Neapolitan chord
Encyclopedia
In music theory
, a Neapolitan chord (or simply a "Neapolitan") is a major chord
built on the lowered second (supertonic
) scale degree
. It most commonly occurs in first inversion so that it is notated either as II6 or N6 and normally referred to as a Neapolitan sixth chord. In C, a Neapolitan sixth chord in first inversion contains an interval
of a sixth
between F and D.
", which included Alessandro Scarlatti
, Pergolesi
, Paisiello, Cimarosa and other important 18th-century composers of Italian opera
; but it seems to have been an established if infrequent harmonic practice by the end of the 17th century, being used by Carissimi, Corelli
and Purcell
. It was also a favorite idiom among composers in the Classical period, especially Beethoven, who extended its use to root-position and second-inversion chords (examples include the opening of the String Quartet op.95
, the second movement of the Hammerklavier Sonata
, and near the beginning and again in the recapitulation of the first movement of the Moonlight Sonata).
The chord is known as the "neapolitan sixth" due to the interval of a sixth between the root and third notes of the chord. For example, in the key of C major the Neapolitan sixth chord would consist of the notes D (the root note), F (the third) and A (the fifth) with the F in the bass to make it a II6 or N6 rather than a II. The interval of a sixth is between F and D.
In tonal
harmony
, the function
of the Neapolitan chord is to prepare the dominant
, substituting for the IV or ii (particularly ii6) chord. For example, it often precedes an authentic cadence, where it functions as a subdominant
(IV). In such circumstances, the Neapolitan sixth is a chromatic alteration of the subdominant, and it has an immediately recognizable and poignant sound. For example, in C major, the IV (subdominant) triad in root position contains the notes - F-A-C. By lowering the A by a semitone to A and raising the C by a semitone to D, the Neapolitan sixth chord F-A-D is formed. In C minor, the resemblance between the subdominant (F-A-C) and the Neapolitan (F-A-D) is even stronger, since only one note differs by a half-step. (Note that the Neapolitan is also only a half-step away from the diminished supertonic triad in minor in first inversion, F-A-D, and thus lies chromatically between the two primary subdominant function chords.)
The Neapolitan sixth chord is particularly common in minor
keys. As a simple alteration of the subdominant triad (iv) of the minor mode, it provides contrast as a major chord
compared to the minor subdominant or the diminished supertonic triad. The most common variation on the Neapolitan chord is the Neapolitan major seventh, which adds a major seventh to the chord (this also happens to be the tonic
).
s and modulations
to different keys. It is the most common means of modulating down a semitone, which is usually done by using the I chord in a major key as a Neapolitan chord (or a flattened major supertonic chord in the new key, a semitone below the original).
Occasionally, a minor 7th or augmented 6th is added to the Neapolitan chord, which turns it into a potential secondary dominant
that can allow tonicization or modulation to the V/♯IV key area relative to the primary tonic. Whether the added note were notated as a minor 7th or augmented 6th would largely depend how the chord was going to resolve. For example, in C major or C minor, the Neapolitan chord with an augmented 6th (B-natural added to Db major chord) would very likely resolve in C major or minor, or possibly into some other closely related key such as F minor; but if the extra note were considered as an added seventh (C), this would be the best notation if the music were to lead into G major or minor. (If the composer chose to lead into F♯ major or minor, very likely the Neapolitan chord would be notated enharmonically based on C# (for example: C#-E#-G#-B), although composers vary in their practice on such enharmonic niceties.)
Another such use of the Neapolitan is along with the German augmented sixth chord
, which can serve as a pivot chord to tonicize the Neapolitan as a tonic. In C major/minor, the German augmented sixth chord is an enharmonic
A7 chord, which could lead as a secondary dominant to D, the Neapolitan key area. As the dominant to II, the A7 chord can then be respelled as a German augmented sixth, resolving back to the home key of C major/minor.
In rock
and popular music
, examples of its use, notated as N and without "traditional functional connotations," include Fleetwood Mac
's "Save Me
", Journey
's "Who's Crying Now
", and The Rolling Stones
' "Mother's Little Helper
". The Neapolitan sixth also figures prominently, with its traditional function, in the main title music by Harry Gregson-Williams
and John Powell
for the 1998 movie Antz
.
Care must be taken to avoid consecutive fifths when moving from the Neapolitan to the cadential . The simplest solution is to avoid placing the fifth of the chord in the top part. If the root or (doubled) third is in the top part, all upper parts simply resolve down by step while the bass rises. According to some theorists, however, such an unusual consecutive fifth (with both parts descending a semitone) is allowable in chromatic harmony, so long as it does not involve the lowest part. (The same allowance is often made more explicitly for the German augmented sixth, except in that case it may involve the bass – or must, if the chord is in its usual root position.)
's Prelude in C minor, Op. 28, No. 20. In very rare cases, the chord occurs in second inversion; for example, in Handel
's Messiah
, in the aria Rejoice greatly.
Music theory
Music theory is the study of how music works. It examines the language and notation of music. It seeks to identify patterns and structures in composers' techniques across or within genres, styles, or historical periods...
, a Neapolitan chord (or simply a "Neapolitan") is a major chord
Major chord
In music theory, a major chord is a chord having a root, a major third, and a perfect fifth. When a chord has these three notes alone, it is called a major triad...
built on the lowered second (supertonic
Supertonic
In music or music theory, the supertonic is the second degree or note of a diatonic scale, one step above the tonic. In music theory, the supertonic chord is symbolized by the Roman numeral ii in a major scale, indicating that the chord is a minor chord , or ii in a natural minor scale, indicating...
) scale degree
Degree (music)
In music theory, a scale degree or scale step is the name of a particular note of a scale in relation to the tonic...
. It most commonly occurs in first inversion so that it is notated either as II6 or N6 and normally referred to as a Neapolitan sixth chord. In C, a Neapolitan sixth chord in first inversion contains an interval
Interval (music)
In music theory, an interval is a combination of two notes, or the ratio between their frequencies. Two-note combinations are also called dyads...
of a sixth
Minor sixth
-Subminor sixth:In music, a subminor sixth or septimal sixth is an interval that is noticeably narrower than a minor sixth but noticeably wider than a diminished sixth.The sub-minor sixth is an interval of a 14:9 ratio or alternately 11:7....
between F and D.
Origin of the name
The Neapolitan chord is so named because it is associated with the so-called "Neapolitan schoolNeapolitan School
In music history, the Neapolitan School is a group, associated with opera, of 18th century composers who studied or worked in Naples, Italy. The best known of which is Alessandro Scarlatti, with whom, "modern opera begins"....
", which included Alessandro Scarlatti
Alessandro Scarlatti
Alessandro Scarlatti was an Italian Baroque composer especially famous for his operas and chamber cantatas. He is considered the founder of the Neapolitan school of opera. He was the father of two other composers, Domenico Scarlatti and Pietro Filippo Scarlatti.-Life:Scarlatti was born in...
, Pergolesi
Giovanni Battista Pergolesi
Giovanni Battista Pergolesi was an Italian composer, violinist and organist.-Biography:Born at Iesi, Pergolesi studied music there under a local musician, Francesco Santini, before going to Naples in 1725, where he studied under Gaetano Greco and Francesco Feo among others...
, Paisiello, Cimarosa and other important 18th-century composers of Italian opera
Italian opera
Italian opera is both the art of opera in Italy and opera in the Italian language. Opera was born in Italy around the year 1600 and Italian opera has continued to play a dominant role in the history of the form until the present day. Many famous operas in Italian were written by foreign composers,...
; but it seems to have been an established if infrequent harmonic practice by the end of the 17th century, being used by Carissimi, Corelli
Arcangelo Corelli
Arcangelo Corelli was an Italian violinist and composer of Baroque music.-Biography:Corelli was born at Fusignano, in the current-day province of Ravenna, although at the time it was in the province of Ferrara. Little is known about his early life...
and Purcell
Henry Purcell
Henry Purcell – 21 November 1695), was an English organist and Baroque composer of secular and sacred music. Although Purcell incorporated Italian and French stylistic elements into his compositions, his legacy was a uniquely English form of Baroque music...
. It was also a favorite idiom among composers in the Classical period, especially Beethoven, who extended its use to root-position and second-inversion chords (examples include the opening of the String Quartet op.95
String Quartet No. 11 (Beethoven)
Ludwig van Beethoven's opus 95, his String Quartet No. 11 in F minor, is his last before his exalted late string quartets. It is commonly referred to as the "Serioso," stemming from his title "Quartett[o] Serioso" at the beginning and the tempo designation for the third movement.It is one of the...
, the second movement of the Hammerklavier Sonata
Piano Sonata No. 29 (Beethoven)
Ludwig van Beethoven's Piano Sonata No. 29 in B flat major, Op. 106 is a piano sonata widely considered to be one of the most important works of the composer's third period and among one of the great piano sonatas...
, and near the beginning and again in the recapitulation of the first movement of the Moonlight Sonata).
The chord is known as the "neapolitan sixth" due to the interval of a sixth between the root and third notes of the chord. For example, in the key of C major the Neapolitan sixth chord would consist of the notes D (the root note), F (the third) and A (the fifth) with the F in the bass to make it a II6 or N6 rather than a II. The interval of a sixth is between F and D.
Harmonic function
Tonality
Tonality is a system of music in which specific hierarchical pitch relationships are based on a key "center", or tonic. The term tonalité originated with Alexandre-Étienne Choron and was borrowed by François-Joseph Fétis in 1840...
harmony
Harmony
In music, harmony is the use of simultaneous pitches , or chords. The study of harmony involves chords and their construction and chord progressions and the principles of connection that govern them. Harmony is often said to refer to the "vertical" aspect of music, as distinguished from melodic...
, the function
Diatonic function
In tonal music theory, a diatonic function is the specific, recognized role of each of the 7 notes and their chords in relation to the diatonic key...
of the Neapolitan chord is to prepare the dominant
Dominant (music)
In music, the dominant is the fifth scale degree of the diatonic scale, called "dominant" because it is next in importance to the tonic,and a dominant chord is any chord built upon that pitch, using the notes of the same diatonic scale...
, substituting for the IV or ii (particularly ii6) chord. For example, it often precedes an authentic cadence, where it functions as a subdominant
Subdominant
In music, the subdominant is the technical name for the fourth tonal degree of the diatonic scale. It is so called because it is the same distance "below" the tonic as the dominant is above the tonic - in other words, the tonic is the dominant of the subdominant. It is also the note immediately...
(IV). In such circumstances, the Neapolitan sixth is a chromatic alteration of the subdominant, and it has an immediately recognizable and poignant sound. For example, in C major, the IV (subdominant) triad in root position contains the notes - F-A-C. By lowering the A by a semitone to A and raising the C by a semitone to D, the Neapolitan sixth chord F-A-D is formed. In C minor, the resemblance between the subdominant (F-A-C) and the Neapolitan (F-A-D) is even stronger, since only one note differs by a half-step. (Note that the Neapolitan is also only a half-step away from the diminished supertonic triad in minor in first inversion, F-A-D, and thus lies chromatically between the two primary subdominant function chords.)
The Neapolitan sixth chord is particularly common in minor
Minor scale
A minor scale in Western music theory includes any scale that contains, in its tonic triad, at least three essential scale degrees: 1) the tonic , 2) a minor-third, or an interval of a minor third above the tonic, and 3) a perfect-fifth, or an interval of a perfect fifth above the tonic, altogether...
keys. As a simple alteration of the subdominant triad (iv) of the minor mode, it provides contrast as a major chord
Major chord
In music theory, a major chord is a chord having a root, a major third, and a perfect fifth. When a chord has these three notes alone, it is called a major triad...
compared to the minor subdominant or the diminished supertonic triad. The most common variation on the Neapolitan chord is the Neapolitan major seventh, which adds a major seventh to the chord (this also happens to be the tonic
Tonic (music)
In music, the tonic is the first scale degree of the diatonic scale and the tonal center or final resolution tone. The triad formed on the tonic note, the tonic chord, is thus the most significant chord...
).
Further harmonic contexts
A common use of the Neapolitan chord is in tonicizationTonicization
In music, tonicization is the treatment of a pitch other than the overall tonic as a temporary tonic in a composition. Tonicization is achieved through the use of the scale and harmonies of the tonicized key. The most common method of tonicization uses leading tones, dominant-tonic chord...
s and modulations
Modulation (music)
In music, modulation is most commonly the act or process of changing from one key to another. This may or may not be accompanied by a change in key signature. Modulations articulate or create the structure or form of many pieces, as well as add interest...
to different keys. It is the most common means of modulating down a semitone, which is usually done by using the I chord in a major key as a Neapolitan chord (or a flattened major supertonic chord in the new key, a semitone below the original).
Occasionally, a minor 7th or augmented 6th is added to the Neapolitan chord, which turns it into a potential secondary dominant
Secondary dominant
Secondary dominant is an analytical label for a specific harmonic device, prevalent in the tonal idiom of Western music beginning in the common practice period...
that can allow tonicization or modulation to the V/♯IV key area relative to the primary tonic. Whether the added note were notated as a minor 7th or augmented 6th would largely depend how the chord was going to resolve. For example, in C major or C minor, the Neapolitan chord with an augmented 6th (B-natural added to Db major chord) would very likely resolve in C major or minor, or possibly into some other closely related key such as F minor; but if the extra note were considered as an added seventh (C), this would be the best notation if the music were to lead into G major or minor. (If the composer chose to lead into F♯ major or minor, very likely the Neapolitan chord would be notated enharmonically based on C# (for example: C#-E#-G#-B), although composers vary in their practice on such enharmonic niceties.)
Another such use of the Neapolitan is along with the German augmented sixth chord
Augmented sixth chord
In music theory, an augmented sixth chord contains the interval of an augmented sixth above its "root" or bass tone . This chord has its origins in the Renaissance, further developed in the Baroque, and became a distinctive part of the musical style of the Classical and Romantic periods.-Resolution...
, which can serve as a pivot chord to tonicize the Neapolitan as a tonic. In C major/minor, the German augmented sixth chord is an enharmonic
Enharmonic
In modern musical notation and tuning, an enharmonic equivalent is a note , interval , or key signature which is equivalent to some other note, interval, or key signature, but "spelled", or named, differently...
A7 chord, which could lead as a secondary dominant to D, the Neapolitan key area. As the dominant to II, the A7 chord can then be respelled as a German augmented sixth, resolving back to the home key of C major/minor.
In rock
Rock music
Rock music is a genre of popular music that developed during and after the 1960s, particularly in the United Kingdom and the United States. It has its roots in 1940s and 1950s rock and roll, itself heavily influenced by rhythm and blues and country music...
and popular music
Popular music
Popular music belongs to any of a number of musical genres "having wide appeal" and is typically distributed to large audiences through the music industry. It stands in contrast to both art music and traditional music, which are typically disseminated academically or orally to smaller, local...
, examples of its use, notated as N and without "traditional functional connotations," include Fleetwood Mac
Fleetwood Mac
Fleetwood Mac are a British–American rock band formed in 1967 in London.The only original member present in the band is its eponymous drummer, Mick Fleetwood...
's "Save Me
Save Me (Fleetwood Mac Song)
"Save Me" is a single released by British-American band Fleetwood Mac from their album Behind the Mask. It was the group's last top 40 hit in the U.S.- Credits :Fleetwood Mac* Christine McVie – keyboards, synthesizer, Lead vocals...
", Journey
Journey (band)
Journey is an American rock band formed in 1973 in San Francisco by former members of Santana. The band has gone through several phases; its strongest commercial success occurred between the 1978 and 1987, after which it temporarily disbanded...
's "Who's Crying Now
Who's Crying Now
"Who's Crying Now" is a song recorded by the American rock band Journey. It was written by Jonathan Cain and Steve Perry. It was released in 1981 as the first single from Escape and reached #4 on both the Billboard Hot 100 and the Mainstream Rock Tracks charts...
", and The Rolling Stones
The Rolling Stones
The Rolling Stones are an English rock band, formed in London in April 1962 by Brian Jones , Ian Stewart , Mick Jagger , and Keith Richards . Bassist Bill Wyman and drummer Charlie Watts completed the early line-up...
' "Mother's Little Helper
Mother's Little Helper
"Mother's Little Helper" is a song by the English rock and roll band The Rolling Stones. It first appeared as the opening track to the United Kingdom version of their 1966 album Aftermath....
". The Neapolitan sixth also figures prominently, with its traditional function, in the main title music by Harry Gregson-Williams
Harry Gregson-Williams
Harry Gregson-Williams is a prolific British composer, orchestrator, conductor, and music producer. He is best known for his film scores, of which he has composed over sixty using electronic music and orchestral pieces...
and John Powell
John Powell
John Powell is a British composer, best known for his scores to motion pictures. He has been based in the United States since 1997 and has composed the scores to over fifty feature films. He rose to fame in the late 1990s and 2000s, scoring numerous animated films, and collaborating with...
for the 1998 movie Antz
Antz
Antz is a 1998 American computer animated action adventure film produced by DreamWorks Animation. It features the voices of well-known actors such as Woody Allen, Sharon Stone, Jennifer Lopez, Sylvester Stallone, Dan Aykroyd, Anne Bancroft, Gene Hackman, Christopher Walken, and Danny Glover as...
.
Voice leading
Because of its close relationship to the subdominant, the Neapolitan sixth resolves to the dominant using similar voice-leading. In the present example of a C major/minor tonic, the D generally moves down by step to the leading tone B-natural (creating the expressive melodic interval of a diminished third, one of the few places this interval is accepted in traditional voice-leading), while the F in the bass moves up by step to the dominant root G. The fifth of the chord (A) usually resolves down a semitone to G as well. In four-part harmony, the bass note F is generally doubled, and this doubled F either resolves down to D or remains as the seventh F of the G-major dominant seventh chord. In summary, the conventional resolution is for all upper voices to move down against a rising bass.Care must be taken to avoid consecutive fifths when moving from the Neapolitan to the cadential . The simplest solution is to avoid placing the fifth of the chord in the top part. If the root or (doubled) third is in the top part, all upper parts simply resolve down by step while the bass rises. According to some theorists, however, such an unusual consecutive fifth (with both parts descending a semitone) is allowable in chromatic harmony, so long as it does not involve the lowest part. (The same allowance is often made more explicitly for the German augmented sixth, except in that case it may involve the bass – or must, if the chord is in its usual root position.)
Inversions
The flattened major supertonic chord is sometimes used in root position (in which case there may be even more concessions regarding consecutive fifths, similar to those just discussed); an example occurs in the second to last bar of ChopinFrédéric Chopin
Frédéric François Chopin was a Polish composer and virtuoso pianist. He is considered one of the great masters of Romantic music and has been called "the poet of the piano"....
's Prelude in C minor, Op. 28, No. 20. In very rare cases, the chord occurs in second inversion; for example, in Handel
George Frideric Handel
George Frideric Handel was a German-British Baroque composer, famous for his operas, oratorios, anthems and organ concertos. Handel was born in 1685, in a family indifferent to music...
's Messiah
Messiah (Handel)
Messiah is an English-language oratorio composed in 1741 by George Frideric Handel, with a scriptural text compiled by Charles Jennens from the King James Bible and the Book of Common Prayer. It was first performed in Dublin on 13 April 1742, and received its London premiere nearly a year later...
, in the aria Rejoice greatly.