ii⁶ to V Part Writing: The Most Important Predominant Chord | Chord by Chord Ep. 23

Still unsure how all these chords connect? The free Harmony Study Guide explains the path: https://drfrommsmusiclab.gumroad.com/... Practice worksheets for this episode: http://drfrommsmusiclab.gumroad.com/l... The supertonic triad rarely appears in root position. In tonal music, composers overwhelmingly choose ii in first inversion (ii⁶) when preparing the dominant. In this episode of the Chord by Chord series, we break down the progression ii⁶ → V and why it behaves differently from most harmonic motion. Instead of relying on a common tone, every voice moves with purpose. The upper voices form parallel thirds that guide the harmony forward and naturally create strong cadences. You’ll see how ii⁶ functions inside common cadential patterns like I–ii⁶–V–I and I⁶–ii⁶–I⁶₄–V–I, why root-position ii is avoided, and how the correct voice order prevents parallel fifths. 🎧 Harmonic Dictation Practice 🔗 First Inversion Supertonic (Major):    • Harmonic Dictation #34 – Third Inversion D...   🔗 First Inversion Supertonic (Minor):    • Harmonic Dictation #36 – First Inversion S...   🔗 Next Episode in the Chord by Chord Series:    • How I Finally Understood The Neapolitan Ch...   00:00 Why ii appears in first inversion 03:46 iiº⁶ in minor keys 04:59 I–ii⁶–V–I in Vivaldi 05:43 Minor-key half cadence in Bach 06:16 Mozart example 08:02 I⁶–ii⁶–I⁶₄–V–I progression 11:08 The doorway to the Neapolitan chord