Ch29 Lecture

d: iiº

d5

The Neapolitan 6th Chord (Ch. 29)

Aug 2015 1

The Neapolitan Sixth Chord

d: IIb b

a major triad built on the flattened supertonic

Aug 2015 2

d:

b IIb II6b

The Neapolitan Sixth Chord

(‘N6’) a major triad built on

the flattened supertonic

Aug 2015 3

1. Embellished Subdominant

#

Aug 2015 4


#6 5

Aug 2015 5


b

#6 5b

Aug 2015 6

d: i V iII6b pre-dominant

function

^ 2 in sop.bL.N.

d3 leap is characteristic

common to double bass note, as for ii6.

Aug 2015 7

2. Mendelssohn, Piano Trio in D minor, op. 49, IV.

Aug 2015 8

2. Mendelssohn

bb. 7 - 13

d: VI II6b (iv) i6

^ 2b LN

V8 76 54 3 i

5th

Schenker: "a temporary victory...won by the motif over the system." (Neue musicalische Theorien und Phantasien, 1906; published in English as Harmony.)

Aug 2015 9

3. Harmonising the Passing Note

II6b V8 76 54 3 id:

(a) Cadential 6 4

Aug 2015 10


II6b Vd:

(b) Progression to V through Secondary Dominant

Aug 2015 11


II6b Vd: (viiº7)


Aug 2015 12


II6b Vd: (viiº7)


Aug 2015 13

2. Mendelssohn

bb. 14 - 20

d: VI IIb (V )4

2I6 I6

( V

6 44 2

i6viiº )43

tonicised

Aug 2015 14

Hyacinthe Jadin (1769 – 1800) Sonata in F sharp minor, op. 4 no. 2 (1795), III. Finale.

(Allegro)

169.

156.

f�:

S

IIn 7 6 (iiº6) V6 74 3 i

unusual!

Aug 2015 15

4. Chopin, Nocturne in C minor, op. 48 no. 1 'parenthetical progression'

cadence expected (as in bb. 23–25)

II6b (V )42 V

97

8i

Aug 2015 16

(iiø

5. Using II5 3b

IIb c:

h

A4

Aug 2015 17

( )

5. Using II5 3b

IIb c: V65 i

Aug 2015 18

( )

5. Using II5 3b

IIb c: V65 i

Aug 2015 19

( )

5. Using II5 3b

IIb c: V65 i

Aug 2015 20

6. Major Keys

II6b A:

b n

n

n n

VIn ( )

Aug 2015 21

( )

7. Schubert, Piano Sonata in A, D 959, IV.

a: II6b F: IV6 ( )6

453

i

V6 54 3 I6

pivot chord

Aug 2015 22

IIb – pre-dominant function

(usually as!!!!!! )!!II6b – can be tonicised

– can serve as a pivot chord

Aug 2015 23

Ch29 Lecture

Documents

Transcript of Ch29 Lecture