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In music, the supertonic is the second degree () of a 
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 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, ii7 (in C: D–F–A–C). One variant of the supertonic seventh chord is the supertonic diminished seventh Kitson, C. H. (2006). ''Elementary Harmony'', p. 43. . 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 (AM).
diatonic scale
In music theory, a diatonic scale is any heptatonic scale that includes five whole steps (whole tones) and two half steps (semitones) in each octave, in which the two half steps are separated from each other by either two or three whole st ...
, one whole step above the tonic. In the movable do solfège system, the supertonic note is sung as ''re''.
The triad
Triad or triade may refer to:
* a group of three
Businesses and organisations
* Triad (American fraternities), certain historic groupings of seminal college fraternities in North America
* Triad (organized crime), a Chinese transnational orga ...
built on the supertonic note is called the supertonic chord. In Roman numeral analysis
In music theory, Roman numeral analysis is a type of musical analysis in which chords are represented by Roman numerals (I, II, III, IV, …). In some cases, Roman numerals denote scale degrees themselves. More commonly, however, they represent ...
, the supertonic chord is typically symbolized by the Roman numeral "ii" in a major key, indicating that the chord is a minor chord
In music theory, a minor chord is a chord that has a root, a minor third, and a perfect fifth. When a chord comprises only these three notes, it is called a minor triad. For example, the minor triad built on C, called a C minor triad, has pi ...
(in C: D–F–A). In a minor key, it is indicated by "ii" if it is built on the a natural minor scale, indicating that the chord is a diminished chord
In music theory, a diminished triad (also known as the minor flatted fifth) is a triad consisting of two minor thirds above the root. It is a minor triad with a lowered ( flattened) fifth. When using chord symbols, it may be indicated by the ...
(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
In music theory, the bass note of a chord or sonority is the lowest note played or notated. If there are multiple voices it is the note played or notated in the lowest voice (the note furthest in the bass.)
Three situations are possible:
# ...
.
These chords may also appear as seventh chords: in major, as ii7 (in C: D–F–A–C), while in minor as ii7 (in C: D–F–A–C) or rarely ii7. They are the second-most-common form of nondominant seventh chords.
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 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, ii7 (in C: D–F–A–C). One variant of the supertonic seventh chord is the supertonic diminished seventh Kitson, C. H. (2006). ''Elementary Harmony'', p. 43. . 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 (AM).
References
{{degrees Diatonic functions 2