How to use Neapolitan Chords in Major Keys - Music Composition
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Date: 2022-03-28
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Comments and reviews: 10
Maestro
I think this is a great video sir, especially for ones whose first language is not English like me for I can learn deep music terms in English.
Almost perfect for me but one thing. Sorry sir but the subtitles in white (with scarce frame) on the black and white keyboard are so difficult to see and honestly, really annoying (my sight is normal).
It would be a great help for me if I could see it clearly.
Im afraid I hope you and other watchers agree with me and from the next video this part will be improved from your next video.
Thanks for your activity it-s helping me a lot!
reply
I think this is a great video sir, especially for ones whose first language is not English like me for I can learn deep music terms in English.
Almost perfect for me but one thing. Sorry sir but the subtitles in white (with scarce frame) on the black and white keyboard are so difficult to see and honestly, really annoying (my sight is normal).
It would be a great help for me if I could see it clearly.
Im afraid I hope you and other watchers agree with me and from the next video this part will be improved from your next video.
Thanks for your activity it-s helping me a lot!
reply
Cold
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.
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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.
reply
Brian
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?
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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?
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enterrupt
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!
reply
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!
reply
Bdellovibrio
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?
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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?
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Stephen
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
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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
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Phil
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?
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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?
reply
James
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
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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
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Jay
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.
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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.
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Martin
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?
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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?
reply
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