Part I

Approaching ii and ii7

ii7-examples 


       Model 1                    Model 2

       G  -  F  (s)              G  -  F (s)
       E  -  D  (s)              E  -  F (s)
       C  -  A  (sk)             C  -  A (sk)
----  ---------                  ---------
Bass:  C  -  D                   C  -  D
C +:   I  -  ii                  I  -  ii



      Model 3                 Model 4            Model 5

       G  -  F  (s)          G  -  F  (s)        G  -  F     (s)
       E  -  D  (s)          E  -  F  (s)        E  -  D - C (s)
       C  -  C  (ct)         C  -  C  (ct)       C  -  A     (sk)
----  ---------             ---------          ---------
Bass:  C  -  D               C  -  D             C  -  D
C +:   I  -  ii7             I  -  ii7           I  -  ii8-7



       Model 6                    Model 7

       C  -  D  (s)              C  -  C (ct)
       A  -  A  (ct)             A  -  A (ct)
       F  -  F  (ct)             F  -  F (ct)
----  ---------                  ---------
Bass:  F  -  D                   F  -  D
C +:  IV  -  ii                 IV  -  ii7

ii and ii7 are commonly approached by I, IV and vi. We will save vi until later.

Just like IV-V, I-ii(7) is a potential minefield of parallel fifths and octaves. These parallels can easily be avoided by following this simple guideline: when the bass moves by step, move the upper voices, by common tone, or in contrary motion to the bass. Consider this as a guideline, rather than a hard rule. Models 2 and 4 above, for example, show how alternate doublings can also be used to avoid parallels.