertonic – G minor Mediant – A minor Subdominant – B-flat major Dominant – C major...
degrees in different diatonic scales: In a major scale, it is on the supertonic, mediant, and submediant degrees (, , and ). This is why the ii in a ii–V–I...
dominant chord. Examples of predominant chords are the subdominant (IV, iv), supertonic (ii, ii°), Neapolitan sixth and German sixth. Other examples are the secondary...
necessary. The A harmonic minor and melodic minor scales are: Tonic – A minor Supertonic – B diminished Mediant – C major Subdominant – D minor Dominant – E minor...
B major. The scale degrees of B major are as follows: Tonic – B major Supertonic – C-sharp minor Mediant – D-sharp minor Subdominant – E major Dominant...
the only key where the Neapolitan sixth chord on (i.e. the flattened supertonic) requires both a flat and a natural accidental. The A major scale is:...
related keys (the dominant, supertonic, and submediant). Given a major key tonic (I), the related keys are: ii (supertonic, the relative minor of the subdominant)...
(Major/Minor) ii / iio iii / III IV / iv V / v vi / VI viio / VII Tonic Supertonic Sp Mediant Dp, Tkp, tP, [D](Sp) Subdominant Dominant Submediant Tp, sP...
necessary. The C harmonic minor and melodic minor scales are: Tonic – C minor Supertonic – D diminished Mediant – E-flat major Subdominant – F minor Dominant –...
second clash between the tonic and the leading-tone or the tonic and supertonic. An example is shown below. Another "clash cadence", the English cadence...
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) of a diatonic scale, one whole step above the tonic.[1] In the movable do solfège system, the supertonic note is sung as re.
