Neapolitan Chord Puns

The Italian sixth and German sixth are enharmonically equivalent to V7/N. I learned in music theory that the Neapolitan chord can, in rare situations, be tonicized. Are there any circumstances where a chord could simultaneously serve as an Augmented Sixth and V7/N?

In the key of F# Minor, I have a progression going:

Gmaj7 > G#min7 > C#7sus4 > C#.

Would you call the Gmaj7 a neapolitan chord going to a ii?

Currently writing a short two-phrase piece for a music theory class. The goal of the assignment is to include at least one augmented 6th chord, and at least two other forms of chromatic techniques (modulations, modal mixture, borrowed chords, Neapolitans, secondary dominants, common tone diminished chords, and altered dominants). Given that it's a music theory class, the goal is to write following romantic styles, and avoiding contemporary whackiness. I like what this progression sounds like personally, but would this be an "acceptable" progression for romantic styles? It's preceded by a i chord in the key of e minor.
(my voice leading might be a little off, still working on it)

https://gyazo.com/57f5a82828c52ed8903d5498398005b5

This is pretty straight forward what would the primary chords of Neapolitan minor be and why?

Hello there! Im having a hard time figuring out the chords of the Neapolitan Minor Scale, precisely the vii chord.

It is for example in C Minor

B - Db - F ? How do You notate it? For me it sounds like a Db7 whitout the 5th

But it is a Bsus2(b5)??

Some one un YouTube said that is an augmented chord, using B, Eb and G. Is the right?

Just saw Adam Neely's new video, and at around 1:10 he talks about a certain chord progression which uses a neapolitan chord. Instantly when he played it, I heard Tomboy. I always wondered why that song sounded the way it did, turns out it was because of neapoltian chords. Wanted to share because I just love it when songs can be broken down like this.

Adam Neely's vid: https://youtu.be/X2EJp8IHrBI

Vulfpeck - Tomboy: https://youtu.be/mSMkZ7E_eLs

Do you also analyze the first few measures of this piece as a Neapolitan chord arpeggio (+ figuration) ?

https://imgur.com/a/x0CcBG9

Is the flat six chord the same as the neapolitan chord?

Suppose I'm in C .The neapolitan chord of this key will be Db major.Let's imagine that I'm making a Db major 7th instead of that Db major.So now the notes of Db major is Db F Ab C.the first inversion of this chord will be F Ab Db C.if I rearrange those notes I can get F Ab C Db.which is F minor flat 13.Now if I play a F minor flat 13 chord in the key of C will it still be a neapolitan chord? Or is neapolitan chord is confined to a triad version

1.What scale does the Neapolitan chord uses ?

2.Should Neapolitan chord be used in only in the 1st inversion ? Can it not be used in other positions ?

3. In Neapolitan chord, what notes cannot be doubled ?

Hi,

Learn how to modulate using the Neapolitan chord, a more advanced modulation technique that allows you to move keys quite dramatically.

https://www.youtube.com/watch?v=RUN4M6_kT9E

Thanks, and enjoy!

Music Matters

I'm trying to get better at piano improvisation, and I want to incorporate Neapolitan chords to make it sound more interesting, since just i, V, bVI and bVII get bland quickly.

I've been using it as:

a) A resolution back to tonic after a dominant, as a kind of double dominant, but it always feels too unresolved. Ex. i - iv - VI - V - N - i

b) A strange kind of predominant, which works much better but still sounds a little off. Like calm before the storm. Ex. VI - i - N6 - V - i

I've come across many explanation of how neapolitan chord work but i never seem to understand well...could someone help? I know it's probably a little advanced concept to ask on reddit but it doesn't kill to try

For that matter, what's the difference between any of the bii augmented sixth chords and a tritone sub?

From what I understand tritone subs, when substituted for V, acts as a chromatic bridge from II to I. Why is it necessary to say it has a relationship with V? It's not in V's mixolydian scale or parallel major scale. Why is it necessary to associate borrowed chords with some parent scale that seems only distantly related to the key at hand?

I've recently been learning about Neapolitan and Augmented 6th chords and how to smoothly lead them into V, so I've been trying to write some progressions with them and my problem is that how I lead into them often sounds harsh and not smooth, especially in major. Are there any preferred, standard, or most common ways to approach these chords? Thanks!

Hey! I'm trying to wrap my head around this concept which hasn't really ever been taught to me. I find it super interesting but after several online lectures and videos I still can't figure it how. Can anyone recommend a site/video that can help me with the "click" or simply explain the fundamentals of the technique? I know there are different kinds of it and would like to be taught as much as possible about it! :)

Basically:

• When it's used
• How it's used
• Which kinds of it exists (and the above applied)
• Examples of it

Cheers!

I have heard someone saying it is a chord built on the b2 degree of the scale with the fifth in the bass. I suppose this is where the name "Neapolitan sixth-chord" comes from. Someone else has told me it is a minor subdominant with a b6 as a substitute for the fifth. This makes sense as the tension towards the dominant chord will increase with the flatted sixth. Is there a correct way to think of this chord?

Also, is this chord only to be used in minor keys? are there examples of it being used in major?

Can anyone think of any examples of a neapolitan chord being used in pop music?

I know this much: it’s a major bII chord in minor and a different take on the ii-V-i sort of thing. I also know that it’s found in the phrygian mode, but not much else. little help?

Hey! So I’m working on a 4-part chorale in my Music Theory class that involves modulations, borrowed chords, and the Neapolitan chord. The guidelines are to modulate from Bb to A using the Neapolitan, which is already completed, and include a five-chord circle of fifths with at least three different substitutions (all chords are 7th chords as well). I want to include a circle-of-fifths with a tonal center of the Neapolitan while in the modulated key of A (give it a tricky feeling before modulating back to Bb using one of the borrowed chords). I was wondering if it’s possible to do such thing? An example I was thinking of a progression would be iii7/N -> vi7/N -> ii7/N -> V7/N -> N6 -> cad. I six-four -> V7 (OR N6 -> vii dim7/V -> V7) -> I.

Because there's a leading tone and flattened supertonic, why does this guy say that the N6 goes to a V when it sounds like V is now the new tonic (to me)?

http://youtu.be/zbIISU6OGMA?t=16m29s

I'm confused

Both use the same chord structure, right? so I guess the difference it's how you use it

Tritone sub uses the chord to replace V7 in a progression and neapolitan chord works a pre-dominant

Please, correct me If i'm wrong

Thanks!

Hi guys. I have a question about Neapolitan chords.

In the key of C, it would be a Db (Db-F-Ab) chord. I'm wondering where the Db comes from? By that, I mean, when I'm analyzing music, I tend to look at any notes with accidentals as either borrowed from the parallel major or minor, chromatic non-chord tones (passing, neighbor), or secondary dominants. In this case, you could say that Ab is borrowed from Cm, but where does the Db come from? It's not in Cm and the Db doesn't fit as secondary dominant since Db is the dominant of Gb. So, I'm lost on how to think of this.

My other thought is that the Neapolitan chord just somehow came to be used as a stylistic choice so, perhaps, you can't think of it as being "borrowed" from somewhere. Anyway, I hope that makes sense.

I know less than nothing about music composition. I'm reading an article, and I think what it's saying is that people show a "noticing response" (i.e. an early right anterior negativity, ERAN) when 7-chord sequences included a Neapolitan Subdominant in position 3, 5, or 7 compared to a standard chord.

But what does this mean??? Are standard chords what we expect, because they're common in N. America? And are Neapolitan chords allowable (i.e. used sometimes), but less common?

FYI - I found a ELI5music post from 11 months ago that asked about these chords, but I want to emphasize that I'm hoping for an ELI5 explanation, not an ELIplayguitaroranymusicalinstrumentatall explanation. Thanks! :)

Hey guys, I'm making an online course atm. The unit I'm currently working on is all about tonal theory, and the ways we can use it to find interesting chords (mainly in major keys) like subtonics (bVII), picardy thirds, neapolitan (bII), secondary dominants, bIII, bVI, and iv.

Are there any I'm missing from this list? Brain isn't working quite right today so I'm trying to think of others I could add but right now I got nothing. What am I missing?

What exactly are Neapolitan Chords and what is the purpose, how can they be used? All that jazz