It does not indicate that the chord is in an inverted position.) That means they come right before the dominant chord, which is another name for the V or V7 chord. Nonetheless, it is important for analysis that you be able to conceive of the Neapolitan in both ways. Write a Neapolitan chord with scale degree [latex]\hat4[/latex] in the bass in A major: (Answers may vary as long as D is the lowest pitch and the upper voices consist of Bb, D and F§.). The primary difference may be found by comparing m. 17 to m. 25. Identify the first appearance of the Neapolitan chord in the following excerpt. As you can see in the melody, the D§ is a chromatic upper neighbor to C#. In tonal harmony, the function of the Neapolitan chord is to prepare the dominant, substituting for the IV or ii (particularly ii ) chord. Neapolitan chords appear more frequently in minor keys, in part because they avoid the tritone between [latex]\hat2[/latex] and [latex]\hat6[/latex] in the iio chord. In the key of A minor, what would be the root of V7/N? In Example 31–2c, the root and third of the iv chord are sustained under the upper neighbor. A Neapolitan is a major triad built on the lowered second degree of a scale. These first-inversion Neapolitan chords are called Neapolitan sixth chords. In other cases, the Neapolitan does not move directly to V. Instead, an intervening chord may delay the dominant. The Neapolitan leads to a viio7/V in m. 32 and then a cadential 6/4 in m. 33 before getting to the dominant in m. 34. The chromatic alteration is striking in any context and is often used to heighten the dramatic tension of important passages. They are most often found in minor keys, but they can be used in major keys as well. Neapolitan sixth chords usually function as predominants. Here is an example progression in C min, going from predominant (N6) to … Suppose I am playing in F minor. Consider the following example: In this excerpt from a Chopin Nocturne, we find a Neapolitan following a root position III chord. It then moves directly to a V chord in the following measure which in turn resolves to i at the end of the phrase. If you want to add a Neapolitan chord where there isn’t one already, look for a place in the piece where a ii6 or IV chord is being used as a predominant. A similar scenario appears in the following example: The Neapolitan is tonicized here with an applied dominant seventh chord in m. 13. As a pre-dominant chord, the Neapolitan’s typical function is to lead to the dominant. Function: The Neapolitan chord is a pre-dominant chord (i.e., it leads to a dominant function chord). Tonicizations of—and modulations to—the Neapolitan in a minor key are possible because, as pointed out earlier, chromatically altering [latex]\hat2[/latex] to become b [latex]\hat2[/latex] stabilizes the unstable, diminished iio triad into a major triad, bII. The more you know…. It is labeled N6. Make the necessary adjustments to create Neapolitan chords. Recognizing this delay in the arrival of the dominant is an important part of analysis. Look for a chord that measure whose pitches are that of a dominant seventh chord. As you can see, it is important that you be able to conceptualize the Neapolitan in both ways. Consider the following examples: The Neapolitan chord in Example 31–15—itself embellished with an auxiliary sonority in m. 144—leads to an applied viio 7/V in m. 147 before moving to the cadential V chord. In other words, the Neapolitan chord routinely signals and leads to some form of dominant. Let’s try another example. in fact, it is very common to see the neapolitan chord resolve to a dominant seventhin third inversion,or to a cadential six-four chord. In Example 31-18, after a pair of authentic cadences in (m. 4 and m. 9), we hear a deceptive cadence in m. 12. You would then play the V and I chords as written. When analyzing Neapolitan chords, it is essential that you be able to recognize the altered pitch or pitches and trace the voice-leading from one chord to the next. Your email address will not be published. If I build a major triad on Gb, I will end up with Gb, Bb, and Db, i.e., the Neapolitan chord in F minor. But that [latex]\hat1[/latex] is a false resolution and is not heard as a true arrival since it is not supported by consonance with the bass. In other words, the progression VI–N6 can sound like V/N–N6(a tonicization of the Neapolitan) since the root motion is the same as V–I. The melodic resolution of b [latex]\hat2[/latex] occurs with the arrival of the leading tone over V, and the harmonic resolution occurs when that V resolves to I. Do you know of any other pieces that use it? Of the two, the latter is more common today since the usual notation of the Neapolitan more readily resembles a bII6 chord than a iv chord with an altered fifth. The true dominant harmony arrives in m. 34. It can also be thought of as a chromatically altered ii(o) chord, in which the root has been lowered by a semitone. To view this Neapolitan as bII6 would be counterintuitive and would contradict the norms of harmonic root movement. We will return to this topic momentarily in the section on tonicizing the Neapolitan. 15–19. This is due in part to the remaining chord members having a strong tendency to move down: (b) [latex]\hat6[/latex] steps down to [latex]\hat5[/latex] and, as described above, b [latex]\hat2[/latex] leaps down a third to the leading tone. The notes in m. 25 are exactly the same except the fifth of the iv chord (A) has been replaced with its chromatic upper neighbor (Bb). 21–28) are nearly identical. In the chapter off advanced mixture (Chapter 30) we introduced the Neapolitan: a type of chromatic chord that is notated as a major triad built on the lowered second scale degree (b [latex]\hat2[/latex]). In other words, is there a first-inversion ii chord or a IV chord that comes right before a V or V7 chord? In lead-sheets they appear as bII6 or, more commonly, N6. In Johann Sebastian Bach’s time, it was common for minor key signatures to be written with one less accidental, owing to remnants of earlier notational conventions. The following excerpt provides another example of a tonicized Neapolitan, This passage includes a Neapolitan chord in the opening phrase. 13–20 and mm. As a pre-dominant chord, the Neapolitan leads to dominant harmony. Any chord used to approach ii(o)6 can also precede a Neapolitan: i, i6, VI, or iv among others. This time, however, the Neapolitan has been replaced by iio 6. The Neapolitan chord can be derived by altering a ii chord (iio in minor) to make a major triad built on the lowered second scale degree. Although the Neapolitan usually appears with scale degree [latex]\hat4[/latex] in the bass, other positions are possible. Make the necessary adjustments to create Neapolitan chords. Neapolitan chords are most frequently found in minor keys but can be used in major keys, they are usually in first inversion, and they are often used as predominant chords. The parallelism between these two measures shows the strong connection between iv6 and N6. The Neapolitan chord first appears on the downbeat of m. 30. This makes its function “predominant,” because it comes before the dominant. Note that in Example 31–11, b [latex]\hat2[/latex] (Ab) is emphasized as the highest note in the piano part and leaps down a diminished third to the leading tone (F#).
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