1 Chromatic Harmony (Substituition): b) Neapolitan Sixth Chord

Copyright © 2017 by Ainolnaim Azizol
All rights reserved.
Updated: 5 April 2017

1.b)1. Neapolitan Sixth Chord

  • Neapolitan sixth chord is an altered or modified supertonic chord: flattened root and fifth chord tone (without associating with any relative and parallel keys).
  • In both major and minor key, the supertonic (ii) chord has harmonic quality of a minor chord. By flattening the root and fifth, the ii is substituted with bII (major chord quality).
  • Neapolitan sixth chord usually used in a minor key music.
N62.png
Figure 1.b)1

1.b)2. Neapolitan sixth chord in 4-part Writing

  • The bII is usually in first inversion, written as N6 and progress to dominant (V) chord (may delayed with some diatonic predominant chords: ii, IV, vi and I6-4 and chromatic predominant chords: V/V, vii/V and Augmented Sixth Chords). However, N6 may sometimes be found in root position and may become tonicized chord (vii/N6-N6).
  • The 3rd tone chord of N6 (bass note) need to be doubled and sometimes, N6 may contains 7th tone.
  • The chord voicing must have at least one chromatic tone chord resolved and more or equal contrary motion against the bass.
  • The chromatic tone(s) must not be doubled.
  • Chromatic voice leading must be avoided, except for Leading-tone (LN).
N6.png
Figure 1.a)2

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Copyright © 2017 by Ainolnaim Azizol
All rights reserved.
Updated: 5 April 2017
This page can be cited as (APA format 6th Edition): Azizol, A. 2017. Music Theory: Metric and Tonal Structure. Retrieved from http://www.ainolnaim.wordpress.com