How to use Neapolitan Chords in Major Keys - Music Composition
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- čas přidán 1. 06. 2024
- How do you use Neapolitan chords? How does a Neapolitan sixth chord resolve? What are the best approach chords to use before a Neapolitan? This music composition lesson explains the best ways to write approach chords to Neapolitan chords and the best ways to resolve them. After explaining how to form Neapolitan chords in a major key, the resolution chords are considered before going on to consider the merits or otherwise of each of the diatonic chords as approach chords. Part writing issues are illustrated and potential traps are investigated in relation to parallel 5ths & 8ves, doubling of major 3rds, and false relations, which easily create difficulties in relation to progressions involving Neapolitan chords. A useful video for people wanting to work with chromatic chords.
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🕘 Timestamps
0:00 - Introduction to how to use Neapolitan chords in major keys
1:14 - Building a Neapolitan chord in a major key
2:24 - Neapolitan resolutions
4:07 - Neapolitan approach chords
6:08 - Example 1
6:57 - Example 2
7:59 - Example 3
11:43 - Example 4
13:50 - Example 5
17:04 - Example 6
18:36 - Conclusion
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is there any way to pay in SOUTH AFRICA i do not have access to pay with international banking systtem
@@marneoswald Hi, are you able to use Visa/Mastercard payment services? PayPal, Apple or Google pay by any chance?
dunno, i have checked the sequences and the best was is to use it just as dominant alteration like G7b9#11, in 2-5-1 turn, with bass G, resolving C#->D or H ( in C9) because other variants for example with bass F sounds worse to my taste , howewer i m checking jazzy sequences...
😀
As a jazz man I love the chord III approach it sounds spicy!
Agreed
Thanks for the "musical health warning". :-) I had heard of Neapolitan chords but didn't understand how they were used until now. Your examples remind me of sections from many Hollywood soundtracks, especially action/adventure films.
They are wonderful colour chords.
Very usefull, thanks!
These aural illustrations are great, much better than the way I learned it years ago from a book. We called it the "Neapolitan sixth." I hope you will do one on the German sixth.
Glad it’s helpful. Yes, much better to learn through sound rather than through the single lens of a text book.
We’ve done the Augmented 6th chords,including the German
I remember in your last video on Neapolitan chords, you gave great pointers on using them for modulation. Love this video too!
That’s great. Thanks
A video exploring Mendelssohn's work would be great or a course, for a future idea
That’s an idea
Another excellent lesson.
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Thank you kindly.💪🙏
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here czcams.com/channels/8yI8P7Zi3yYTsypera-IQg.htmljoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
Thanks a lot for video, I really get lucky having knowledge of Neopolitan chord in major. 👍
That’s great
Thx! Never tried the I-C preceding the V. Sounds nice.
It works well
Hi, great video. I was taught that the standard voicing is to double the third of the Neapolitan chord as it’s the only note that isn’t altered. This also helps avoid parallel 5ths and octaves.
Much depends on the context but that certainly works in particular situations
I love the way the Neopolitan maj7 resolves to the 1.
Yes. Cool move
Is that possible without creating parallel fifths?
@@philb4462 No, but I don’t care honestly. Since it’s more of a chord change than independent counterpoint, it doesn’t matter that much if the voices do not sound 100% independent.
@@philb4462 a good example of how you have to know why the rule is there before you break it.
That’s the key point
A favourite moment, the Neapolitan sixth in the chorus of "Joy Division Oven Gloves" by Half Man Half Biscuit.
Excellent
Wonderful video. Way better than the explanation I got when I was doing music A-level 30 years ago. Thank you.
I have a quick question for you if I may. What software do you use to get your keyboard at the bottom of the screen showing the notes you are playing?
Thanks! It’s called Synthesia.
Many thanks for the outstanding demonstration with a lot of musical wisdom given. I disagree though that the III chord followed by the Neapolitan is not desirable. That may be the case for conventional classical music, but it gives an unexpected "mystical" quality that is sometimes very desirable in either Film Music or Progressive Rock, for example. From there I imagine that you want to start to use the Neapolitan to launch into other keys or even Triadic Chromaticism.
Fair point. So much depends on musical context. III before the Neapolitan throws up some tricky voice leading issues but if you want to generate a character that exploits those then fair enough.
Great video, as usual!! Love Neapolitan chords. And don’t some composers sometimes use these chromatic function chords as pivot chords for modulations?
Also, I’ve watched your video about practicing an instrument, and I have a quick question. I’ve actually been composing classical style music for over a decade. (I’m self-taught theory, but fairly versed in it. I’ve composes chamber music, concertos, symphonies, fugues, etc…) But I’ve never played an instrument. I FINALLY was able to get a good keyboard (MODX8) in December, and am self-teaching myself. (I can already play a few pieces, but I still have a LONG ways to go.) Anyways, I’ve heard there 2 MAIN books instructors use and 2 more less common ones to help students develop their playing. The 2 MAIN ones are Hanon and Czerny and the other 2 are Beyer and Burgmüller. I have all the Hanon, Czerny’s Op. 599, Burgmüller’s 25 progressive pieces, and Beyer’s Op. 101. Which of these do you recommend more? Again, I compose, so I’m starting from ground zero. I’m looking for something that helps develop my playing. Just curious on your take? (At least so far I have to say that I’m enjoying Czerny more.) Thanks!! And again, great job with the video!! Enjoyed it!!
Thanks for your positive comments. Of those I would go for Hanon as a technical base but the others are more tuneful! Enjoy.
Subscribed!
Welcome!
I was asking that very question today, thanks! Edit; mind you I use them all the time in jazz, but how to use them in major keys in a common practice setting is more elusive to me.
Hopefully this video will assist with that.
Here is where I ended my theory studies in college, after four semesters of study. I just had enough. Maybe now, I can revisit and dive into the concept.
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Thanks for this great video. Always wondered how the Neapolitans work. Quick question is it the same for minor keys?
Absolutely the same. Thanks
Very nicely done! I’ve noticed it often appear in contexts where it suggests the uncanny - in keeping with its odd sound. In the use examples I wondered about moving from V7 3rd inversion to Nap6 (keeps the bass), Ib then whatever. Oh and I was surprised to see all the parallel 4ths at the top.
It’s a great chord to use for those uncanny moments.
Thanks for this. It's a very helpful reminder of how I might use a Neapolitan. I was a little confused by the example (4) of approaching from the IV. Is there a reason that the top line is an F? That seems to have a tripled root and needs a melodic leap down. Would it be better to start with a C in the soprano line, which means (1) stepwise movement in all parts; (2) contrary motion; (3) a fuller chord with a fifth and not a tripled root. Have I missed something?
That’s great. You’ve not particularly missed anything about example 4 but it’s perfectly possible to use a chord with a triple root, especially when the example provides strong multiple common notes in the same parts between the IV and the Neapolitan.
Thank you, I enjoyed that.
One possibility I have noticed is to turn the Neapolitan into a 7th cord. Perhaps this could be used to colour a plagal cadence: F maj, Db7, C maj with a top line C, B, C?
There are certainly imaginative ways to use the Neapolitan.
Great idea to add some colour to that.
I've tried this: Fmaj, Db6, Csus2. I don't know if it make any sens but sound interesting to me ;)
@@jacekj9943 If I have understood that the Db and C have to be in 2nd inversion.
HI Gareth - a very helpful video; like many I had learnt what a Neopolitan chord was, but could struggled to put it into practice. This helps. One follow-up question if I may - can one use 7t chords to avoid the tritone leaps? e.g V7- bII7b - I7c - V (or V7)?
Thanks
That’s certainly possible even though it’s an unconventional resolution of the V7. IV or IIb might be smoother approach chords.
I particularly liked going to the Neapolitan from chord IV. Before I studied music theory I enjoyed playing around with the major triads whose roots are separated by a major third. IV -> Nea looks like another example of that, and makes me wonder: Was the Neapolitan chord a historical catalyst for moving toward more chromatic harmonic motion?
That’s a good idea to play around with. Certainly it’s what we call a chromatic chord so it adds colour to the key by using notes that don’t belong to the key.
Chord movement between chords with roots a third apart are some of my favorite chromatic sounds!
😀
I already knew how to use Neapolitan chords, but now i have a couple other ideas of how to use them in my arsenal.
Excellent
Is the tonicization of the Neapolitan something that is commonly attempted? I am still pretty new to music theory but that sounds like a potentially interesting idea.
It’s certainly one of the options
What if the second degree is already lowered, based on the key that you are in? In building the N6 that is.
You’ll always need to lower the second degree regardless of the major or minor scale.
Here we are once again but now we are in Naples ! 😃
😀
This is as usual really good, but sometimes I actually want to do some of the progressions which you have dubbed as "less smooth". Surely it depends on what kind or style of music one is trying to create. It perhaps also makes a difference if one is writing for choirs or instruments, and the relative skills of the respective performers.
This video is still a very good one for reference though - thanks.
Absolutely. Everything depends on context. If it sounds good go for it!
@@MusicMattersGB I agree - but do have a slight concern. For passing exams or certain kinds of writing, then the rules/guidelines are helpful, but one also ought to have some awareness of context. Your video is very good as it shows several possibilities, but I don't dislike all the ones which are put on one side - and they could perhaps be exploited sometimes. Knowing the options is a good thing though.
Absolutely re context. I’m giving the safest examples because there will be plenty of viewers taking exams.
Isn't the Neapolitan chord the exact same thing as a Tritone substitution of the Vdom7 ??
Not quite because it doesn’t contain the 7th but it’s not far away.
Does Dvorak use a neopolitan chord at the start of his 9th symphony second movement?
Yes. That second chord is a Neapolitan
@@MusicMattersGB many thanks. A video analysing why the opening to this movement is so satisfying would be amazing!
Okay. Will try to cover that in future
So I guess using the diminished seventh as an approach chord wouldn’t work well? It would have one common note with the Neapolitan.
It’s possible but it’s not a great resolution of the diminished 7th therefore not the most obvious progression.
I think demonstrating the use of first inversion in 2) you loaded the dice by playing tenor C virtually alone. I strill think re doubled thirds you misquote the rule. Its avoid doubling thirds if possible in Primary Triads. 4th degree welcomes doubling
Chord IV is a primary triad.
@@MusicMattersGB Yes the 3rd of N6. In C major C, F and G most gravitate towards doubling. F is also the degree that abides with 'dont double the chromatic note'
@@James-io8lj F is diatonic in C major not chromatic
@@MusicMattersGB Thats what i meant. Therefore the favourite note to double in N6 in the major
@@James-io8lj 😀
You've given us a wonderful breakdown of diatonic approaches to the Neapolitan chord! Thank you for such consistently great content Mr. Green.
Another way I like to approach Neapolitan chords is to tonicize the N6 chord with either a secondary dominant or secondary vii chord.
i.e.
V7/N -> N
ii/N -> V7/N -> N
vii dim/N -> N
Another poster noticed the chromatic medient movement from the IV chord to N and I really like that sound as well!
That’s great
The Neapolitan chord has a dangerous fifth since de flattened root and flattened fifth want to descend and that would result in a parallel fifth.
You certainly have to be aware of that issue.
I can't hear the dominants in the examples around 3:10 without the tonic 😭😂 the example just sounds kind of blurry to me
It’s useful to get used to the sound of the progression. Listen especially to the bass line.
got Grade 6 Theory But Wanna Redo Plus Grades 7 & 8 Theory
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why not presenting this chord from the minor scale ? why not underlining the fact that the second inversion of the c major chord is actually a double delay of the g major chord ? etc..
Yes. It will work in the minor scale - the subject of another video.
@@MusicMattersGB I believe that it comes more naturally from the minor one
@@Faune13 I think it works in both major and minor contexts. It’s more about how and where it’s used in the musical context.
This is an unnecessary complicated way of saying one could use tritone substitutes for dominant Vs.
Not really because a Neapolitan is not a tritone substitution
This sounds very "classical".
😀