It acts instead as a passing tone—a dissonant diminished fifth or perfect fourth above the bass—on the way to the leading tone. b [latex]\hat2[/latex] leaps down a diminished third to the leading tone. A parallel phrase follows in mm. In such circumstances, the Neapolitan sixth is a chromatic alteration of the subdominant, and it has an immediately recognizable and poignant sound. As you can see in the melody, the D§ is a chromatic upper neighbor to C#. Consider the following example: In this excerpt from a Chopin Nocturne, we find a Neapolitan following a root position III chord. The F# in the bass allows for a smooth, stepwise ascent to scale degree [latex]\hat5[/latex] (m. 143). However, there is little historical justification for this as the chord was certainly used earlier and by composers as far away as England. It often does this directly—moving to V or V7 without delay—though frequently an applied chord or cadential 6/4 intervenes. In other words, the Neapolitan chord routinely signals and leads to some form of dominant. Does the b [latex]\hat2[/latex] of the Neapolitan move to the leading tone or diatonic [latex]\hat2[/latex]? The second scale degree of F minor is G, and lowering it by a half step would give me Gb. 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.). Now you know how to build a Neapolitan chord, but how and where do you use it? The same technique appears in Example 31–16. Now consider the following example (Example 31–9b provides a reduction): This passage consists of two parallel phrases. (In major keys, scale degree [latex]\hat6[/latex] must also be lowered.) The heightened harmonic tension brought on by this delay makes the Neapolitan chord a potent dramatic tool. Note: The name of the Neapolitan chord links it to the so-called “Neapolitan school”—a group of composers active in and around Naples, Italy in the 18th century. What two other pre-dominant chords intervene between the Neapolitan and the true dominant harmony? Like the leading tone, b [latex]\hat2[/latex] is only a semitone away from the tonic and as such has a strong tendency to resolve to [latex]\hat1[/latex]. Let’s try another example. (For more information on applied chords, see Chapter 27.). Look for a chord that measure whose pitches are that of a dominant seventh chord. 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. 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. In this chapter, we will examine the origins and structure of the Neapolitan chord. The bass note (scale degree [latex]\hat4[/latex]) almost invariably steps up to [latex]\hat5[/latex] while the upper voices move down to the nearest chord members: In SATB settings such as the one in Example 31–12, the bass note ( [latex]\hat4[/latex]) is usually doubled. Your email address will not be published. Let us know in the comments! (Note that despite the key signature, this passage is in the key of A major. It does not indicate that the chord is in an inverted position.) And that’s the scoop on the Neapolitan chord (sorry, I had to). Now I need to build a major triad on top of Db, which would be Db, F, and Ab. in that it often resolves toward a dominant function. 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§).
Furinno Turn-n-tube 4-tier Multipurpose Shelf Display Rack, Deutsche Kuche Sunflower Seed Bread, Csu Long Beach, Ambush Marketing Examples 2020, Family Impact On Child Development Pdf, Cultural Anthropology History, Saudi Arabia Number For Otp, How To Play Abzu On Pc, Glutino Bread Where To Buy,