supertonic
IPA: supɝtˈɑnɪk
noun
- (music) The second note in a diatonic scale.
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Examples of "supertonic" in Sentences
- Supertonic diminished seventh chord.
- Supertonic with minor seventh in minor.
- Sharpened supertonic with minor seventh.
- It's a lively melody in 9/8, ending on the supertonic.
- Subtonic and supertonic are tones in the first place, not chords.
- Now play the supertonic along with the tonic of the lower octave.
- In an ascending melodic minor scale, this chord is on the supertonic degree.
- In the last measure but one, both the supertonic and leading tone should appear.
- The Roman numeral analysis for the D7 chord would be V7/ii - that is, the dominant seventh chord of the supertonic chord (ii) in our original key.
- In this respect Palestrina's later style is apparent; but in harmonic terms he is still under Josquin's influence in, for instance, regularly using the minor supertonic triad even when it is leading to the dominant chord.
- Castelvetrano, but had not noticed that it was a particularly noisy place, indeed, I could no more have distinguished between the tranquillity of Castelvetrano and that of the mountain than between the acute and the grave supertonic.
- Like that dominant pedal that was supposed to have upset Haydn's contemporaries: Kramer never mentions that it resolves an earlier pedal on the flatted supertonic, a much more radical and ear-catching formal device than a dominant pedal.
- In ascending they pass over the grave supertonic and take the acute supertonic, and in descending they pass over the acute supertonic and take the grave supertonic; the two supertonics being only a comma apart, as the two islands are only a very little way from one another.
- As to the "Egyptian" sound, the whole exotic "Egyptian" scale, with its flattened supertonic was invented by Verdi for Aida it's about as authentic as Sir Walter Scott's version of Scotland but everyone since has used it from Maurice Jarre in Lawrence of Arabia to Jerry Goldsmith in The Mummy.
- The major third prediction is brought about all the more strongly by having heard the tonic and supertonic from the western equal-tempered system already, i.e. why would the audience sing any other third tuned differently when they have already been placed within the western tuning system from the initial equal tempered notes?
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