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The Neapolitan sixth (♭II⁶) is a chromatic predominant chord. It is a major triad built on ra [latex](\downarrow\hat{2})[/latex] and is typically found in first inversion. While the name “Neapolitan” is a reference to the Italian city of Naples (Napoli), the historical connection is quite shallow, as the chord was used in many other European cities in the 18^th and 19^th centuries.

Context

The Neapolitan sixth is essentially a chromatic version of a ii^o6 chord. It functions the same and can be used in the same context, but it has a more dramatic effect because of its chromatic root, ra [latex](\downarrow\hat{2})[/latex]. Like ii^o6, it is typically used in a cadential context. ♭II⁶ can be found in major and minor keys but is more common in minor keys. Due to the similarities between ♭II⁶ and ii^o6, both are approached harmonically in the same way. Listen to Example 1 below to compare a simple cadential progression with ii^o6 and then with ♭II⁶.

Example 1. To change from ii^o6 to ♭II⁶, lower [latex]\mathit{\hat{2}}[/latex] (re to ra).

Voice Leading

There is a standard voice leading associated with ♭II⁶. In general, the chromatic tones follow standard altered-tone practice: the altered notes continue to move in the direction in which they were altered. In this case, re [latex](\hat{2})[/latex] has been lowered to ra [latex](\downarrow\hat{2})[/latex], so its tendency is to continue downward. Because ♭II⁶ resolves to a V chord, ultimately ra [latex](\downarrow\hat{2})[/latex] will resolve down to the closest member of the dominant triad, which is ti [latex](\uparrow\hat{7})[/latex]. Of course, the true dominant chord is often delayed by a [latex]\mathrm{cad.^6_4}[/latex] chord, and so that voice will typically have do [latex](\hat{1})[/latex] between the two: ra–do–ti [latex](\downarrow\hat{2}-\hat{1}-\uparrow\hat{7})[/latex]. Notice also that the le [latex](\downarrow\hat{6})[/latex] tends to resolve down to sol [latex](\hat{5})[/latex]. Example 2 illustrates the standard voice leading (see the red and blue notes in particular).

Example 2. Standard voice-leading paradigms when ♭II⁶ resolves to V.

Example 3 shows a relatively straightforward example of a ♭II⁶ chord occuring in the context of a cadential progression. Note that the harmonic rhythm is a half note long, so think of beats 3 and 4 in measure 6 as part of a single harmony.

Example 3. Frederic Chopin, Nocturne in F minor, Op. 55, no. 1. Neapolitan sixth as part of a cadential progression.

Associated Progressions

Common progressions

• ♭II⁶–V
• ♭II⁶–vii^o7/V–V

While ♭II⁶ often goes directly to V (with or without a [latex]\mathrm{cad.^6_4}[/latex]), the applied chord vii^o7 commonly occurs between ♭II⁶ and V, creating the progression ♭II⁶–vii^o7/V–V (Example 4). The added diminished chord intensifies the push toward the expected dominant.

Example 4. Using vii^o7 between ♭II⁶ and V.

Less Common Uses

As mentioned above, the Neapolitan mostly appears in a small number of stock harmonic progressions. Less often, however, the Neapolitan can be found in root position ♭II, and it may lead to an inverted dominant instead of the root-position version [latex](\mathrm{V^4_2}[/latex] in particular).

While the Neapolitan is most often used as a single chord within a cadential progression, it—like any other chord—can be prolonged through an extended tonicization or even used as a key area, as in Example 5. ♭II is introduced first as a temporary tonic and elaborated with a pedal point, then the phrase ends with a typical cadential progression with the Neapolitan sixth: ♭II⁶–vii^o7/V–V⁷–i.

Example 5. “Erlkönig” by Franz Schubert (1815; excerpt begins at 3:23) tonicizes the Neapolitan chord and then uses it as part of a cadential progression.

1. Neapolitan Sixths (.pdf, .docx). Asks students to spell ♭II⁶, realize figured bass, write 4-part voice-leading with Roman numerals, and analyze a musical excerpt.