Supertonic

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 "ii^o" 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 (ii^o6) 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 ii^ø7 (in C: D–F–A♭–C) or rarely ii⁷. They are the second-most-common form of nondominant seventh chords.^[2]


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, ♯ii^o7 (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).