Part I

ii7

ii7-examples 


      Model 1                    Model 2        Model 3

       C  -  B  (a)          C  -  B  (a)        C  -  B  (a)
       A  -  G  (s)          F  -  G  (s)        F  -  G  (s)
       F  -  D  (sk)         D  -  D  (ct)       F  -  D  (sk)
----  ---------             ---------          ---------
Bass:  D  -  G               D  -  G             D  -  G
C +: ii7  -  V             ii7  -  V           ii7  -  V



      Model 4                    Model 5        Model 6

       C  -  B  (a)          C  -  B  (a)        C  -  B  (a)
       A  -  G  (s)          F  -  G  (s)        F  -  G  (s)
       F  -  D  (sk)         D  -  D  (ct)       F  -  D  (sk)
----  ---------             ---------          ---------
Bass:  D  -  G               D  -  G             D  -  G
C +: ii7  -  V             ii7  -  V           ii7  -  V



      Model 7*                   Model 8        Model 9

       C  -  C - B           C  -  C - B        C  -  C - B
       A  -  G - F           F  -  G - F        F  -  E - D
       F  -  E - D           D  -  E - D        F  -  G - F
----  ------------          ------------       ------------
Bass:  D  -  G               D  -  G            D  -  G
             8 - 7                 8 - 7              8 - 7
C +:  ii7 - V6 - 5          ii7 - V6 - 5       ii7 - V6 - 5
             4 - 3                 4 - 3              4 - 3

*Models 7-9 show the cadential six-four chords moving to V7, though they can stop on V if preferred.

ii7 is used in the same way as ii. It has three different spellings:

  1. all pitches are present, i.e. complete
  2. double the root, omit the fifth
  3. or double the third omit the fifth

For example, in C+, ii7 can be spelled as :

  • DFAC or
  • DFDC or
  • DFFC

The seventh of the chord is an active tone which should resolve downwards by step.

Note in the examples, that a complete ii7 chord naturally moves to an incomplete V7, and visa versa.

If ii7 moves to a cadential six-four chord, the resolution of its seventh is held back until the resolution of the appoggiaturas in the cadential six-four chord