EPISODE 127 HARMONIC PROGRESSION PT. 11 NEAPOLITAN CHORD
HOST- Jeremy Burns, Matthew Scott Phillips
GENRE- Ear Training
DURATION- 76:52
BUMPER MUSIC-"Metal Adjacent" (Area 47)
ANNOUNCER- Mike Cunliffe
LISTEN
DESCRIPTION
The Neapolitan chord is a great tool for modulation and for adding intrigue to any chord progression.
In this episode, we will talk about it. We will listen to it. We will test our ears and their ability to identify it!
KEYWORDS
DIATONIC- When a triad, chord or melody consists of notes solely from the given key, it is considered
to be DIATONIC.
TONIC ( I )- A note in a melody or a chord in a progression based on scale degree 1 of the given key.
SUPERTONIC ( ii )- A note in a melody or a chord in a progression based on scale degree 2 of the given key.
MEDIANT ( iii )- A note in a melody or a chord in a progression based on scale degree 3 of the given key.
SUBDOMINANT ( IV )- A note in a melody or a chord in a progression based on scale degree 4 of the given key.
DOMINANT ( V )- A note in a melody or a chord in a progression based on scale degree 5 of the given
key.
SUBMEDIANT ( vi )- A note in a melody or a chord in a progression based on scale degree 6 of the
given key.
SUBTONIC ( VII )- A note in a melody or a chord in a progression based on scale degree b7 of the
given key.
LEADING TONE ( vii°)- A note in a melody or a chord in a progression based on scale degree 7 of the
major key or #7 of a minor key.
SEVENTH (7)- This would be the 4th chord tone added to a TRIAD. It will be a 7th above the root of
the given chord. It can be major, minor, augmented or diminished.
SECONDARY DOMINANT ( V/ )- This chord can act as a dominant function to a chord other than the
tonic.
NEAPOLITAN CHORD (N or bII)- This is a major chord based on scale degree ,2 in major or minor.
*It should be noted that all the above Roman numeral examples given were shown as uppercase
(major) or lowercase (minor) as they relate to the MAJOR SCALE, as seen below:
I - ii - iii - IV - V - vi - vii° - I
In the MINOR SCALE, the diatonic chords will be
built as seen below:
i - ii° - III - iv - v - VI - VII - i
EXAMPLES
The following examples reflect the opening examples on episode 127.
Though the arrangement of notes may not be 100% accurate, the progressions will be the same.
THE NEAPOLITAN CHORD IN MAJOR
-See the chord in measure 2. We are in the key of D major and this chord contains the notes Eb, G and Bb.
The notes Eb and Bb do not naturally occur in D major. They are considered CHROMATIC.
-This is a major triad built on the flattened scale degree 2 (b2), also known as the Neapolitan chord (N).
-You may notice in the bass clef that there are parallel 5ths occurring as the D and A in measure 1 move to the Eb and Bb in measure 2. Some consider this to be improper part writing. This solution is to invert the Neapolitan chord by putting the 3rd in the bass.
It then becomes the N6 chord.
THE NEAPOLITAN 6 CHORD IN MAJOR
-With the Neapolitan chord in 1st inversion, we now have no parallel motion. This is the beauty of the Neapolitan 6 chord (N6). This Eb chord in first inversion (with the G in the bass voice) is shown as Eb "/" G, with the chord on the left of the slash and it's bass note on the right, as depicted above the staff! Pop and jazz lead sheets tend to use this device.
THE NEAPOLITAN 6 CHORD IN MINOR
-Again see the chord in measure 2. We are now in the key of D minor and this chord contains the notes Eb, G and Bb.
The note Eb does not occur in D minor but Bb and G does. So in minor this chord "blends in" a little better.
-In minor we have the same problem with parallel 5ths in the root position Neapolitan chord.
For this reason the N6 chord is more often utilized in both major and minor.
LET'S LISTEN
Let's take four listens to identify this chord progression.
Below is a good strategy on how to use your listens wisely for each time the progression is played.
1st LISTEN- THE BASS
Use this listen to focus on the bass line.
In our first example, we hear the following scale steps in the bass, beginning with scale degree 1 (G):
1 - 4 - 5 - 1
Notate it!
2nd LISTEN-THE HIGHEST NOTE
Use this listen to focus on the melody or the soprano voice.
When you hear that note, try to identify what scale degree it is and where it goes from there.
Sometimes singing (in your head), from the identified note down to the the tonic, can help zero in on what scale degree it is. In this case, we hear that scale degree 5 begins the following progression in the highest voice:
5 - b6 - 5 - 5
Notate it!
3rd LISTEN-THE THEORY BRAIN
Something harmonic is coming together! We now have enough information to ENGAGE OUR THEORY BRAIN and start making educated guesses at how this progression might develop. Here's an example of the process:
-1st CHORD- Has two notes from the tonic chord (G and D) and sounds like a major chord. The tonic is in the bass as well. Let's call it I.
-2nd CHORD- This is a major chord but it feels a little strange in the progression, probably because of that b6 in the upper voice. The scale degrees 4 and b6 are both in the Neapolitan chord. This chord holds a predominant function, just like the N chord would. Let's call this the N chord.
-3rd CHORD- This chord is major. The two notes we have identified are both D notes (scale degree 5). The following chord gives us a sense of resolution. Let's call this a V chord.
-4th CHORD- Finally, we have a major chord that includes scale degrees 1 and 5 (G and D). Both of these notes are in the G major chord (the tonic). We feel resolution when we hear this chord. This must be the I chord.
4th LISTEN-CONFIRMATION
Ideally, this listen will be your confirmation listen. Here's what it will look like:
NOW LISTEN AS WE APPLY THIS APPROACH TO THE NEXT EXAMPLES
THINGS TO REMEMBER
-When trying to determine which scale degree is in the highest voice, try singing down the scale from that note. If you feel you've reached the TONIC on the 3rd note down, that note is the 3rd. If you can keep going, perhaps not.
-Try practicing progressions using these chords, using CHORALE or KEYBOARD styles.
-Don't neglect the MINOR keys while working on these progressions.
-Try to get good at singing "in your head" or to your self. When you hear a chord, try to arpeggiate the notes in your head.
-Try to get good at identifying the bass lines when listening to music. These will be the first that you will want to identify when taking your listening exams.
-Budget your listens wisely. First identify the lowest notes. Second, identify the highest notes. Use the third listen to engage your theory brain and then the fourth to confirm.
