The Neapolitan chord first appears on the downbeat of m. 30. This means that in G major, the Neapolitan chord is an A flat major triad. As with all tertiary function chords, it is helpful to label a chord when it is not functioning as a primary function. As you can hear, the chord brings dramatic weight to the ensuing cadence and intensifies the passage in a way that a diatonic pre-dominant chord cannot. In music theory, a Neapolitan chord (or simply a Neapolitan) is a major chord built on the lowered (flatted) second (supertonic) scale degree. But in other styles—like your example here—it can also function as a chord that moves directly to tonic. It may also serve as a pivot chord in modulations where it is the N in one key and a major triad in the other key. The same technique appears in Example 31–16. It is labeled N6. The Gb major chord in the first theme of the Appassionata doesn't have a Neapolitan function. Adjust the necessary pitch or pitches in the following iio6 chord to create a Neapolitan in C minor: Remember, in a minor key, the root and iio6 chord needs to be lowered. We will return to this topic momentarily in the section on tonicizing the Neapolitan. It frequently moves directly to the dominant (V or V7), as in the following excerpt: Here the Neapolitan chord appears in m. 8 after two full measures of tonic harmony. The following example shows a Neapolitan derived from an altered ii chord (Example 31–7b provides a reduction of Example 31–7a): The ii6/5 chord in m. 366 leads to a Neapolitan in m. 368. For example, it often precedes an authentic cadence, where it functions as a subdominant (IV). Remember that in Roman numeral analysis, first inversion chords are represented by a 6, while second inversions chords are represented by 6/4. Recall that the dominant chord is the major chord built on scale degree five of a major or minor scale. subdominant function chord in that it often resolves toward a dominant function. 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. (This name should not be taken to imply that the music has shifted to Phrygian, but rather that the chord has some similarity in sound with the scale.) In this case, the Neapolitan must be considered an embellished iv. In this chapter, we will examine the origins and structure of the Neapolitan chord. Any chord used to approach ii(o)6 can also precede a Neapolitan: i, i6, VI, or iv among others. The same chords that are typically used to approach ii(o)6 are also used to approach the Neapolitan. (Note that despite the key signature, this passage is in the key of A major. not necessarily creating a Neapolitan chord. In music theory, a Neapolitan chord is a major chord built on the lowered second scale degree in a scale. share. It is simply a bII (flat 2) major chord generally substituted for a ii chord or IV chord in a minor key. Consider the following example: In this excerpt from a Chopin Nocturne, we find a Neapolitan following a root position III chord. Composers also tonicize it or modulate to that key. The heightened harmonic tension brought on by this delay makes the Neapolitan chord a potent dramatic tool. Note: Despite the key signature with just one flat, Example 31–16 is in G minor. II. (Note that instead of N6, the chord is labeled N5/3 indicating the third and fifth that appear above the bass.) So, why does it work as a su… This F-major chord is heard initially as VI in A minor. By moving to the Neapolitan, Bach avoids the tritone root motion that would have resulted from VI to a diatonic iio chord. The respective Neapolitan chords of parallel keys contain the same tones, though two accidentals are required in major as opposed to the single accidental required in minor. In a functional bass analysis, N. is placed below the functional designation of [S4]. Usually resolves to V or cadential 6/4. Now What. 13 comments. (Remember that in this case the superscript 6 is a bass figure indicating that a sixth appears above the lowest note. It can be thought of as a melodically embellished subdominant chord whose fifth has been replaced by its chromatic upper neighbor—an explanation that accounts for the tendency of the Neapolitan to appear with [latex]\hat4[/latex] in the bass, and for the bass, as root, to be doubled. Example 31–10 and Example 31–17 show Neapolitan chords following VI. Preceding this, we find a VI chord consisting of G in the bass with B and D in the upper voice. Note that the superscript 6 here does not indicate an inversion, since scale degree [latex]\hat4[/latex] is still the foundation. When N6 moves to V7, the doubled note ( [latex]\hat4[/latex]) may be suspended in one of the upper voice: Problems arise when the notes of the Neapolitan do not move in contrary motion to the bass: In Example 31–14, the motion from b [latex]\hat2[/latex] to § [latex]\hat2[/latex] in the soprano line creates an awkward chromatic contour. This chord can also be interpreted as an applied dominant to the Neapolitan. In der Funktionstheorie wird er mit s N oder einfach N bezeichnet. Here, the Bb is our N chord and you first hear it at 0:24 in this video, and it reappears in every verse. In minor, there is only one chromatic pitch (^b2), but in major, you will need to lower both ^2 and ^6. It is a major chord built on the lowered second scale degree, so flat-II as a RN. It's just a lurch to Gb major confirmed by its by own dominant and vii°7/V (enharmonically spelled). Der Akkord Es-Dur hat hier zwischen-neapolitanische Funktion zum D7. Der D7 als DG 7 wiederum zielt elliptisch nach Gm, dem Tonika-Gegenklang Tg. With an understanding of how these derivations work, we will investigate how the Neapolitan functions in various conditions. Write a Neapolitan chord with scale degree [latex]\hat4[/latex] in the bass in C# minor: (Answers may vary as long as F# is the lowest pitch and the upper voices consist of D§, F# and A.). Der D7 als DG 7 wiederum zielt elliptisch nach Gm, dem Tonika-Gegenklang Tg. 2. The true dominant harmony arrives in m. 34. 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. (For more information on applied chords, see Chapter 27.). Look for a chord that measure whose pitches are that of a dominant seventh chord. Although the Neapolitan usually appears with scale degree [latex]\hat4[/latex] in the bass, other positions are possible. Example 31–2b shows the same iv with its fifth decorated by a chromatic upper neighbor tone (Db). In the second conception, the Neapolitan is derived by chromatically lowering the root of a diatonic iio chord. 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. The Neapolitan chord is almost always in the first inversion. This makes its function “predominant,” because it comes before the dominant. The following excerpt consists of two phrases, the second of which has a Neapolitan chord: The two phrases in Example 31–5 (mm. Nonetheless, the chord is once again supported by scale degree [latex]\hat4[/latex] in the bass. This applied chord is derived by adding a minor seventh above the root of the preceding VI chord (Eb). Learn To Play “He’s a Pirate” With Musicnotes Signature Artist Taylor Davis! What are the three remaining pitches of the dominant seventh chord that has this pitch as its root? Resolution: Being a pre-dominant chord, the N proceeds to a dominant functioning chord, most often the I 6 4 or the V(7). In der Funktionstheorie wird er mit s N oder einfach N bezeichnet. In CPP functional music, it has to be part of a cadence, and you have that, but it has to have a certain root (the 4^) and it certainly could be that or looked at that way if you ignore the requirement for it to have the bass line associated with the N6. In einer Analyse kann man ihn als (N)[DG] bezeichnen. Composers frequently tonicize the Neapolitan. The Neapolitan sixth can also occur after a … However, there is little historical justification for this as the chord was certainly used earlier and by composers as far away as England. NEAPOLITAN CHORD. It can also be thought of as a chromatically altered ii(o) chord, in which the root has been lowered by a semitone. 3: Marcia funebre Adagio assai . Harmonic Function. Again, we need to figure out the second scale degree. In Example 31–2c, the root and third of the iv chord are sustained under the upper neighbor. Major triad built on the lowered second scale step (b2). For example, if a strange chord is functioning as a passing chord, we do not simply label it with a Roman numeral, because a Roman numeral without an explanation assumes that the chord is functioning in its primary role. A pretty classic example of this is found in Def Leppard’s “Bringing on the Heartbreak.” The chord progression in the verse is: Am, F, Am, G, Dsus2/F, Bb, Em9, Am. 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 first, the fifth of a subdominant triad is replaced by its chromatic upper neighbor. With an understanding of how these derivations work, we will investigate how the Neapolitan functions in various conditions. It often does this directly—moving to V or V7 without delay—though frequently an applied chord or cadential 6/4 intervenes. I like the sound and hence come up with a new chord function. This voicing brings out the chord’s startling, dramatic effect by dramatizing the tritone in the low register when the bass, reinforced by octaves, leaps from Db to G. Cases of b [latex]\hat2[/latex] in the bass supporting a Neapolitan are far less frequent than those with [latex]\hat4[/latex] in the bass. In what measure does the root-position dominant seventh arrive? 4. What is the interval between the root of a Neapolitan chord and the leading tone? Adjust the necessary pitch in the following iv chord to create a Neapolitan in B minor: In order to make a Neapolitan out of a iv chord, you need to replace the fifth with a chromatic note. It can be thought of as a borrowed chord; borrowed from phrygian mode on the same tonic as the key. Write a Neapolitan chord with scale degree [latex]\hat4[/latex] in the bass in F minor: (Answers may vary as long as Bb is the lowest pitch and the upper voices consist of Gb, Bb and Db.). We must NOT write the chord as a C♯/E♯, A♯/Cx, etc. Complete the following progressions from N6 to V. Complete the progression by adding a note in each voice part. As you can see, it is important that you be able to conceptualize the Neapolitan in both ways. In the key of F# minor, what would be the root of V7/N? Listen to the excerpt by clicking the play button below. Next, let's build the Neapolitan of E Minor. The function as an substitute dominant. In the following image, we show the i - ii o6 - V - i chords in the key of A minor. The chromatic alteration is striking in any context and is often used to heighten the dramatic tension of important passages. Let’s look at the Neapolitan Chord in a progression. The chord that goes on the fourth and fifth bars of my attachment above looks like a Neapolitan chord. Adjust the necessary pitch or pitches in the following iio6 chord to create a Neapolitan in F# minor: Adjust the necessary pitch or pitches in the following ii6 chord to create a Neapolitan in F major: G must be replaced with Gb and D with Db. For each of the following exercises, identify the pitches of an applied dominant seventh chord on the Neapolitan of the specified key. We call this harmony, a major triad built on the lowered second scale degree, the Neapolitan. In tonal harmony, the function of the Neapolitan chord is to prepare the dominant, substituting for the IV or ii (particularly ii 6) chord. What two other pre-dominant chords intervene between the Neapolitan and the true dominant harmony? You may use a Neapolitan chord as a pre-dominant function in any progression in which you could use a minor iv chord. Functioning as a predominant, the Neapolitan is usually found in first inversion and resolves to the V or a cadential six four pattern. Whether the Neapolitan proceeds to an applied diminished seventh chord (as in Examples 31–15 and 31–16) or to a cadential  6/4 (Example 31–17), b [latex]\hat2[/latex] may at first appear to resolve melodically directly to [latex]\hat1[/latex]. In C major, then, it would be a D-flat major chord. The Neapolitan sixth chord is an altered second degree chord with a subdominant function. save. Lower it to F natural. Der Akkord Es-Dur hat hier zwischen-neapolitanische Funktion zum D7. In einer Analyse kann man ihn als (N)[DG] bezeichnen. Adjust the necessary pitch in the following iv chord to create a Neapolitan in E minor: Adjust the necessary pitch in the following iv chord to create a Neapolitan in G minor: Adjust the necessary pitch in the following iv chord to create a Neapolitan in D minor: The Neapolitan chord can also be thought of as a chromatic alteration of the diatonic ii chord. https://www.musicnotes.com/now/wp-content/uploads/N-Progression.mp3, https://www.musicnotes.com/now/wp-content/uploads/long-progression.mp3, https://www.musicnotes.com/now/wp-content/uploads/Moonlight-Sonata.mp3, Best Digital Pianos & Keyboards For Your Apartment. VI and bVI. (The bass note has been changed too—from F to D—allowing for smooth passing motion between the i6 in m. 24 and the cadential 6/4 in m. Following the voice leading in the upper parts, we can see that the Bb of the Neapolitan comes directly from the root of the ii6/5 chord (B§). Phrases, Cadences, and Harmonic Function, Appendix A. To quickly review, triads are made up of a root, a third, and a fifth. b [latex]\hat2[/latex] leaps down a diminished third to the leading tone. The N is typically used more often within a minor key and is often preceded by a I, IV, or vi chord (i, iv, VI in minor). Regardless of how you think of the Neapolitan chord— as a neighbor-note embellishment of iv (IV in major) or as a chromatic root-alteration of iio (ii in major)—it retains the pre-dominant function of its origin. Den neapolitanischen Sextakkord kann man mit der Zwischendominante zur (Moll-)Subdominanten vorbereiten, also mit einer T 7 [s], T v [s] oder Ähnlichem. In Schenkerian analysis, it is known as a Phrygian II, since in minor scales the chord is built on the notes of the corresponding Phrygian mode. Each of the following examples shows an unaltered iv chord. In such circumstances, the Neapolitan sixth is a chromatic alteration of the subdominant, and it has an immediately recognizable and poignant sound. Harmonic Functions : What is a Neapolitan Sixth Chord? As an applied dominant, this tonicization of the Neapolitan continues a falling fifth progression begun in the previous measure. Adjust the necessary pitch or pitches in the following ii6 chord to create a Neapolitan in G major: Remember, in a major key, the root and fifth of the ii6 chord need to be lowered. In m. 17 we find a iv6 chord acting as functional pre-dominant leading to the cadence that ends the phrase. Recall that the dominant chord is the major chord built on scale degree five of a major or minor scale. The Neapolitan Chord (N or N6) is a major chord built on the lowered second scale degree. So, a typical progression would be N-V7-i. Harmonic Functions: What is a Neapolitan Sixth Chord? Neapolitan chords as dominant chords Example 31–6 shows how Neapolitan chords can be derived this way in both major (a) and minor (b) keys: In both cases, the resultant chord consists of the same three tones. … Here, an unprepared Neapolitan is used to begin a phrase following a half cadence. Conventionally, the triad is in the first inversion, hence the 'sixth.' https://livingpianos.com/music-theory/what-is-the-neapolitan-6th-chord/ NEAPOLITAN CHORD. The Neapolitan chord also has a pre-dominant function. For example, it often precedes an authentic cadence, where it functions as a subdominant(IV). ): A good way to identify Neapolitan chords is to look for the expected chromatic alterations. If the Neapolitan is considered a derivation of iv, it is in fact the root (the bass) that is being doubled—the norm for root-position triads! The best-known composer from this school is Alessandro Scarlatti, although the Neapolitan chord can be found in compositions before his time in the works of Henry Purcell, Giacomo Carissimi, and Arcangelo Corelli. Right after that and outside of the excerpt, G's play, and then the rest of the piece continues with C minor chord figurations. Functioning as a predominant, the Neapolitan is usually found in first inversion and resolves to the V or a cadential six-four pattern. More common in minor keys because it requires 2 accidentals in major keys, 1 in minor keys. A first inversion chord indicates that the third is in the lowest position, while a second inversion chord indicates that the fifth is in the lowest position. New comments cannot be posted and votes cannot be cast. In music theory, a Neapolitan chord (or simply a Neapolitan) is a major chord built on the lowered (flatted) second (supertonic) scale degree. All in all, the Neapolitan is generally used as an expressive device. What does a Neapolitan chord move to? They typically replace the IV chord and go to a V6/4. Nonetheless, it is important for analysis that you be able to conceive of the Neapolitan in both ways. (Answers may vary as long as F is the lowest pitch and the upper voices consist of Db, F and Ab.). The Gb major chord in the first theme of the Appassionata doesn't have a Neapolitan function. As you can see in the melody, the D§ is a chromatic upper neighbor to C#. The Neapolitan-to-dominant resolution shown in the example is an incorrect way of resolving the chord. However, because the Neapolitan is a pre-dominant chord, the dominant chord further delays the resolution to [latex]\hat1[/latex]. The parallelism between these two measures shows the strong connection between iv6 and N6. The following example shows one such instance: On the second beat of m. 12, we find a Neapolitan chord with the chromatic pitch (b [latex]\hat2[/latex]) in the bass. The chord is named “Neapolitan” because it is thought to be created by the Neapolitan School, a group associated with opera in the 17th and 18th century. In harmony, the function of the Neapolitan chord is to prepare the dominant, substituting either the IV or the ii chord. The lowered second scale degree will sometimes lead to the diatonic second scale degree, but this tends to be restricted to inner voices since the upward motion contradicts the tendency for b [latex]\hat2[/latex] to resolve down to [latex]\hat1[/latex]. The following excerpt provides another example of a tonicized Neapolitan, This passage includes a Neapolitan chord in the opening phrase. 3. Believe it or not, a Neapolitan chord can be found in the opening sequence of the famous piano piece, “Moonlight Sonata” by Ludwig Van Beethoven. In E Minor, this is F#. To view this Neapolitan as bII6 would be counterintuitive and would contradict the norms of harmonic root movement. It can also be labeled as “♭II,” indicating a flatted major two chord. We hope you now feel a little more comfortable with Neapolitan chords. While this diminished melodic interval would typically be avoided, composers tend to highlight it in the case of the Neapolitan by putting it in the soprano. A similar scenario appears in the following example: The Neapolitan is tonicized here with an applied dominant seventh chord in m. 13. No matter what the length—single chords, tonicizations, modulations—appearances of the Neapolitan soon lead to the dominant. Because the Neapolitan chord is typically in first inversion, it is often referred to as the “Neapolitan Sixth,” labeled as N6 or ♭II6. Like a root-position iv chord, the Neapolitan usually appears with scale degree [latex]\hat4[/latex] in the bass (see also Example 31–1). The Neapolitan chord (N or N6) is a major chord built on the lowered second scale degree. Write a Neapolitan chord with scale degree [latex]\hat4[/latex] in the bass in C minor: Remember, a Neapolitan resembles a major triad built on b [latex]\hat2[/latex] with [latex]\hat4[/latex] in the bass. Does the b [latex]\hat2[/latex] of the Neapolitan move to the leading tone or diatonic [latex]\hat2[/latex]? The Neapolitan chord contains lowered scale-degree 2, along with scale-degree 4, and lowered scale-degree 6: ra, ... As a chromatically altered subdominant chord, it always expresses subominant function (S). It is a point of rest. It does not indicate that the chord is in an inverted position.) It is a major chord built on the lowered second scale degree, so flat-II as a RN. Neapolitan chords as dominant chords. The root of V7/N is the fifth of the Neapolitan chord. Example 31–2a shows a iv chord in C minor. It is simply a bII (flat 2) major chord generally substituted for a ii chord or IV chord in a minor key. On the second beat of m. 2, we see an E in the bass with G and C§ in the upper voice—a typical example of a Neapolitan chord. I'd appreciate a quick run-down of functions or a broad rule I can use to find them myself. Den neapolitanischen Sextakkord kann man mit der Zwischendominante zur (Moll-) Subdominanten vorbereiten, also mit einer T 7 [s], T v [s] oder Ähnlichem. We must remember that the term "half step" indicates a minor second in this case. Neapolitan chords show up all over popular music. It's followed by dominant-function leading tones. You might also see the chord labeled “Phrygian II,” referring to Phrygian scale which differs from major and minor scales by beginning with a minor second between its first and second degrees. In such circumstances, the Neapolitan sixth is a chromatic alteration of the subdominant, and it has an immediately recognizable and poignant sound. Different function and different voicings: A Neapolitan chord is a major chord built off the b2, usually in 1st inversion and has sub dominant function. Rather, it is a bass figure and indicates that a sixth appears above the lowest note. Consider the following example: Here, a Neapolitan chord appears in m. 142. The Neapolitan chord is a major triad built on the flat ii scale degree of the prevailing key. Its genesis is very simple. In tonal harmony, the function of the Neapolitan chord is to prepare the dominant, substituting for the IV or ii (particularly ii ) chord. Enter your account data and we will send you a link to reset your password. Im Jazz würde man der grundstelligen Variante (♭ II) die Chordscale Lydisch zuordnen, der klassischen Sextvariante theoretisch Aeolisch. In the key of D minor, what would be the root of V7/N? All of the upper voices should move in contrary motion to the bass (most importantly b [latex]\hat2[/latex], which will leap to the leading tone). 2. Harmonic functions Nonharmonic Tones Secondary Dominants Modulation Augmented Sixths. It functions the same and can be used in the same context but it has a more dramatic effect because of its chromatic root, (ra).Like , it is typically used in a cadential context. This results in F--A--C. Thus, an F major chord is the Neapolitan of E Minor. We will also discuss how the Neapolitan behaves over larger spans when it is tonicized or used in a modulation. The Neapolitan is a chromatic chord with a strong predominant function. 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). 3. As discussed in Chapter 31 , the Neapolitan can be derived in two ways: by substituting the fifth of a iv chord with a chromatic upper neighbor or by lowering the root of a ii o chord. best. Neapolitan chords function harmonically as a subdominant Musical syntax is processed in Broca’s area: an MEG study Burkhard Maess, Stefan Koelsch, Thomas C. Gunter and Angela D. Friederici Max Planck Institute of Cognitive Neuroscience, PO Box 500 355, D-04303, Leipzig, Germany Correspondence should be addressed to B.M. First let's start with the neapolitan chord. It's just a lurch to Gb major confirmed by its by own … The Best Music Travel Ideas, How To Read Sheet Music: Step-by-Step Instructions, Music Theory: Learn How To Transpose Music, The Art of Lyric Writing: How to Match Lyrics to Melody, Beat Your Songwriting Block with These 5 Exercises, Win a Musicnotes Pro – Premium Membership, New Christmas Arrangements from Jarrod Radnich. The most important role in any key is the I chord. You can now hear how unique the harmony of a Neapolitan chord is compared to naturally occurring chords. The excerpt is the second movement of Beethoven's Symphony No. We will also discuss how the Neapolitan behaves over larger spans when it is tonicized or used in a modulation. The Neapolitan chord also has a pre-dominant function. (The C at the end of the fifth bar as a passing tone) In fact, the chord progression appears as if it is I - N - … In harmony, the function of the Neapolitan chord is to prepare the dominant, substituting either the IV or the ii chord. 7) Harmonic Function Class reading - What is harmonic funtion? Major triad built on the lowered second scale step (b2). Here you'll find all collections you've created before. In music, chords are the main building blocks of harmony and songs in general. Function: The Neapolitan chord is a pre-dominant chord (i.e., it leads to a dominant function chord). Tritone Substitution. Once you get the hang of them, you’ll begin to see them pop up all over your sheet music. The Neapolitan 6th chord is an expressive alternative to the ii6 chord, and most often found in the minor key, although there are plenty of examples of it in major. Depending on the context, the Neapolitan can be derived in several ways—hence the label N6 instead of a Roman numeral. Diatonic Polyphony and Functional Harmony, 12. Musicnotes Now – A Noteworthy Blog for Seriously Fun Musicians. Sometimes, however, another pre-dominant chord intervenes. In tonal harmony, the function of the Neapolitan chord is to prepare the dominant, substituting for the IV or ii (particularly ii 6) chord. This makes its function “predominant,” because it comes before the dominant. What is another way to tonicize a Neapolitan chord? If the first half of m. 5 is regarded as V/N, then the Neapolitan in this case has loosened its ties to the original iv chord with 5–6 motion over the bass ( [latex]\hat4[/latex]). With the chromatic neighbor assimilated into the chord, a new consonant triad is formed (Db-major). This voicing of the Neapolitan is rare because composers usually tend to avoid accentuating tritones in this manner. In tonal harmony, the function of the Neapolitan chord is to prepare the dominant, substituting for the IV or ii (particularly ii 6) chord.For example, it often precedes an authentic cadence, where it functions as a subdominant (IV). The lesson could not be displayed because JavaScript is disabled. it can modulate to the key of the Neapolitan. The Neapolitan chord may be thought of as a voice-leading sonority derived from an embellished subdominant triad: b. iv chord with chromatic upper neighbor tone, c. assimilation of chromatic upper neighbor tone. Make the necessary adjustments to create Neapolitan chords. By lowering the chord's root by a half-step (in this case, the B becomes a B flat) we get a Neapolitan sixth chord. You flat the second degree, D, so it becomes D-flat. 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 tonalharmony, the functionof the Neapolitan chord is to prepare the dominant, substituting for the IV or ii (particularly ii6) chord. In this case, the Neapolitan does not move directly to the dominant. These dual derivations are why we label the Neapolitan generically, using N6 instead of a Roman numeral. V or i6/4. It most often appears in first inversion, so you may see it referred to as a Neapolitan 6, or N6. In a major key, these are the lowered scale degrees [latex]\hat2[/latex] and [latex]\hat6[/latex]. By presenting these two chords—N6 with its b [latex]\hat2[/latex] and then iio 6 with its diatonic [latex]\hat2[/latex]—within parallel phrases in close proximity, the composer highlights the contrast between different versions of the ii chord. In such circumstances, the Neapolitan sixth is a chromatic alteration of the subdominant, and it has an immediately recognizable and poignant sound. in that it often resolves toward a dominant function. hide. It may also serve as a pivot chord in modulations where it is the N in one key and a … The N is typically used more often within a minor key and is often preceded by a … Overview: The Neapolitan sixth is a chromatic predominant chord.It is a major triad built on (ra) and is typically found in first inversion.. 13–20 and mm. Often in first inversion (hence the common name "Neapolitan sixth chord"). It's just a lurch to Gb major confirmed by its by own dominant and vii°7/V (enharmonically spelled). In the following image, we show the i - ii o6 - V - i chords in the key of A minor. The Neapolitan functions generally as a connective area, moving from tonic areas to dominant areas, which is logical considering that it bears a strong resemblance to the supertonic in first inversion. Take the progression iiº6 - V7 - i in a minor key, and use the lowered second degree of the scale for the supertonic triad. 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. More common in minor keys because it requires 2 accidentals in major keys, 1 in minor keys.