neapolitan chord

It is in the key of E minor, and features the Neapolitan chord.

A common use of the Neapolitan chord is in tonicizations and modulations to different keys.

Neapolitan chord, in music, is a special chord in music.

For more examples of Neapolitan Chords in popular music, see List of songs with chromatic harmony.

The main harmonic idea uses the tonic chord alternating with the Neapolitan chord (the flattened supertonic major chord).

In music theory, a Neapolitan chord (or simply a "Neapolitan") is a major chord built on the lowered second (supertonic) scale degree.

In tonal harmony, the function of the Neapolitan chord is to prepare the dominant (music), substituting for the IV or ii (particularly ii6) chord.

This freedom of modulation also allowed substantial use of more distant harmonic relationships, such as the Neapolitan chord, which became very important to Romantic composers in the 19th century.

This use of the Neapolitan chord (e.g. the flatted supertonic) is an important structural element in the work, also being the basis of the main theme of the finale.

The major Locrian scale is the 5th mode of the Neapolitan scale, which may be used in conjunction with the Neapolitan chord, but is not limited to it.

The most common variation on the Neapolitan chord is the Neapolitan major seventh, which adds a major seventh to the chord (this also happens to be the tonic).

The harmonic relationships in the first eight bars, marked by a deceptive twist to bar 4 and a Neapolitan chord in bar 7, are shown in a harmonic reduction.

Although the flattened submediant moves similarly to the flattened supertonic, the transition from a root position Neapolitan chord to a first inversion dominant has more outward motion than the first inversion, whose notes all move towards tonic.

It is the most common means of modulating down a semitone, which is usually done by using the I chord in a major key as a Neapolitan chord (or a flattened major supertonic chord in the new key, a semitone below the original).

Written in first inversion of the A flat major chord, it is a Neapolitan chord that implies a majestic aura, ending in a dissonant, questioning left hand chord D, G, and E-flat that is not resolved until later on in the piece.

Nevertheless, when creating a chord sequence in which the Neapolitan chord at the fifth position is music-syntactically less irregular than a Neapolitan chord at the third position, the amplitude is higher at the third position (see figure 4...).

The use of a root position Neapolitan chord may be appealing to composers who wish for the chord to resolve outwards to the dominant in first inversion; the flattened supertonic moves to the leading tone and the flattened submediant may move down to the dominant or up to the leading tone.