Neapolitan sixth chord

Cadence with
Neapolitan sixth chord (s ⁿ )

The Neapolitan sixth chord, or Neapolitan for short, is an altered chord . The fifth tone of the subdominant chord is replaced by the deeply altered sixth tone (in the example opposite, the second chord in A minor : d – f– b instead of d – f – a).

Properties, use

Deliberate typographical errors

The continuation of a Neapolitan sixth chord s ⁿ into the dominant D (in the A minor example above) results in a diminished third step b'- g sharp 'in the upper part and the transverse position b' (soprano) -h (tenor). Strictly speaking, both are sentences “errors”, which are, however, tolerated here because they are precisely what make the connection s ⁿ -D so attractive and give it a special, individual color. That is why the Neapolitan is also used as a prominent sound (surprise sound) at special climaxes of the piece of music, because it sets the cadence apart from the normal cadence (tsDt). If the mentioned sentence errors are to be avoided, a "normal" subdominant chord (dfa) can be inserted between the Neapolitans and the dominant.

The Neapolitan in a four-part movement

Due to the special context in which it is mostly used in the classical sixth chord formation with the following dominant, the bass note of the Neapolitan is perceived as the root note. For this reason, it is possible and common to double the third of this chord. Apart from the deliberate “sentence errors”, the Neapolitan sixth chord is treated like a subdominant with a substitute sixth (s ⁶ ).

Harmonic interpretation

In the theory of degrees , the Neapolitan is interpreted as a sixth chord of the second degree with a deeply altered root ( ♭ II). Although this explanation corresponds much less to the essence of the chord than its actual, subdominant (IV. Level) lead formation , the interpretation as a sixth chord of the II. Level explains the naming.

In functional theory , according to Hugo Riemann , it is understood as the alternating leading tone of the subdominant, in which the fifth of the subdominant triad (a) is replaced by its upper leading tone (b).

In the basic figure (see under history) the Neapolitan can also develop his own intermediate dominant. Due to its basic position, it appears weakened. He has a subdominant minor function (SDM function). In function theory , it is denoted by s ^N or simply N.

The Neapolitan sixth chord can be prepared with the intermediate dominant to the (minor) subdominant, i.e. with a T ⁷ [s], T ^v [s] or something similar. An example in which the s ^{n was} prepared with such an intermediate dominant is Franz Liszt's Liebestraum No. 3. The T ^v [s] is in the last sixth measure, the Neapolitan himself in the next.

The Neapolitan can also appear as an intermediate function like a dominant or subdominant. For example, in Brahms' "In Stiller Nacht" bars 8-10 E-flat alternate with D7. The E flat major chord has an intermediate Neapolitan function to the D7. In an analysis it can be called (N) [DG]. The D7 as DG ^7, on the other hand, aims elliptically towards Gm, the tonic counter-sound Tg.

In jazz, the basic variant ( ♭ II) would be assigned the chord scale Lydian, the classical sixth variant theoretically Aeolian. In this form, however, it is hardly used in jazz.

history

Its name, which did not appear until the end of the 19th century, was given to the sound because of its frequent use in the Neapolitan opera music of the 18th century ( Neapolitan school ), in which it was initially only used in minor keys and affects affects such as suffering, mourning and pain symbolized. An early use can be found in the lamenting end of the oratorio Jephte von Carissimi (1645). But Carlo Gesualdo also used it as early as 1595 in the final cadenza of his madrigal Languisco e moro .

The chord experienced its real heyday in the high baroque period ( Bach , Handel ) and in the Viennese classical period ( Haydn , Mozart , Beethoven , Schubert ). From the Romantic period onwards , the Neapolitan was also used in major keys (s ⁿ ). For this, not only the sixth of the subdominant, but also the third is deepened.

In later music history , the sound is also used as a basic triad (b-d'-f ') and in this form is called an "independent Neapolitan".

Examples

• Johann Sebastian Bach : Passacaglia in C minor , BWV 582, Fermata in measure 285 in D flat major
• Johann Sebastian Bach : Prelude in E flat minor , BWV 853, In measure 26 after E flat minor chord, a Fes major sixth chord
• Ludwig van Beethoven : Moonlight Sonata opus 27/2, first movement in C sharp minor, bar 3 (D major), bar 21 (G major with the modulation to F sharp minor) and bar 50 (again in D major)
• Franz Liszt : Dreams of Love , Notturno number 3 in A flat major, fifth to last measure (A major)
• Franz Schubert : Piano Sonata No. 21 in B flat major, D 960 , first sentence, implementation in C Sharp Minor, clock 128 and 129 (D Major)

literature

• Christoph Hempel: New general music theory. 6th edition. Schott, Mainz 2008 (1997), ISBN 978-3-254-08200-8 , p. 187.
• Thomas Krämer : Harmony in self-study. 5th edition. Breitkopf & Härtel, Wiesbaden 2009 (1991), ISBN 978-3-7651-0261-5 , pp. 130-139.
• Diether de la Motte : Harmony. 16th edition. Bärenreiter, Kassel 2011 (1976), ISBN 978-3-7618-2115-2 , pp. 88-92.
• Wieland Ziegenrücker: ABC music. General music theory. New edition. Breitkopf & Härtel, Wiesbaden, 2009, ISBN 978-3-7651-0309-4 , pp. 177-178.

Web links

• About the effect of the Neapolitan sixth chord
• William Drabkin:  Neapolitan sixth chord. In: Grove Music Online (English; subscription required).
• Everard Sigal: Alteration of the subdominant . Retrieved September 16, 2015
• http://www.lehrklaenge.de/HTML/der_neapolitaner.html (last accessed on July 25, 2016)
• http://www.musikanalyse.net/tutorials/neapolitaner/ (last accessed on July 25, 2016)

Individual evidence

1. ↑ Diether de la Motte : Harmony. 16th edition. Bärenreiter, Kassel 2011, ISBN 978-3-7618-2115-2 , p. 89.
2. ↑ On the Effect of the Neapolitan Sixth Chord - A minor , accessed online January 12, 2013.