Neapolitan 6th

[Ron Ofir]

Usually the English translation is "Little Prelude".

Oops And I assume the author meant the one in C major.

[stevel]

Originally Posted by MaestroX

The general consensus here states that N⁶ resolves onto V, though it is possible to resolve onto Ic, which would then obviously resolve to V. This allows a smooth stepwise movement in all voices.

I just wanted to point out something for those of you that might be wondering about the analysis notation here (see Maestro X's post with examples prior to this post).

Modern authors use Roman Numerals with Inversion Symbols. If the root of a chord is adjusted, then the RN takes on that adjustment, so the Neapolitan, being built on flat 2, becomes bII (same with things like bIII, bVI, and bVII as mode mixture in a Major key).

In these examples, the inversion symbols are closer to figured bass (modern IS are not figured bass, but only patterned after Fig bass which is why you see the natural signs.

So since a Neapolitan doesn't have an accidental on the bass note (even in figured bass) they don't put a "b" in front of their II here. The "6-natural" shows what you would have seen in figured bass.

So in Cm, you'd see an F bass note, with a 6b in the figures, telling you it's F Ab Db. So here you see their RN "II" with the 6-natural or 6-flat (depending on the key) to tell you that the root (that is, the note that's a 6th above the bass note) is lowered.

Is this Piston Chris? (the V^o symbols look like it)

If so, I think in later editions they start using the "b" sign in front of the II like other authors. In fact, more recently, authors have gotten away from calling it a bII and call it "N" specifically.

Peace,
Steve

[cyrus]

One of its most beautiful usages is solving N6 on fifth degree then cadence to I; by moving the base of N6 to the leading note in Vth degree
(Ex: In C Major, N6 will be "Reb+Fa+Lab" so move Reb to Si in "Sol-Si-Re" and then Si to Do in C Major.......although a diminished third arises but its result is really unique.)

[stevel]

Originally Posted by cyrus

One of its most beautiful usages is solving N6 on fifth degree then cadence to I; by moving the base of N6 to the leading note in Vth degree
(Ex: In C Major, N6 will be "Reb+Fa+Lab" so move Reb to Si in "Sol-Si-Re" and then Si to Do in C Major.......although a diminished third arises but its result is really unique.)

Translation:

Ab - G
F - D
Db - B

Note the diminished 3rd in the bass. This is actually the normal movement of scale degree b2 in a N to V progression (though it may move through Do first) but it's less common to have it in the bass as here. Though I agree, it does make for a unique sound.

Steve