Predominant Function

You’ll be able to

Identify predominant chords (ii, IV, and their sevenths) and their role
Voice-lead a predominant smoothly into the dominant
Recognize the ii–V–I and IV–V–I progressions

What predominants do

A predominant chord’s job is to prepare the dominant — to intensify the drive toward V. The two core predominants are ii and IV. Both contain scale degree 4 (fa), which typically steps down to 3 (mi) or connects into the dominant’s tension. Predominants sit squarely in the functional chain: tonic → predominant → dominant → tonic. Once you reach a predominant, the natural next move is V, not back toward tonic.

ii, ii6, and the supertonic seventh

The supertonic chord ii is an especially strong predominant. It is often used in first inversion (ii6), placing scale degree 4 in the bass for a smooth approach to V. Adding a seventh makes ii7 (in C major, D–F–A–C — a minor seventh chord), and its first inversion ii6/5 is one of the most common predominants in the repertoire. Because ii’s root lies a fifth above V, ii → V is a strong descending-fifth root motion, mirroring V → I.

Voice-leading the predominant to the dominant

Moving a predominant to V cleanly requires attention. From IV → V the roots move up a step, so upper voices should move down in contrary motion to the bass to avoid parallel fifths and octaves. From ii → V a common tone (scale degree 2) can be held, easing the connection. If the predominant is a seventh chord, its seventh resolves down by step into the dominant. Approaching V with the predominant’s scale degree 4 stepping toward the leading tone’s neighbor keeps the line smooth.

Predominant templates

ii(6) or IV → V(7) → I · ii7 in C = D–F–A–C (2–4–6–1)

Predominants (ii, IV, and their sevenths) prepare the dominant. ii → V is a strong descending-fifth root motion; IV → V needs contrary motion to avoid parallels.

Worked example

In C major, spell a ii–V–I progression with chord qualities and show how the leading tone and any seventh resolve.

1.ii is built on the second degree D: D–F–A, a minor triad (the supertonic).
2.V is built on the fifth degree G: G–B–D, a major triad; its third B is the leading tone.
3.I is built on the tonic C: C–E–G, a major triad.
4.Voice-leading: the leading tone B rises to C in the I chord; the common tone D can carry from ii into V; if V is a seventh (G7 adds F), that F resolves down to E.

Answer: In C major, ii–V–I = D minor (D–F–A) → G major (G–B–D) → C major (C–E–G). The leading tone B resolves up to C, and a dominant seventh F would resolve down to E.

Checkpoint

In C major, which chord functions as a predominant that prepares the dominant?

Tip

Favor ii6 (or ii6/5) as your predominant when writing toward a cadence: putting scale degree 4 in the bass gives a smooth stepwise or common-tone approach to V and avoids the parallel-fifth trap that root-position IV → V can create.

Checkpoint

What are the correct notes of the ii7 chord (supertonic seventh) in C major?

On the exam

Remember the functional order T–PD–D–T runs one way. A dominant progressing back to a predominant (V → IV) is considered a retrogression and is generally avoided in common-practice writing — the exam expects predominants to lead into the dominant, not the reverse.

Answer the 2 checkpoints as you read.