# 31. The Neapolitan Chord

## Identifying b$\hat2$ in Different Keys

Complete the table below by writing the letter name of b$\hat2$ on the line provided.

key lowered supertonic (b$\hat2$)
F# minor
G
Bb minor

Cb
A minor

Bb
G minor

Ab
E major

F
F major

Gb
Eb major

Fb
B minor

C
Db major

Ebb
C major

Db
G# minor

A
C# minor

D
D minor

Eb
Bb major

Cb
E minor

F
Ab major

Bbb
C minor

Db

## Comparing iv (IV), iio6 (ii6), and N6

Each of the exercises below shows a different key. For each key, write the subdominant, supertonic (inverted), and Neapolitan chords. Follow the examples provided to show the similarities between the three chords.

## Converting iv (IV) to N6

Each of the exercises below shows a key and a subdominant chord in root position. Convert each subdominant into a Neapolitan by replacing the chordal fifth with its chromatic upper neighbor. (Hint: Don’t forget to also lower $\hat6$ in major keys.)

## Converting iio6 (ii6) to N6

Each of the exercises below shows a key and a supertonic chord in first inversion. Convert each subdominant into a Neapolitan by lowering the chordal root by one semitone. (Hint: Don’t forget to also lower $\hat6$ in major keys.)

## Writing Neapolitan Chords in Different Keys

Each of the following exercises presents a key and the symbol for a Neapolitan chord. Write the appropriate chord on the staff provided.

## Roman Numeral Realization

Each of the following exercises consists of a starting chord in SATB voicing and a progression of Roman numerals. Complete each progression by filling in the remaining notes in all four voices, following standard voice-leading conventions as closely as possible.

## Substituting Pre-Dominant Chords with Neapolitan Chords

For each of the exercises below, first realize the progression in SATB format. Then, rewrite the progression using a Neapolitan chord instead of the given pre-dominant chord.

## SATB Part-Writing

Complete each of the exercises below, following standard voice-leading conventions as closely as possible. For more detailed instructions, strategies, and proofreading tips, consult the part-writing guide found at the beginning of this book.

### Figured Bass Realization

Write the Roman numerals that correspond with each figured bass note on the lines provided. Then, complete the progression by filling in the upper voices.

### Roman Numeral Realization

Complete the progression according to the given key and Roman numerals by filling in all four voices. The first chord of each progression has been provided for you.

### Melody Harmonization

Write the scale degree numbers of each note in the soprano melody on the lines above the staff. Then, select a suitable chord progression which incorporates the harmonies covered in this chapter to harmonize the melody and write the appropriate Roman numerals on the lines below the staff. Finally, complete the progression by filling in the remaining voices.

## Analysis

Analyze each of the following excerpts by adding a Roman numeral to each of the lines below the lower staff. Don’t forget to match your Roman numeral case (upper or lower) to the quality of the chord and use extra symbols (like o) where needed. Use bass figures to indicate inversions.

Maria Agata Szymanowska, 18 Danses de Différent Genre, 6. Waltz in A major, mm. 41-48

Mathilde Marchesi, 12 Vocalises élémentaires (Op. 13), No. 9 in C major, mm. 10-17

Johanna Kinkel, 6 Lieder (Op. 17), 2. “Schwarze Augen,” mm. 21-27

Marie de Cournand, 3 Waltzes (Op. 6), 2. “Léonile,” mm. 1-16

Johanna Kinkel, 6 Lieder (Op. 18), 5. “Wolle keiner mich fragen”

Maria Theresia von Paradis (spurious), Sicilienne in E-flat major, mm. 1-10

## License

Fundamentals, Function, and Form Copyright © 2023 by Ivette Herryman Rodriguez, Andre Mount, and Jerod Sommerfeldt is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License, except where otherwise noted.