MUS 357– Aaron Grant INTRODUCTION TO THE NEAPOLITAN SIXTH ßII is a major chromatic chord whose root is lowered 2.^ The chord typically appears in minor keys in first inver- sion, and is more commonly known as a Neapolitan sixth (or N6). The chord most often appears in minor keys in place of ii°6. The Neapolitan can be easily spotted given the need for a flat or natural sign on2^ depending on the key signature. KEY POINTS 1. In nearly all cases, this chord appears in first inversion. 2. To spell Neapolitan sixth chords, simply find its root—ß^2—and build a major triad on top, then place the chord in first inversion. 3. It is most common to double the bass (4)^ of the N6 chord in four-part writing. 4. Like ii°6, the Neapolitan sixth functions as a predominant. 5. The N6 chord is always the final predominant chord to appear before the dominant, and can therefore be preceded by any chord that would go before the ii°6 it is substituting for, such as i, iv, or VI. VOICE-LEADING AND RESOLUTION 1. The N6 chord typically resolves directly to V, but can be followed by vii°7/V, a cadential 6/4, or both. 2. Always move ß^2 down to the leading tone (7),^ either by the interval of a diminished 3rd or through passing motion through ^ 1. 3. Watch out for parallel fifths when resolving 6N chords to a cadential 6/4. 4. In most cases, ß^6 should resolve down similar to mixture chords. The only exception is when N6 leads into vii°7/V. EXAMPLES (From Burstein and Straus 2016, 284–285) MUS 357– Aaron Grant LET’S PRACTICE! Spell N6 chords in the following keys in four-part SATB voicing. Be sure to provide the key signature! & ? { FM: gƒm: em: AM: 5 Write the following progressions using SATB spacing in the key and meter indicated. ∑∑∑∑∑∑∑∑∑∑ &# 2 2 & 4 b 4 ? ∑∑∑∑∑∑∑∑∑∑ 2 2 ?#4 b 4 {15 em: iv N6 V FM: I ßVI N6 V {& ∑∑∑∑∑∑∑∑∑∑ ? b 3 b &b b 4∑∑∑∑∑∑∑∑∑∑b 25? b 3 b { b b 4 b {& EßM: ∑∑∑∑∑∑∑∑∑∑ N6 vii°7/V V i gm: N6 V@ ! ? ∑∑∑∑∑∑∑∑∑∑ {35 & ∑∑∑∑∑∑∑∑∑∑ ? ∑∑∑∑∑∑∑∑∑∑ { MUS 357– Aaron Grant Analyze the following excerpts by providing Roman numerals and a second-level, contextual analysis. BEETHOVEN: Moonlight Sonata, mvt. 1 BEETHOVEN: Bagatelle, op. 119, no. 9.