neapolitan sixth การใช้

• The abundance of Neapolitan sixths and quasi-pizzicato pedal suggests Italian influence.
• Both this section and the end of the anthem contain superb examples of the Neapolitan sixth chord.
• Because of its close relationship to the subdominant, the Neapolitan sixth resolves to the dominant using similar voice-leading.
• Examples of predominant chords are the subdominant ( IV, iv ), supertonic ( ii, ii?), Neapolitan sixth and German sixth.
• In such circumstances, the Neapolitan sixth is a chromatic alteration of the subdominant, and it has an immediately recognizable and poignant sound.
• The key of A major is the only key where a Neapolitan sixth chord on \ hat2 requires both a flat and a natural accidental.
• No overt references to the past here, not a six-four chord or a Neapolitan sixth in sight, no Mozart to keep the sense of history going.
• Though Neapolitan sixth chord . ( The only purpose for highlighting these " functions " is to compare between the modal and tonal views of the cadence.
• The Neapolitan sixth chord Everett highlighted at the end of the chorus is held for two measures, creating a short break before the beginning of the instrumental section.
• Because ii 6, ii, and neapolitan sixth chords contain the fourth scale degree in the bass, they are also considered subdominant harmonies because they substitute for the same harmonic purpose as chords built on the fourth scale degree.
• In the last seven bars a most beautiful effect is produced by the repeated use of the chord of the Neapolitan sixth to delay the final cadence and especially by the " unexpected gleaming " of A major ( bar 49 ) in the E-flat minor cadence.
• Nowadays this is mostly for academic study or analysis ( see figured bass ) but the neapolitan sixth chord is an important example; a major triad with a flat supertonic scale degree as its root that is called a " sixth " because it is almost always found in first inversion.
• Temperley says that in his works " novel harmonic effects frequently result from the combination of ordinary appoggiaturas or passing notes with melodic figures of accompaniment ", and cadences are delayed by the use of chords outside the home key ( neapolitan sixths and diminished sevenths ), or by sudden shifts to remote keys.
• The best part remembered by the audience is the introductory piano section, composed on an unusual chord progression ( D major chord-E \ flat Chord with additional sixth as musical delay of the fifth, demanding to adapt the version of major tonality, the bass being I-II 6-5 頽 D major, with a Neapolitan sixth for the second step of the chord progression.