Why There's Only One Way to Resolve a Flat II Chord - Music Theory
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- Опубликовано: 25 июл 2024
- Resolving Neapolitan flat II chords? It's all about chord progression. This music theory lesson explains why the choice of resolution chords are limited, essentially because the chord functions as a pre dominant. We consider matters of voice leading, the smooth progression of parts, and the avoidance of parallels & false relations. We also examine how chord I in second inversion can be used between the flat II chord and the dominant chord. This video will empower you to use Neapolitan flat II chords in context.
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🕘 Timestamps
0:00 - Introduction to why there's only one way to resolve a flat II chord
0:18 - Building a Neapolitan flat II chord
1:19 - Predominant function
2:39 - Enhancing the progression
5:45 - Voice leading and inventive modulation uses
7:35 - Conclusion
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I really appreciate that you start your videos with a little review of principles used with your current topic. It helps me refresh and wrap my head around it all. And your first example of the Neapolitan going directly to V with the tritone sounded to me like a progression used in many adventure movies.
That’s great
Hearing you play the progression over and over to V, I never wanted to hear a perfect cadence more in my life 😂
😀
I was thinking the same thing 😆 I haven't watched the whole video yet. Please tell me it's coming at some point!
😀
Hmm. I'm no accomplished composer, but I do have a little piano project just sitting on my computer which utilizes the flat II. It's in C minor, in two voices, soprano and bass, and I'm using the Flat II to get that darker hint of F minor which will come later in the piece (once I write the rest of it) - that'd be chord VI in F minor. Delicious. I have a love for chord VI which I personally find a bit strange, so perhaps it should come as no surprise that I end the phrase before the Flat II with a VI chord in C minor. At least, I think it's a chord VI. All of the notes of chord VII get a little bit of stress in either melody or bass as I arpeggiate my way up to the tonic.
It struck me just now that perhaps arpeggiated chords get to dance around the rules a little more easily. Because I wrote this comment to declare that I have, for better or worse, weakly resolved the Flat II to the tonic. *evil laughter*
😀
Me too...
I believe that thinking about the Neapolitan as a predominant is not the only way, you also can see it as a triple appoggiatura to Ib (kind of gipsy-like), or even resolve to I in root position, as a kind of alternative to a plagal cadence.
Especially in major.
I tend think why were getting few 'good-sounding' options with the bII-V is due to presence of several dissonant intervals embedded within...
e.g
Db to B is moving down a Diminished 3rd
Db to D moves up an augmented unison
Ab to B moves up an augmented 2nd
There are tritones all over, between Db and G, F and B, Ab and D..
The only few better-off intervals are the minor 2nd between Ab and G, the major 2nd between F and G, and probably the minor 3rd from F to D...
I've always wondered how to work around this complex progression..
Thanks for the well-explained video.. 🙏🙏
Agreed
Very good - and I found it's worth going over the examples a few times. I liked the effective modulation around 6 minutes 15 seconds in - which I think is effectively a tritone substitution - which takes the music from C to F sharp - but this is well worth revisiting a few times. Showing the smoother transition via 1c to V makes a lot of sense in many cases - though it is genre dependent. Does it make more sense in choral music - where smooth voice leading is often essential and perhaps easier to sing? For "shock horror" effects - possibly in film movies perhaps the more direct approach would be "useful".
Absolutely. Vary the approach according to the context.
Thanks
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b6 to 7 is a rather large leap, but there are other options other than 6/4, You could also try N6maj7. b2 to 2, 4 sustain, b6 to 5, 1 to 7 - phrygian dominant borrowed chord? Or even N6dom7 and sustain the leading tone through 2 chords, though thats pretty much tritone substitution. Second inversion would make sense as well, since you could do b6 to 5 in bass. Of course for baroque four part all of this is probably heresy, but 7th chords for subdominant weren't that uncommon for 19th century, were they?
Sure. There are other resolutions. Subdominant 7ths are certainly around in the nineteenth century and Bach uses them a fair bit in the Baroque.
I’m sure it’s rare but can the bII resolve deceptively to vi? The Beatles have a song where they move from the bII in root position directly to the I skipping the V altogether. I’m guessing not very conventional.
Not very conventional but context is everything.
I've mainly come across bII in the context of bII 7th chords which in jazz harmony usually refers to the jazz equivalent of augmented sixths. So Db7 to C would be an alternative to G7 to C, i.e. they would both be dominant to tonic cadences and if you spelt the Db7 as Db, F, B natural it would be the same in appearance and function as an Italian augmented sixth. I was taught , however, that the Neapolitan sixth was a substitution of the first inversion of the subdominant IIm, or ii(b), which in C major would be Dm(b). I've come to think of this as being a predominant chord, as you mentioned. Is there really very much difference between an augmented sixth and a Neapolitan sixth? I always though there was but now I'm not really seeing it.
The Neapolitan is bII usually in first inversion. It doesn’t involve a 7th or an augmented 6th so it has a different impact from an augmented 6th. Your other point really relates to tritone substitution.
@@MusicMattersGB Right. Thank you for that clarification. It really seems to be more about the presence of dissonant intervals like the tritone and the minor seventh (aug 6th) in the bII tritone substition or its classical near equivalent, the augmented sixths. Other than that they have a lot in common. Both the Neapolitan and the augmented sixths can be seen to originate out of chromatically altered subdominant chords in first inversion. In C, the augmented sixth deriving from the subdominant F, first inversion, would give Ab, C, F#, leading to G, with or without C (c) intercalated and then to tonic C so it would really be a predominant chord just like the Neapolitan sixth. The Neapolitan is a substitution of subdominant ii and the augmented sixth is derived from the subdominant IV but it's the presence of the tritone and the 'seventh' that makes the real difference, it seems. Have you done a video on the augmented sixth?
@nigelhaywood9753 Yes.
@@MusicMattersGB I'll check that out. Thanks!
@nigelhaywood9753 😀
But we can go, by a chromatic bass movement, to the diminished seventh chord of the fift degree... 🤔
Sure