Introduction to the Neapolitan Chord

The Theory of the Neapolitan Chord

• The Neapolitan chord, also known as the Neapolitan Sixth because it almost always appears in first inversion, describes a major triad whose root is the lowered supertonic. The solfege syllables of the chord are ra, fa, and le. However, since it appears in first inversion, we usually describe the solfege of the Neapolitan chord as fa-le-ra.
• Therefore, if you suspect you have heard a Neapolitan chord in a harmonic dictation, listen out for fa in the bass.
• It is acceptable to spell the chord analysis as N⁶ or as ♭II⁶.
• Function: the Neapolitan chord precedes the dominant, often substituting for IV, iv, ii⁶, or ii⁰⁶. It most commonly appears in minor keys, though it is possible for it to appear in major keys also.

In Context – Harmonic Dictation

• Notice fa in the bass, plus the telltale ra in the soprano voice. That’s how we know this isn’t chord iv or ii⁰⁶.
• For voice-leading reasons, it’s quite common for i^6/4 to come between the Neapolitan chord and the dominant. (You’ll recall that i^6/4 has dominant function.) In the following example, adding i^6/4 between the Neapolitan chord and V⁷ means the soprano doesn’t have to sing ra-ti, which many singers find awkward.

• For voice-leading reasons, it’s quite common for i^6/4 to come between the Neapolitan chord and the dominant. (You’ll remember that i^6/4 has dominant function too.)

In Context – Singing

• Please practice singing the following exercise in a variety of key signatures until you feel comfortable building a Neapolitan chord from any given tonic.
• You will be asked in your final audit to build a Neapolitan chord, so take steps to become adept at this now.