{"id":856,"date":"2023-05-24T16:05:51","date_gmt":"2023-05-24T16:05:51","guid":{"rendered":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/neapolitan-sixth\/"},"modified":"2025-08-19T23:09:53","modified_gmt":"2025-08-19T23:09:53","slug":"neapolitan-sixth","status":"publish","type":"chapter","link":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/neapolitan-sixth\/","title":{"raw":"Neapolitan sixth","rendered":"Neapolitan sixth"},"content":{"raw":"<div class=\"neapolitan-sixth\">\r\n<div class=\"textbox textbox--learning-objectives\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Learning goals for Chapter 41<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">In this chapter, we will learn:<\/p>\r\n\r\n<ul>\r\n \t<li>The properties of the [pb_glossary id=\"4391\"]Neapolitan sixth[\/pb_glossary] (N6) chord<\/li>\r\n \t<li>How to spell the Neapolitan sixth chord<\/li>\r\n \t<li>Best practices for voice leading with the Neapolitan sixth<\/li>\r\n \t<li>How the Neapolitan sixth functions in musical contexts<\/li>\r\n<\/ul>\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\">The [pb_glossary id=\"4391\"]Neapolitan sixth[\/pb_glossary] chord (N6) is a striking major triad, with the root of lowered scale degree [latex]\\hat{2}[\/latex] (\u201cra\u201d). The latter part of its name\u2014Neapolitan <em>sixth<\/em>\u2014refers to the figured bass of its most commonly used position, first inversion, with its third (scale degree [latex]\\hat{4}[\/latex] or \u201cfa\u201d) in the bass. According to music theorist William Drabkin, the Neapolitan sixth:<\/p>\r\n\r\n<blockquote>\r\n<p class=\"import-Quote\" style=\"margin-left: 43.2pt;margin-right: 43.2pt\">is associated with the so-called \u201c<span class=\"import-hit\">Neapolitan<\/span> school,\u201d which included Alessandro Scarlatti, Pergolesi, Paisiello, Cimarosa and other important 18th-century composers of Italian opera; but it seems to have been an established if infrequent harmonic practice by the end of the 17th century, being used by Carissimi, Corelli and Purcell.[footnote]William Drabkin, \u201cNeapolitan sixth chord,\u201d in <em>Grove Music Online<\/em>. Oxford Music Online, <a href=\"http:\/\/www.oxfordmusiconline.com\/subscriber\/article\/grove\/music\/19658\" target=\"_blank\" rel=\"noopener\">http:\/\/www.oxfordmusiconline.com\/subscriber\/article\/grove\/music\/19658<\/a>.[\/footnote]<\/p>\r\n<\/blockquote>\r\n<p class=\"import-Normal\">The N6 has predominant (P) function and therefore usually precedes a dominantly functioning chord, such as the [pb_glossary id=\"3007\"]cadential six-four[\/pb_glossary] or V. Like other predominantly functioning chords we have studied, the N6 can substitute for any other predominant chord with scale degree [latex]\\hat{4}[\/latex] in the bass, such as IV or iv, ii6 or iio6, and ii[latex]{}^6_5[\/latex] or ii\u00f8[latex]{}^6_5[\/latex].<\/p>\r\n<p class=\"import-Normal\">The N6 is found more often in the minor mode because it has only one altered tone (lowered scale degree [latex]\\hat{2}[\/latex], or \u201cra\u201d) in minor keys. However, the N6 can appear in the major mode, where it has two altered tones (lowered scale degrees [latex]\\hat{2}[\/latex] and [latex]\\hat{6}[\/latex], \u201cra\u201d and \u201cle\u201d respectively).<\/p>\r\nStudy the following examples, and compare the diatonic progression in Example 41\u20111 with the one that uses the N6 as a predominant substitute for iio6 in Example 41\u20112.\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 41\u20111. Diatonic progression in C minor with iio6<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-41.1.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-41.1-1024x330.png\" alt=\"image of Grand Staff, three flats, 2\/2. Chords spelled in SATB voicing. Roman numerals beneath staff in C minor: one, two diminished six, one-six-four, five, one.\" width=\"1024\" height=\"330\" class=\"alignnone wp-image-4413 size-large\" \/><\/a>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-41.1.mp3\"][\/audio]\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 41\u20112. Chromatic progression in C minor with N6<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-41.2.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-41.2-1024x330.png\" alt=\"image of Grand Staff, three flats, 2\/2. Chords spelled in SATB voicing. Roman numerals beneath staff in C minor: one, N6, one-six-four, five, one.\" width=\"1024\" height=\"330\" class=\"alignnone wp-image-4412 size-large\" \/><\/a>\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-41.2.mp3\"][\/audio]\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox textbox--key-takeaways\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">T74 N6 video 1: The basics (5:24)<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nhttps:\/\/youtu.be\/p7Cqqja5g4Q\r\n\r\nIn this video, we learn about the basic features of the [pb_glossary id=\"4391\"]Neapolitan sixth[\/pb_glossary], then study and listen to Examples 41-1 and 41-2.\r\n\r\n<\/div>\r\n<\/div>\r\nTo see the Neapolitan chord in action, work through Exercise 41-1 or watch video T75, which features the N6 in a beautiful piece by Beethoven.\r\n<h1><a id=\"EXERCISE 41-1 Mini analysis with the N6\"><\/a>EXERCISE 41-1 Mini analysis with the N6<\/h1>\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 41-1 Mini analysis with the N6<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">Study and listen to the following excerpt. Identify the key and label all Roman numerals and cadences. Circle and label all non-chord tones.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 41\u20111. Ludwig van Beethoven, Piano Sonata no. 14, op. 27, no. 2, mvt. 1, mm. 1\u20135<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image133-1.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image133-1.png\" alt=\"image of score with blanks beneath staff for key and Roman numeral labels\" width=\"1081\" height=\"623\" class=\"alignnone\" \/><\/a><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-41.1.mp3\"][\/audio]\r\n\r\nListen to a recording of the full movement, performed by Mikhail Pletnev, on <a href=\"https:\/\/open.spotify.com\/track\/61EIXgw6PGXYHorrPbXaIg?si=66f5fcfeda1b448b\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about German composer <strong>Ludwig van Beethoven<\/strong> (1770\u20131827) by reading this <a class=\"rId255\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.40026\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Joseph Kerman and others.\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex41.1-Mini-analysis-with-N6.pdf\" target=\"_blank\" rel=\"noopener\">Ex41.1 Mini analysis with N6<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox textbox--key-takeaways\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">T75 N6 video 2: Analysis (3:45)<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nhttps:\/\/youtu.be\/IufafDZfYFE\r\n\r\nIn this video, we examine the opening phrase of the first movement from Beethoven's Piano Sonata no. 14 (Worksheet example 41-1), which features a prominent N6 chord.\r\n\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"EXERCISE 41-2 Spelling N6 chords\"><\/a>EXERCISE 41-2 Spelling N6 chords<\/h1>\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 41-2 Spelling N6 chords<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">On a separate sheet of staff paper, provide key signatures for each problem and spell each N6.<\/p>\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image134-1.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image134-1.png\" alt=\"Two blank bass clef staves labeled Set 1 and Set 2 with keys written beneath. Each key label is followed by N6. Set 1: A minor, B minor, F major, G minor, E minor. Set 2: D major, C-sharp minor, F-sharp minor, F minor, A-flat major.\" width=\"1379\" height=\"513\" class=\"alignnone\" \/><\/a><\/p>\r\n\r\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex41.2-Spelling-N6-chords.pdf\" target=\"_blank\" rel=\"noopener\">Ex41.2 Spelling N6 chords<\/a><\/div>\r\n<div class=\"textbox shaded\">Want more practice spelling N6 chords? Try this drill: <a class=\"rId259\" href=\"https:\/\/www.teoria.com\/en\/exercises\/n6c.php\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Neapolitan sixth chords construction (<\/span><span class=\"import-Hyperlink\">teoria<\/span><span class=\"import-Hyperlink\">)<\/span><\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox shaded\">\r\n\r\nAccess a slideshow with introductory content from this chapter here: <a class=\"rId258\" href=\"https:\/\/docs.google.com\/presentation\/d\/17Y62PjdtD0R-xYGoH6jD-mQt-6OsmqzRRpkuHjsgwM4\/edit?usp=sharing\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">N6 slideshow<\/span><\/a>\r\n\r\n<\/div>\r\n<h1><a id=\"EXERCISE 41-3 Analysis with N6\"><\/a>EXERCISE 41-3 Analysis with N6<\/h1>\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 41-3 Analysis with N6<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">Study and listen to Worksheet example 41\u20112, which appears below, and complete the following tasks:<\/p>\r\n\r\n<ol>\r\n \t<li>Identify the key: _______<\/li>\r\n \t<li>Provide chord symbols above the staff for mm. 36\u201340 and mm. 44\u201350. Describe the type of harmonic process used in these passages.<\/li>\r\n \t<li>Provide a Roman numeral analysis beneath the staff for mm. 52\u00ad\u201367.<\/li>\r\n \t<li>What type of chromatic chord occurs in mm. 19\u201320?\r\nWhat function does this chord have in the phrase?\r\nWhat is unusual about the appearance of this chord in mm. 19\u201320?\r\nThis chord recurs near the end of the song. In which measures does this happen? How is the appearance of this chord near the end different from its first appearance in mm. 19\u201320?<\/li>\r\n \t<li>Study the setting and translation of the text, provided in a link beneath the example. In a few sentences, describe the interaction of text and music (such as word painting, connections with texture, harmony, etc.).<\/li>\r\n<\/ol>\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 41\u20112. Josephine Lang, op. 5, no. 3, \u201cGl\u00fcckliche Fahrt\u201d<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-41.2-pt1-rev.png\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-41.2-pt1-rev-922x1024.png\" alt=\"image of score\" width=\"922\" height=\"1024\" class=\"alignnone size-large wp-image-5867\" \/><\/a><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-41.2-pt2-revised.png\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-41.2-pt2-revised-819x1024.png\" alt=\"image of score\" width=\"819\" height=\"1024\" class=\"alignnone size-large wp-image-5872\" \/><\/a><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-41.2-pt3-revised.png\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-41.2-pt3-revised-1024x662.png\" alt=\"image of score\" width=\"1024\" height=\"662\" class=\"alignnone size-large wp-image-5873\" \/><\/a><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-41.2-pt2-revised.png\"><\/a><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-41.2-pt1-rev.png\"><\/a>\u200b\r\n\r\nRead an English <a href=\"https:\/\/www.lieder.net\/lieder\/get_text.html?TextId=6431&amp;RF=1\" target=\"_blank\" rel=\"noopener\">translation<\/a> of the song text on <a href=\"https:\/\/lieder.net\" target=\"_blank\" rel=\"noopener\">lieder.net<\/a>.\r\n\r\nListen to a recording of this piece, arranged for voice and guitar and performed by Katharina Magiera and Christopher Brandt, on <a href=\"https:\/\/open.spotify.com\/track\/4tuyBDRTec9H2tW32fqMQD?si=6ed547aec0a6468b\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about German composer <strong>Josephine Lang<\/strong> (1815\u20131880) by reading this <a class=\"rId256\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.15965\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Marcia Citron.\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex41.3-Analysis-with-N6-rev.pdf\" target=\"_blank\" rel=\"noopener\">Ex41.3 Analysis with N6<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"Voice leading with the N6\"><\/a>Voice leading with the N6<\/h1>\r\n<p class=\"import-Normal\">When composing chord progressions that use the N6, follow these best practices for smooth voice leading:<\/p>\r\n\r\n<ul>\r\n \t<li>Double the bass (scale degree [latex]\\hat{4}[\/latex] or \u201cfa\u201d).<\/li>\r\n \t<li>The lowered scale degree [latex]\\hat{2}[\/latex] (\u201cra\u201d) should resolve ultimately to the leading tone. Lowered scale degree [latex]\\hat{2}[\/latex] (\u201cra\u201d) sometimes immediately proceeds to the leading tone, but often it passes stepwise through scale degree [latex]\\hat{1}[\/latex] (\u201cdo\u201d) to eventually lead to the leading tone. <strong>Do not resolve<\/strong><strong> lowered scale degree [latex]\\hat{2}[\/latex] (\u201c<\/strong><strong>ra<\/strong><strong>\u201d) to diatonic scale degree [latex]\\hat{2}[\/latex] (\u201cre\u201d).<\/strong><\/li>\r\n \t<li>The bass voice should resolve up from scale degree [latex]\\hat{4}[\/latex] (\u201cfa\u201d) to [latex]\\hat{5}[\/latex] (\u201csol\u201d). Sometimes another chord, such as viio7\/V, may be placed between the N6 and V. In this case, the proper voice leading in the bass would be realized as [latex]\\hat{4}[\/latex] (\u201cfa\u201d) \u2013 [latex] \\sharp\\hat{4}[\/latex] (\u201cfi\u201d) \u2013 [latex]\\hat{5}[\/latex] (\u201csol\u201d).<\/li>\r\n<\/ul>\r\n<p class=\"import-Normal\">Example 41\u20113 shows the basic voice leading between outer voices in a simple progression using the Neapolitan sixth. Video T76 walks you through this example.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 41\u20113. Voice leading structure with the N6<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image132-1.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image132-1.png\" alt=\"image of Grand Staff, three flats. Soprano: C5, D-flat 5, B-natural 4, C5. Bass: C3, F3, G3, C3. Beneath staff, Roman numerals in C minor: one, N6, five, one.\" width=\"681\" height=\"348\" class=\"alignnone\" \/><\/a><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-41.1.mp3\"][\/audio]\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox textbox--key-takeaways\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">T76 N6 video 3: Voice leading (3:44)<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nhttps:\/\/youtu.be\/hHV7Ok-d3tA\r\n\r\n<span class=\"yt-core-attributed-string yt-core-attributed-string--white-space-pre-wrap\" role=\"text\"><span class=\"yt-core-attributed-string--link-inherit-color\">In this video, we learn how voice leading with the N6 works. Takeaway: \"ra\" goes to \"ti.\"<\/span><\/span>\r\n\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"EXERCISE 41-4 Part writing with N6\"><\/a>EXERCISE 41-4 Part writing with N6<\/h1>\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 41-4 Part writing with N6<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">Given the Roman numerals and starting notes, complete each passage for four voices ([pb_glossary id=\"2799\"]SATB[\/pb_glossary]) following the voice leading guidelines we have studied.<\/p>\r\n<p class=\"import-Normal\">(1)<\/p>\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image139-1.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image139-1.png\" alt=\"image of Grand staff, key signature is 2 flats, 4\/2. First chord is G2, D4, G4, B-flat 4. Beneath staff, Roman numerals in G minor: one, N6, five, one \" width=\"1072\" height=\"475\" class=\"alignnone\" \/><\/a><\/p>\r\n<p class=\"import-Normal\">(2)<\/p>\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image140-1.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image140-1.png\" alt=\"image of Grand staff, key signature is 2 sharps, 2\/2. First chord is B2, D4, F-sharp 4, B4. Beneath staff, Roman numerals in B minor: one, N6, seven fully diminished seven of five, uppercase five\" width=\"1072\" height=\"456\" class=\"alignnone\" \/><\/a><\/p>\r\n<p class=\"import-Normal\">(3)<\/p>\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image141-1.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image141-1.png\" alt=\"image of Grand staff, key signature is 4 flats, 4\/2, four measures. First chord is F2, C4, F4, A-flat 4. Beneath staff, Roman numerals in F minor: lowercase one, uppercase six, N6, seven fully diminished seven of five, cadential six-four, five, one \" width=\"1324\" height=\"472\" class=\"alignnone\" \/><\/a><\/p>\r\n\r\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex41.4-Part-writing-with-N6.pdf\">Ex41.4 Part writing with N6<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"Sight singing with flat 2\"><\/a>Sight singing with [latex]\\flat[\/latex]2<\/h1>\r\nPractice singing melodies nos. 32 and 33 from the <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/back-matter\/melodysupplement\/\" target=\"_blank\" rel=\"noopener\">Melody supplement<\/a>. Both use scale degree [latex]\\flat\\hat{2}[\/latex] (\"ra\"). You can practice no. 32 with video S36 below.\r\n<div class=\"textbox textbox--key-takeaways\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">S36 Sight singing melody no. 32 (4:37)<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nhttps:\/\/youtu.be\/eZWRptQ__NI\r\n\r\nThis video walks you through singing melody no. 32 (Caldara canon in G minor) from the <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/back-matter\/melodysupplement\/\" target=\"_blank\" rel=\"noopener\">Melody supplement<\/a>.\r\n\r\n<\/div>\r\n<\/div>\r\n<h1><span style=\"font-family: Roboto, Helvetica, Arial, sans-serif;font-size: 1.3rem;font-weight: bold\"><a id=\"Aural identification of the Neapolitan sixth\"><\/a>Aural identification of the Neapolitan sixth<\/span><\/h1>\r\nLearning to listen for \"ra\" ([latex]\\flat\\hat{2}[\/latex]) can be a fun and useful skill to develop. To this end, several exercises below can help you train your ears to hear this striking scale degree and the related [pb_glossary id=\"4391\"]Neapolitan sixth[\/pb_glossary] chord.\r\n\r\n<\/div>\r\nFirst, it may be helpful to try some melodic dictations to focus on identifying where the \"ra\" ([latex]\\flat\\hat{2}[\/latex]) takes place and transcribing it in its rhythmic and metric context. Remember, \"ra\" ([latex]\\flat\\hat{2}[\/latex]) will always be a half step above tonic, spelled with a different letter name (the letter that comes directly after tonic), and it will require an accidental.\r\n<h1><a id=\"EXERCISE 41-5 Melodic dictation with flat-2\"><\/a>EXERCISE 41-5 Melodic dictation with [latex]\\flat[\/latex]2<\/h1>\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 41-5 Melodic dictation with flat-2<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nFor each dictation, listen to the melody up to four times. Your goal is to notate the pitch and rhythmic content of each melody on a separate sheet of staff paper. Each of these melodies features lowered scale degree [latex]\\hat{2}[\/latex]. Select the right arrow over the image to view the answer.\r\n\r\nThese dictations also appear as nos. 46\u201350 in <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/back-matter\/appendix-d-melodic-dictations\/\" target=\"_blank\" rel=\"noopener\">Appendix D<\/a>.\r\n\r\n(1) [h5p id=\"78\"]\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Exercise-41.5-no-1.mp3\"][\/audio]\r\n\r\n&nbsp;\r\n\r\n(2) [h5p id=\"79\"]\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Exercise-41.5-no-2.mp3\"][\/audio]\r\n\r\n&nbsp;\r\n\r\n(3) [h5p id=\"80\"]\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Exercise-41.5-no-3.mp3\"][\/audio]\r\n\r\n&nbsp;\r\n\r\n<span style=\"font-size: 1rem\">(4) [h5p id=\"81\"]<\/span>\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Exercise-41.5-no-4.mp3\"][\/audio]\r\n\r\n<\/div>\r\n<div class=\"textbox__content\">\r\n\r\n(5) <span>[h5p id=\"82\"]<\/span>\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Exercise-41.5-no-5.mp3\"][\/audio]\r\n\r\n&nbsp;\r\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex41.5-Melodic-dictation-with-flat-2.pdf\">Ex41.5 Melodic dictation with flat 2<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"EXERCISE 41-6 Contextual listening with the Neapolitan sixth\"><\/a>EXERCISE 41-6 Contextual listening with the Neapolitan sixth<\/h1>\r\n<div class=\"neapolitan-sixth\">\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 41-6 Contextual listening with the Neapolitan sixth<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nFirst, access the playlist here: <a href=\"https:\/\/open.spotify.com\/playlist\/4LW99ndSEgnd8tWhyCfyjd?si=5d6cd20d52e845fb\">Spotify playlist for the N6<\/a>\r\n\r\nChoose a track, and play a portion of it. Pause the recording or sing over it, and find tonic (\u201cdo\u201d) with your voice or an instrument. Sing or play \u201cra\u201d (a half step above \u201cdo\u201d) and continue listening to see if you can identify where the Neapolitan chord takes place, as it will feature lowered scale degree [latex]\\hat{2}[\/latex] (\u201cra\u201d). If you get stuck, look up the track timing on the answer key and listen again to the excerpt, cued up to the appropriate spot. The playlist also contains some of the pieces we have already studied in this chapter. It may be helpful to review those first before trying new examples.\r\n\r\nOnce you have found the Neapolitan chord, check your answer with the key here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Answers-to-EXERCISE-41.6-Contextual-listening-with-the-Neapolitan-sixth.pdf\" target=\"_blank\" rel=\"noopener\">Answers to EXERCISE 41.6 Contextual listening with the Neapolitan sixth<\/a>\r\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/12\/Ex41.6-Contextual-listening-with-the-Neapolitan-sixth.pdf\" target=\"_blank\" rel=\"noopener\">Ex41.6 Contextual listening with the Neapolitan sixth<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"EXERCISE 41-7 Contextual listening with Radiohead, \u201cA Wolf at the Door\u201d\"><\/a>EXERCISE 41-7 Contextual listening with Radiohead, \u201cA Wolf at the Door\u201d<\/h1>\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 41-7 Contextual listening with Radiohead, \u201cA Wolf at the Door\u201d<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">Transcribe as much as possible of the first 16 seconds of Worksheet example 41\u20113. Provide the key, time signature, and measure lines. Be sure to notate both the arpeggiated chordal parts as well as the bass, which begins about nine seconds into the clip. After completing the transcription, provide a Roman numeral analysis of the implied harmonies beneath the staff and answer the questions that follow.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 41\u20113. Radiohead, \u201cA Wolf at the Door,\u201d 0:00\u20130:16<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image142-1.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image142-1.png\" alt=\"image\" width=\"1431\" height=\"610\" class=\"alignnone\" \/><\/a><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-41.3.mp3\"][\/audio]\r\n\r\nListen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/66cuLvkHsW7dNkfNk6gQP9?si=c84967b89b7f4ad3\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about English rock band <strong>Radiohead<\/strong> by reading this <a class=\"rId257\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.A2267510\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Christopher Doll.\r\n\r\n<\/div>\r\n<\/div>\r\n<ol>\r\n \t<li>What type of meter best characterizes this song?<\/li>\r\n \t<li>There is a chromatic chord in this excerpt. In what measures does it occur?<br style=\"clear: both\" \/>What is the harmonic function of this chord?<\/li>\r\n \t<li>Describe the voice leading of the bass line.<br style=\"clear: both\" \/>What are the implications for this type of bass line in terms of chord voicing?<\/li>\r\n<\/ol>\r\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex41.7-Contextual-listening-with-Radiohead-A-Wolf-at-the-Door.pdf\" target=\"_blank\" rel=\"noopener\">Ex41.7 Contextual listening with Radiohead A Wolf at the Door<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"Supplemental resources\"><\/a>Supplemental resources<\/h1>\r\n<div class=\"textbox textbox--learning-objectives\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Supplemental resources for Chapter 41<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n<a href=\"https:\/\/viva.pressbooks.pub\/openmusictheory\/chapter\/bii6\/\" target=\"_blank\" rel=\"noopener\">Brian Jarvis's chapter on the Neapolitan sixth<\/a> (Open Music Theory)\r\n\r\n<a href=\"https:\/\/youtu.be\/ebWiF3XW4dU\" target=\"_blank\" rel=\"noopener\">Video on the history and early uses of the Neapolitan sixth<\/a> (Early Music Sources)\r\n\r\nEron F. S.'s video-article <a href=\"https:\/\/youtu.be\/Bg6Oxb40IL0?si=z1DVFzLpaRyHlwj1\" target=\"_blank\" data-saferedirecturl=\"https:\/\/www.google.com\/url?q=https:\/\/youtu.be\/Bg6Oxb40IL0?si%3Dz1DVFzLpaRyHlwj1&amp;source=gmail&amp;ust=1703712754267000&amp;usg=AOvVaw0LlVVY9q1QZysR8KOwK8uE\" rel=\"noopener\">\"Flat 2 as Hotness in Post-Millennial Pop\"<\/a> (SMT-V 8.5)\r\n\r\n<\/div>\r\n<\/div>\r\n<\/div>","rendered":"<div class=\"neapolitan-sixth\">\n<div class=\"textbox textbox--learning-objectives\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Learning goals for Chapter 41<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">In this chapter, we will learn:<\/p>\n<ul>\n<li>The properties of the <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_856_4391\">Neapolitan sixth<\/a> (N6) chord<\/li>\n<li>How to spell the Neapolitan sixth chord<\/li>\n<li>Best practices for voice leading with the Neapolitan sixth<\/li>\n<li>How the Neapolitan sixth functions in musical contexts<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<p class=\"import-Normal\">The <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_856_4391\">Neapolitan sixth<\/a> chord (N6) is a striking major triad, with the root of lowered scale degree <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-af5002d4be0497c609d44f228fde7f2a_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#50;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"8\" style=\"vertical-align: 0px;\" \/> (\u201cra\u201d). The latter part of its name\u2014Neapolitan <em>sixth<\/em>\u2014refers to the figured bass of its most commonly used position, first inversion, with its third (scale degree <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-d72fa039966973c90fc7392dcaa589ca_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#52;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"9\" style=\"vertical-align: 0px;\" \/> or \u201cfa\u201d) in the bass. According to music theorist William Drabkin, the Neapolitan sixth:<\/p>\n<blockquote>\n<p class=\"import-Quote\" style=\"margin-left: 43.2pt;margin-right: 43.2pt\">is associated with the so-called \u201c<span class=\"import-hit\">Neapolitan<\/span> school,\u201d which included Alessandro Scarlatti, Pergolesi, Paisiello, Cimarosa and other important 18th-century composers of Italian opera; but it seems to have been an established if infrequent harmonic practice by the end of the 17th century, being used by Carissimi, Corelli and Purcell.<a class=\"footnote\" title=\"William Drabkin, \u201cNeapolitan sixth chord,\u201d in Grove Music Online. Oxford Music Online, http:\/\/www.oxfordmusiconline.com\/subscriber\/article\/grove\/music\/19658.\" id=\"return-footnote-856-1\" href=\"#footnote-856-1\" aria-label=\"Footnote 1\"><sup class=\"footnote\">[1]<\/sup><\/a><\/p>\n<\/blockquote>\n<p class=\"import-Normal\">The N6 has predominant (P) function and therefore usually precedes a dominantly functioning chord, such as the <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_856_3007\">cadential six-four<\/a> or V. Like other predominantly functioning chords we have studied, the N6 can substitute for any other predominant chord with scale degree <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-d72fa039966973c90fc7392dcaa589ca_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#52;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"9\" style=\"vertical-align: 0px;\" \/> in the bass, such as IV or iv, ii6 or iio6, and ii<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-aa619b5ed57b73b2493f34f85752a966_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#123;&#125;&#94;&#54;&#95;&#53;\" title=\"Rendered by QuickLaTeX.com\" height=\"20\" width=\"7\" style=\"vertical-align: -5px;\" \/> or ii\u00f8<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-aa619b5ed57b73b2493f34f85752a966_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#123;&#125;&#94;&#54;&#95;&#53;\" title=\"Rendered by QuickLaTeX.com\" height=\"20\" width=\"7\" style=\"vertical-align: -5px;\" \/>.<\/p>\n<p class=\"import-Normal\">The N6 is found more often in the minor mode because it has only one altered tone (lowered scale degree <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-af5002d4be0497c609d44f228fde7f2a_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#50;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"8\" style=\"vertical-align: 0px;\" \/>, or \u201cra\u201d) in minor keys. However, the N6 can appear in the major mode, where it has two altered tones (lowered scale degrees <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-af5002d4be0497c609d44f228fde7f2a_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#50;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"8\" style=\"vertical-align: 0px;\" \/> and <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-92d0faf37742011b58b4bf8ae77dec73_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#54;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"9\" style=\"vertical-align: 0px;\" \/>, \u201cra\u201d and \u201cle\u201d respectively).<\/p>\n<p>Study the following examples, and compare the diatonic progression in Example 41\u20111 with the one that uses the N6 as a predominant substitute for iio6 in Example 41\u20112.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 41\u20111. Diatonic progression in C minor with iio6<\/p>\n<\/header>\n<div class=\"textbox__content\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-41.1.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-41.1-1024x330.png\" alt=\"image of Grand Staff, three flats, 2\/2. Chords spelled in SATB voicing. Roman numerals beneath staff in C minor: one, two diminished six, one-six-four, five, one.\" width=\"1024\" height=\"330\" class=\"alignnone wp-image-4413 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-41.1-1024x330.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-41.1-300x97.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-41.1-768x248.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-41.1-65x21.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-41.1-225x73.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-41.1-350x113.png 350w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-41.1.png 1423w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><br \/>\n<audio class=\"wp-audio-shortcode\" id=\"audio-856-1\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-41.1.mp3?_=1\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-41.1.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-41.1.mp3<\/a><\/audio><\/p>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 41\u20112. Chromatic progression in C minor with N6<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-41.2.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-41.2-1024x330.png\" alt=\"image of Grand Staff, three flats, 2\/2. Chords spelled in SATB voicing. Roman numerals beneath staff in C minor: one, N6, one-six-four, five, one.\" width=\"1024\" height=\"330\" class=\"alignnone wp-image-4412 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-41.2-1024x330.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-41.2-300x97.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-41.2-768x248.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-41.2-65x21.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-41.2-225x73.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-41.2-350x113.png 350w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-41.2.png 1423w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-856-2\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-41.2.mp3?_=2\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-41.2.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-41.2.mp3<\/a><\/audio><\/p>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--key-takeaways\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">T74 N6 video 1: The basics (5:24)<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><iframe loading=\"lazy\" id=\"oembed-1\" title=\"T74 Malawey&#39;s N6 video 1: THE BASICS\" width=\"500\" height=\"375\" src=\"https:\/\/www.youtube.com\/embed\/p7Cqqja5g4Q?feature=oembed&#38;rel=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p>In this video, we learn about the basic features of the <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_856_4391\">Neapolitan sixth<\/a>, then study and listen to Examples 41-1 and 41-2.<\/p>\n<\/div>\n<\/div>\n<p>To see the Neapolitan chord in action, work through Exercise 41-1 or watch video T75, which features the N6 in a beautiful piece by Beethoven.<\/p>\n<h1><a><\/a>EXERCISE 41-1 Mini analysis with the N6<\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 41-1 Mini analysis with the N6<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">Study and listen to the following excerpt. Identify the key and label all Roman numerals and cadences. Circle and label all non-chord tones.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 41\u20111. Ludwig van Beethoven, Piano Sonata no. 14, op. 27, no. 2, mvt. 1, mm. 1\u20135<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image133-1.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image133-1.png\" alt=\"image of score with blanks beneath staff for key and Roman numeral labels\" width=\"1081\" height=\"623\" class=\"alignnone\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-856-3\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-41.1.mp3?_=3\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-41.1.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-41.1.mp3<\/a><\/audio><\/p>\n<p>Listen to a recording of the full movement, performed by Mikhail Pletnev, on <a href=\"https:\/\/open.spotify.com\/track\/61EIXgw6PGXYHorrPbXaIg?si=66f5fcfeda1b448b\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about German composer <strong>Ludwig van Beethoven<\/strong> (1770\u20131827) by reading this <a class=\"rId255\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.40026\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Joseph Kerman and others.<\/p>\n<\/div>\n<\/div>\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex41.1-Mini-analysis-with-N6.pdf\" target=\"_blank\" rel=\"noopener\">Ex41.1 Mini analysis with N6<\/a><\/div>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--key-takeaways\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">T75 N6 video 2: Analysis (3:45)<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><iframe loading=\"lazy\" id=\"oembed-2\" title=\"T75 Malawey&#39;s N6 video 2: ANALYSIS\" width=\"500\" height=\"375\" src=\"https:\/\/www.youtube.com\/embed\/IufafDZfYFE?feature=oembed&#38;rel=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p>In this video, we examine the opening phrase of the first movement from Beethoven&#8217;s Piano Sonata no. 14 (Worksheet example 41-1), which features a prominent N6 chord.<\/p>\n<\/div>\n<\/div>\n<h1><a><\/a>EXERCISE 41-2 Spelling N6 chords<\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 41-2 Spelling N6 chords<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">On a separate sheet of staff paper, provide key signatures for each problem and spell each N6.<\/p>\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image134-1.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image134-1.png\" alt=\"Two blank bass clef staves labeled Set 1 and Set 2 with keys written beneath. Each key label is followed by N6. Set 1: A minor, B minor, F major, G minor, E minor. Set 2: D major, C-sharp minor, F-sharp minor, F minor, A-flat major.\" width=\"1379\" height=\"513\" class=\"alignnone\" \/><\/a><\/p>\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex41.2-Spelling-N6-chords.pdf\" target=\"_blank\" rel=\"noopener\">Ex41.2 Spelling N6 chords<\/a><\/div>\n<div class=\"textbox shaded\">Want more practice spelling N6 chords? Try this drill: <a class=\"rId259\" href=\"https:\/\/www.teoria.com\/en\/exercises\/n6c.php\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Neapolitan sixth chords construction (<\/span><span class=\"import-Hyperlink\">teoria<\/span><span class=\"import-Hyperlink\">)<\/span><\/a><\/div>\n<\/div>\n<\/div>\n<div class=\"textbox shaded\">\n<p>Access a slideshow with introductory content from this chapter here: <a class=\"rId258\" href=\"https:\/\/docs.google.com\/presentation\/d\/17Y62PjdtD0R-xYGoH6jD-mQt-6OsmqzRRpkuHjsgwM4\/edit?usp=sharing\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">N6 slideshow<\/span><\/a><\/p>\n<\/div>\n<h1><a><\/a>EXERCISE 41-3 Analysis with N6<\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 41-3 Analysis with N6<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">Study and listen to Worksheet example 41\u20112, which appears below, and complete the following tasks:<\/p>\n<ol>\n<li>Identify the key: _______<\/li>\n<li>Provide chord symbols above the staff for mm. 36\u201340 and mm. 44\u201350. Describe the type of harmonic process used in these passages.<\/li>\n<li>Provide a Roman numeral analysis beneath the staff for mm. 52\u00ad\u201367.<\/li>\n<li>What type of chromatic chord occurs in mm. 19\u201320?<br \/>\nWhat function does this chord have in the phrase?<br \/>\nWhat is unusual about the appearance of this chord in mm. 19\u201320?<br \/>\nThis chord recurs near the end of the song. In which measures does this happen? How is the appearance of this chord near the end different from its first appearance in mm. 19\u201320?<\/li>\n<li>Study the setting and translation of the text, provided in a link beneath the example. In a few sentences, describe the interaction of text and music (such as word painting, connections with texture, harmony, etc.).<\/li>\n<\/ol>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 41\u20112. Josephine Lang, op. 5, no. 3, \u201cGl\u00fcckliche Fahrt\u201d<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-41.2-pt1-rev.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-41.2-pt1-rev-922x1024.png\" alt=\"image of score\" width=\"922\" height=\"1024\" class=\"alignnone size-large wp-image-5867\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-41.2-pt1-rev-922x1024.png 922w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-41.2-pt1-rev-270x300.png 270w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-41.2-pt1-rev-768x853.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-41.2-pt1-rev-65x72.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-41.2-pt1-rev-225x250.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-41.2-pt1-rev-350x389.png 350w\" sizes=\"auto, (max-width: 922px) 100vw, 922px\" \/><\/a><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-41.2-pt2-revised.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-41.2-pt2-revised-819x1024.png\" alt=\"image of score\" width=\"819\" height=\"1024\" class=\"alignnone size-large wp-image-5872\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-41.2-pt2-revised-819x1024.png 819w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-41.2-pt2-revised-240x300.png 240w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-41.2-pt2-revised-768x960.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-41.2-pt2-revised-65x81.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-41.2-pt2-revised-225x281.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-41.2-pt2-revised-350x437.png 350w\" sizes=\"auto, (max-width: 819px) 100vw, 819px\" \/><\/a><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-41.2-pt3-revised.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-41.2-pt3-revised-1024x662.png\" alt=\"image of score\" width=\"1024\" height=\"662\" class=\"alignnone size-large wp-image-5873\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-41.2-pt3-revised-1024x662.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-41.2-pt3-revised-300x194.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-41.2-pt3-revised-768x497.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-41.2-pt3-revised-1536x993.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-41.2-pt3-revised-2048x1324.png 2048w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-41.2-pt3-revised-65x42.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-41.2-pt3-revised-225x145.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-41.2-pt3-revised-350x226.png 350w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-41.2-pt2-revised.png\"><\/a><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-41.2-pt1-rev.png\"><\/a>\u200b<\/p>\n<p>Read an English <a href=\"https:\/\/www.lieder.net\/lieder\/get_text.html?TextId=6431&amp;RF=1\" target=\"_blank\" rel=\"noopener\">translation<\/a> of the song text on <a href=\"https:\/\/lieder.net\" target=\"_blank\" rel=\"noopener\">lieder.net<\/a>.<\/p>\n<p>Listen to a recording of this piece, arranged for voice and guitar and performed by Katharina Magiera and Christopher Brandt, on <a href=\"https:\/\/open.spotify.com\/track\/4tuyBDRTec9H2tW32fqMQD?si=6ed547aec0a6468b\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about German composer <strong>Josephine Lang<\/strong> (1815\u20131880) by reading this <a class=\"rId256\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.15965\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Marcia Citron.<\/p>\n<\/div>\n<\/div>\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex41.3-Analysis-with-N6-rev.pdf\" target=\"_blank\" rel=\"noopener\">Ex41.3 Analysis with N6<\/a><\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>Voice leading with the N6<\/h1>\n<p class=\"import-Normal\">When composing chord progressions that use the N6, follow these best practices for smooth voice leading:<\/p>\n<ul>\n<li>Double the bass (scale degree <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-d72fa039966973c90fc7392dcaa589ca_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#52;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"9\" style=\"vertical-align: 0px;\" \/> or \u201cfa\u201d).<\/li>\n<li>The lowered scale degree <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-af5002d4be0497c609d44f228fde7f2a_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#50;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"8\" style=\"vertical-align: 0px;\" \/> (\u201cra\u201d) should resolve ultimately to the leading tone. Lowered scale degree <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-af5002d4be0497c609d44f228fde7f2a_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#50;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"8\" style=\"vertical-align: 0px;\" \/> (\u201cra\u201d) sometimes immediately proceeds to the leading tone, but often it passes stepwise through scale degree <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-a39bc1789eaec8fb0f064f247aee204c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#49;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"7\" style=\"vertical-align: 0px;\" \/> (\u201cdo\u201d) to eventually lead to the leading tone. <strong>Do not resolve<\/strong><strong> lowered scale degree <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-af5002d4be0497c609d44f228fde7f2a_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#50;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"8\" style=\"vertical-align: 0px;\" \/> (\u201c<\/strong><strong>ra<\/strong><strong>\u201d) to diatonic scale degree <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-af5002d4be0497c609d44f228fde7f2a_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#50;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"8\" style=\"vertical-align: 0px;\" \/> (\u201cre\u201d).<\/strong><\/li>\n<li>The bass voice should resolve up from scale degree <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-d72fa039966973c90fc7392dcaa589ca_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#52;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"9\" style=\"vertical-align: 0px;\" \/> (\u201cfa\u201d) to <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-007e62d9808d6b172da8b2875347ade1_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#53;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"8\" style=\"vertical-align: 0px;\" \/> (\u201csol\u201d). Sometimes another chord, such as viio7\/V, may be placed between the N6 and V. In this case, the proper voice leading in the bass would be realized as <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-d72fa039966973c90fc7392dcaa589ca_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#52;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"9\" style=\"vertical-align: 0px;\" \/> (\u201cfa\u201d) \u2013 <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-107804a7075213c8cac46f442bb64269_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#32;&#92;&#115;&#104;&#97;&#114;&#112;&#92;&#104;&#97;&#116;&#123;&#52;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"20\" width=\"16\" style=\"vertical-align: -4px;\" \/> (\u201cfi\u201d) \u2013 <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-007e62d9808d6b172da8b2875347ade1_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#53;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"8\" style=\"vertical-align: 0px;\" \/> (\u201csol\u201d).<\/li>\n<\/ul>\n<p class=\"import-Normal\">Example 41\u20113 shows the basic voice leading between outer voices in a simple progression using the Neapolitan sixth. Video T76 walks you through this example.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 41\u20113. Voice leading structure with the N6<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image132-1.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image132-1.png\" alt=\"image of Grand Staff, three flats. Soprano: C5, D-flat 5, B-natural 4, C5. Bass: C3, F3, G3, C3. Beneath staff, Roman numerals in C minor: one, N6, five, one.\" width=\"681\" height=\"348\" class=\"alignnone\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-856-4\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-41.1.mp3?_=4\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-41.1.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-41.1.mp3<\/a><\/audio><\/p>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--key-takeaways\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">T76 N6 video 3: Voice leading (3:44)<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><iframe loading=\"lazy\" id=\"oembed-3\" title=\"T76 Malawey&#39;s N6 video 3: VOICE LEADING\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/hHV7Ok-d3tA?feature=oembed&#38;rel=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p><span class=\"yt-core-attributed-string yt-core-attributed-string--white-space-pre-wrap\" role=\"text\"><span class=\"yt-core-attributed-string--link-inherit-color\">In this video, we learn how voice leading with the N6 works. Takeaway: &#8220;ra&#8221; goes to &#8220;ti.&#8221;<\/span><\/span><\/p>\n<\/div>\n<\/div>\n<h1><a><\/a>EXERCISE 41-4 Part writing with N6<\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 41-4 Part writing with N6<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">Given the Roman numerals and starting notes, complete each passage for four voices (<a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_856_2799\">SATB<\/a>) following the voice leading guidelines we have studied.<\/p>\n<p class=\"import-Normal\">(1)<\/p>\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image139-1.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image139-1.png\" alt=\"image of Grand staff, key signature is 2 flats, 4\/2. First chord is G2, D4, G4, B-flat 4. Beneath staff, Roman numerals in G minor: one, N6, five, one\" width=\"1072\" height=\"475\" class=\"alignnone\" \/><\/a><\/p>\n<p class=\"import-Normal\">(2)<\/p>\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image140-1.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image140-1.png\" alt=\"image of Grand staff, key signature is 2 sharps, 2\/2. First chord is B2, D4, F-sharp 4, B4. Beneath staff, Roman numerals in B minor: one, N6, seven fully diminished seven of five, uppercase five\" width=\"1072\" height=\"456\" class=\"alignnone\" \/><\/a><\/p>\n<p class=\"import-Normal\">(3)<\/p>\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image141-1.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image141-1.png\" alt=\"image of Grand staff, key signature is 4 flats, 4\/2, four measures. First chord is F2, C4, F4, A-flat 4. Beneath staff, Roman numerals in F minor: lowercase one, uppercase six, N6, seven fully diminished seven of five, cadential six-four, five, one\" width=\"1324\" height=\"472\" class=\"alignnone\" \/><\/a><\/p>\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex41.4-Part-writing-with-N6.pdf\">Ex41.4 Part writing with N6<\/a><\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>Sight singing with <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/>2<\/h1>\n<p>Practice singing melodies nos. 32 and 33 from the <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/back-matter\/melodysupplement\/\" target=\"_blank\" rel=\"noopener\">Melody supplement<\/a>. Both use scale degree <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-201d9c9ad43153c8ed86e250ab46689c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;&#92;&#104;&#97;&#116;&#123;&#50;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"15\" style=\"vertical-align: 0px;\" \/> (&#8220;ra&#8221;). You can practice no. 32 with video S36 below.<\/p>\n<div class=\"textbox textbox--key-takeaways\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">S36 Sight singing melody no. 32 (4:37)<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><iframe loading=\"lazy\" id=\"oembed-4\" title=\"S36 Sight Singing Melody no. 32\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/eZWRptQ__NI?feature=oembed&#38;rel=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p>This video walks you through singing melody no. 32 (Caldara canon in G minor) from the <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/back-matter\/melodysupplement\/\" target=\"_blank\" rel=\"noopener\">Melody supplement<\/a>.<\/p>\n<\/div>\n<\/div>\n<h1><span style=\"font-family: Roboto, Helvetica, Arial, sans-serif;font-size: 1.3rem;font-weight: bold\"><a><\/a>Aural identification of the Neapolitan sixth<\/span><\/h1>\n<p>Learning to listen for &#8220;ra&#8221; (<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-201d9c9ad43153c8ed86e250ab46689c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;&#92;&#104;&#97;&#116;&#123;&#50;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"15\" style=\"vertical-align: 0px;\" \/>) can be a fun and useful skill to develop. To this end, several exercises below can help you train your ears to hear this striking scale degree and the related <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_856_4391\">Neapolitan sixth<\/a> chord.<\/p>\n<\/div>\n<p>First, it may be helpful to try some melodic dictations to focus on identifying where the &#8220;ra&#8221; (<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-201d9c9ad43153c8ed86e250ab46689c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;&#92;&#104;&#97;&#116;&#123;&#50;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"15\" style=\"vertical-align: 0px;\" \/>) takes place and transcribing it in its rhythmic and metric context. Remember, &#8220;ra&#8221; (<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-201d9c9ad43153c8ed86e250ab46689c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;&#92;&#104;&#97;&#116;&#123;&#50;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"15\" style=\"vertical-align: 0px;\" \/>) will always be a half step above tonic, spelled with a different letter name (the letter that comes directly after tonic), and it will require an accidental.<\/p>\n<h1><a><\/a>EXERCISE 41-5 Melodic dictation with <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/>2<\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 41-5 Melodic dictation with flat-2<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p>For each dictation, listen to the melody up to four times. Your goal is to notate the pitch and rhythmic content of each melody on a separate sheet of staff paper. Each of these melodies features lowered scale degree <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-af5002d4be0497c609d44f228fde7f2a_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#50;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"8\" style=\"vertical-align: 0px;\" \/>. Select the right arrow over the image to view the answer.<\/p>\n<p>These dictations also appear as nos. 46\u201350 in <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/back-matter\/appendix-d-melodic-dictations\/\" target=\"_blank\" rel=\"noopener\">Appendix D<\/a>.<\/p>\n<p>(1) <\/p>\n<div id=\"h5p-78\">\n<div class=\"h5p-iframe-wrapper\"><iframe id=\"h5p-iframe-78\" class=\"h5p-iframe\" data-content-id=\"78\" style=\"height:1px\" src=\"about:blank\" frameBorder=\"0\" scrolling=\"no\" title=\"Exercise 41.5 Melodic dictation\"><\/iframe><\/div>\n<\/div>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-856-5\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Exercise-41.5-no-1.mp3?_=5\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Exercise-41.5-no-1.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Exercise-41.5-no-1.mp3<\/a><\/audio><\/p>\n<p>&nbsp;<\/p>\n<p>(2) <\/p>\n<div id=\"h5p-79\">\n<div class=\"h5p-iframe-wrapper\"><iframe id=\"h5p-iframe-79\" class=\"h5p-iframe\" data-content-id=\"79\" style=\"height:1px\" src=\"about:blank\" frameBorder=\"0\" scrolling=\"no\" title=\"Exercise 41.5 Melodic dictation no 2\"><\/iframe><\/div>\n<\/div>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-856-6\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Exercise-41.5-no-2.mp3?_=6\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Exercise-41.5-no-2.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Exercise-41.5-no-2.mp3<\/a><\/audio><\/p>\n<p>&nbsp;<\/p>\n<p>(3) <\/p>\n<div id=\"h5p-80\">\n<div class=\"h5p-iframe-wrapper\"><iframe id=\"h5p-iframe-80\" class=\"h5p-iframe\" data-content-id=\"80\" style=\"height:1px\" src=\"about:blank\" frameBorder=\"0\" scrolling=\"no\" title=\"Exercise 41.5 Melodic dictation no 3\"><\/iframe><\/div>\n<\/div>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-856-7\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Exercise-41.5-no-3.mp3?_=7\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Exercise-41.5-no-3.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Exercise-41.5-no-3.mp3<\/a><\/audio><\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"font-size: 1rem\">(4) <\/p>\n<div id=\"h5p-81\">\n<div class=\"h5p-iframe-wrapper\"><iframe id=\"h5p-iframe-81\" class=\"h5p-iframe\" data-content-id=\"81\" style=\"height:1px\" src=\"about:blank\" frameBorder=\"0\" scrolling=\"no\" title=\"Exercise 41.5 Melodic dictation no 4\"><\/iframe><\/div>\n<\/div>\n<p><\/span><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-856-8\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Exercise-41.5-no-4.mp3?_=8\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Exercise-41.5-no-4.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Exercise-41.5-no-4.mp3<\/a><\/audio><\/p>\n<\/div>\n<div class=\"textbox__content\">\n<p>(5) <span><\/p>\n<div id=\"h5p-82\">\n<div class=\"h5p-iframe-wrapper\"><iframe id=\"h5p-iframe-82\" class=\"h5p-iframe\" data-content-id=\"82\" style=\"height:1px\" src=\"about:blank\" frameBorder=\"0\" scrolling=\"no\" title=\"Exercise 41.5 Melodic dictation no 5\"><\/iframe><\/div>\n<\/div>\n<p><\/span><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-856-9\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Exercise-41.5-no-5.mp3?_=9\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Exercise-41.5-no-5.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Exercise-41.5-no-5.mp3<\/a><\/audio><\/p>\n<p>&nbsp;<\/p>\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex41.5-Melodic-dictation-with-flat-2.pdf\">Ex41.5 Melodic dictation with flat 2<\/a><\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>EXERCISE 41-6 Contextual listening with the Neapolitan sixth<\/h1>\n<div class=\"neapolitan-sixth\">\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 41-6 Contextual listening with the Neapolitan sixth<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p>First, access the playlist here: <a href=\"https:\/\/open.spotify.com\/playlist\/4LW99ndSEgnd8tWhyCfyjd?si=5d6cd20d52e845fb\">Spotify playlist for the N6<\/a><\/p>\n<p>Choose a track, and play a portion of it. Pause the recording or sing over it, and find tonic (\u201cdo\u201d) with your voice or an instrument. Sing or play \u201cra\u201d (a half step above \u201cdo\u201d) and continue listening to see if you can identify where the Neapolitan chord takes place, as it will feature lowered scale degree <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-af5002d4be0497c609d44f228fde7f2a_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#50;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"8\" style=\"vertical-align: 0px;\" \/> (\u201cra\u201d). If you get stuck, look up the track timing on the answer key and listen again to the excerpt, cued up to the appropriate spot. The playlist also contains some of the pieces we have already studied in this chapter. It may be helpful to review those first before trying new examples.<\/p>\n<p>Once you have found the Neapolitan chord, check your answer with the key here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Answers-to-EXERCISE-41.6-Contextual-listening-with-the-Neapolitan-sixth.pdf\" target=\"_blank\" rel=\"noopener\">Answers to EXERCISE 41.6 Contextual listening with the Neapolitan sixth<\/a><\/p>\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/12\/Ex41.6-Contextual-listening-with-the-Neapolitan-sixth.pdf\" target=\"_blank\" rel=\"noopener\">Ex41.6 Contextual listening with the Neapolitan sixth<\/a><\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>EXERCISE 41-7 Contextual listening with Radiohead, \u201cA Wolf at the Door\u201d<\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 41-7 Contextual listening with Radiohead, \u201cA Wolf at the Door\u201d<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">Transcribe as much as possible of the first 16 seconds of Worksheet example 41\u20113. Provide the key, time signature, and measure lines. Be sure to notate both the arpeggiated chordal parts as well as the bass, which begins about nine seconds into the clip. After completing the transcription, provide a Roman numeral analysis of the implied harmonies beneath the staff and answer the questions that follow.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 41\u20113. Radiohead, \u201cA Wolf at the Door,\u201d 0:00\u20130:16<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image142-1.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image142-1.png\" alt=\"image\" width=\"1431\" height=\"610\" class=\"alignnone\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-856-10\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-41.3.mp3?_=10\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-41.3.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-41.3.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/66cuLvkHsW7dNkfNk6gQP9?si=c84967b89b7f4ad3\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about English rock band <strong>Radiohead<\/strong> by reading this <a class=\"rId257\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.A2267510\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Christopher Doll.<\/p>\n<\/div>\n<\/div>\n<ol>\n<li>What type of meter best characterizes this song?<\/li>\n<li>There is a chromatic chord in this excerpt. In what measures does it occur?<br style=\"clear: both\" \/>What is the harmonic function of this chord?<\/li>\n<li>Describe the voice leading of the bass line.<br style=\"clear: both\" \/>What are the implications for this type of bass line in terms of chord voicing?<\/li>\n<\/ol>\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex41.7-Contextual-listening-with-Radiohead-A-Wolf-at-the-Door.pdf\" target=\"_blank\" rel=\"noopener\">Ex41.7 Contextual listening with Radiohead A Wolf at the Door<\/a><\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>Supplemental resources<\/h1>\n<div class=\"textbox textbox--learning-objectives\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Supplemental resources for Chapter 41<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/viva.pressbooks.pub\/openmusictheory\/chapter\/bii6\/\" target=\"_blank\" rel=\"noopener\">Brian Jarvis&#8217;s chapter on the Neapolitan sixth<\/a> (Open Music Theory)<\/p>\n<p><a href=\"https:\/\/youtu.be\/ebWiF3XW4dU\" target=\"_blank\" rel=\"noopener\">Video on the history and early uses of the Neapolitan sixth<\/a> (Early Music Sources)<\/p>\n<p>Eron F. S.&#8217;s video-article <a href=\"https:\/\/youtu.be\/Bg6Oxb40IL0?si=z1DVFzLpaRyHlwj1\" target=\"_blank\" data-saferedirecturl=\"https:\/\/www.google.com\/url?q=https:\/\/youtu.be\/Bg6Oxb40IL0?si%3Dz1DVFzLpaRyHlwj1&amp;source=gmail&amp;ust=1703712754267000&amp;usg=AOvVaw0LlVVY9q1QZysR8KOwK8uE\" rel=\"noopener\">&#8220;Flat 2 as Hotness in Post-Millennial Pop&#8221;<\/a> (SMT-V 8.5)<\/p>\n<\/div>\n<\/div>\n<\/div>\n<hr class=\"before-footnotes clear\" \/><div class=\"footnotes\"><ol><li id=\"footnote-856-1\">William Drabkin, \u201cNeapolitan sixth chord,\u201d in <em>Grove Music Online<\/em>. Oxford Music Online, <a href=\"http:\/\/www.oxfordmusiconline.com\/subscriber\/article\/grove\/music\/19658\" target=\"_blank\" rel=\"noopener\">http:\/\/www.oxfordmusiconline.com\/subscriber\/article\/grove\/music\/19658<\/a>. <a href=\"#return-footnote-856-1\" class=\"return-footnote\" aria-label=\"Return to footnote 1\">&crarr;<\/a><\/li><\/ol><\/div><div class=\"glossary\"><span class=\"screen-reader-text\" id=\"definition\">definition<\/span><template id=\"term_856_4391\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_856_4391\"><div tabindex=\"-1\"><p>striking major triad with predominant function built off the root of lowered scale degree 2 (\u201cra\u201d), most often found in first inversion<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_856_3007\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_856_3007\"><div tabindex=\"-1\"><p>type of second inversion triad that has scale degree 5 in the bass and resolves to a dominant chord, extending dominant function, usually at a cadence<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_856_2799\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_856_2799\"><div tabindex=\"-1\"><p>abbreviation for four-voice music, referring to soprano, alto, tenor, bass; may apply to choral music or instrumental music in four parts<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><\/div>","protected":false},"author":3,"menu_order":41,"template":"","meta":{"pb_show_title":"on","pb_short_title":"","pb_subtitle":"","pb_authors":[],"pb_section_license":""},"chapter-type":[],"contributor":[],"license":[],"class_list":["post-856","chapter","type-chapter","status-publish","hentry"],"part":3,"_links":{"self":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/856","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters"}],"about":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/types\/chapter"}],"author":[{"embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/users\/3"}],"version-history":[{"count":81,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/856\/revisions"}],"predecessor-version":[{"id":7152,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/856\/revisions\/7152"}],"part":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/parts\/3"}],"metadata":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/856\/metadata\/"}],"wp:attachment":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/media?parent=856"}],"wp:term":[{"taxonomy":"chapter-type","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapter-type?post=856"},{"taxonomy":"contributor","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/contributor?post=856"},{"taxonomy":"license","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/license?post=856"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}