V. Chromaticism
Neapolitan 6th (♭II⁶)
Brian Jarvis
Key Takeaways
- The major triad built on ra [latex](\downarrow\hat2)[/latex] is a chromatic predominant chord called a Neapolitan sixth (♭II6).
- ♭II is typically found in first inversion (♭II6).
- In voice leading, ra resolves down to ti [latex](\downarrow\hat2-\hat7)[/latex].
The Neapolitan sixth (♭II6) is a chromatic predominant chord. It is a major triad built on ra [latex](\downarrow\hat{2})[/latex] and is typically found in first inversion. While the name “Neapolitan” is a reference to the Italian city of Naples (Napoli), the historical connection is quite shallow, as the chord was used in many other European cities in the 18th and 19th centuries.
Context
The Neapolitan sixth is essentially a chromatic version of a iio6 chord. It functions the same and can be used in the same context, but it has a more dramatic effect because of its chromatic root, ra [latex](\downarrow\hat{2})[/latex]. Like iio6, it is typically used in a cadential context. ♭II6 can be found in major and minor keys but is more common in minor keys. Due to the similarities between ♭II6 and iio6, both are approached harmonically in the same way. Listen to
below to compare a simple cadential progression with iio6 and then with ♭II6.
Try it!
Construct the chord according to the given Roman numeral.
Voice Leading
There is a standard voice leading associated with ♭II6. In general, the chromatic tones follow standard altered-tone practice: the altered notes continue to move in the direction in which they were altered. In this case, re [latex](\hat{2})[/latex] has been lowered to ra [latex](\downarrow\hat{2})[/latex], so its tendency is to continue downward. Because ♭II6 resolves to a V chord, ultimately ra [latex](\downarrow\hat{2})[/latex] will resolve down to the closest member of the dominant triad, which is ti [latex](\uparrow\hat{7})[/latex]. Of course, the true dominant chord is often delayed by a [latex]\mathrm{cad.^6_4}[/latex] chord, and so that voice will typically have do [latex](\hat{1})[/latex] between the two: ra–do–ti [latex](\downarrow\hat{2}-\hat{1}-\uparrow\hat{7})[/latex]. Notice also that the le [latex](\downarrow\hat{6})[/latex] tends to resolve down to sol [latex](\hat{5})[/latex].
illustrates the standard voice leading (see the red and blue notes in particular).
Try it!
Practice resolving the given Neapolitan sixth chord to the indicated Roman numeral.
shows a relatively straightforward example of a ♭II6 chord occuring in the context of a cadential progression. Note that the harmonic rhythm is a half note long, so think of beats 3 and 4 in measure 6 as part of a single harmony.
Associated Progressions
Common progressions
- ♭II6–V
- ♭II6–viio7/V–V
While ♭II6 often goes directly to V (with or without a [latex]\mathrm{cad.^6_4}[/latex]), the applied chord viio7 commonly occurs between ♭II6 and V, creating the progression ♭II6–viio7/V–V (
). The added diminished chord intensifies the push toward the expected do