The NEAPOLITAN Minor Scale And The Neapolitan Chord
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- Опубликовано: 9 июн 2024
- musictheoryforguitar.com
You've heard this sound. You've heard it many, many times in pop songs, in classical music, in guitar instrumentals, even in Jazz.
But you don't know how to make that sound (yet). So here we see that that sound is produced by a scale called "Neapolitan Minor". And every time I play it, there is a musician around asking me if I can show them what did I play exactly...
In this video, we learn how to use the Neapolitan Minor scale to make music, either as a stand-alone scale (for haunting musical landscapes) or over a common chord progression for a delightful "it's dissonant but it sounds so good" effect.
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Another masterclass in less than 7 minutes....Genius
These type of videos are my favorite. You expound the knowledge beautifully. Stay gorgeous and groovy Tomasso, thank you!
I had a thought hit me in the shower, “what if I combine the darkness of Phrygian with the darkness of Harmonic Minor....” I thought it would be too dark to sound good. I made a composition and it was just so beautifully dark, I thought I had founded a new key but when I looked up what it was... the Neapolitan Minor. I am so surprised there aren’t more metal songs in this key, it’s so deliciously dark.
its oddly beautiful isnt it?! I just love songs in this scale!!!
@@r4ndomuser861 absolutely! Since I’ve commented I’ve discovered Hungarian Minor, which is a cluster of note around the 5th... which is similar to Neapolitan Minor (a cluster around the root). But if you combine these two concepts you get a key called Todi (if it is minor) or Purvi (if it is major). On my pursuit of the perfect key, Todi is it imo. I don’t think there is any popular music composed in Todi outside of India, but it is beautiful if you compose with it.
wolf at the door by radiohead
Guys GUYS don’t be fooled it’s actually a mode from the Romania scale
I just learned about this scale. I was composing and "discovered" it and spent a good hour looking up different things to try and figure out what it was called. It has some very nice modes with the lociran bb3 and Lydian #6. Imo Lydian #6 has some beatiful chord voicings
haven't bothered learning more theory in years until I came across your videos. thanks for renewing my interest in odd chords and new scales. the old ones were getting stale XD
You are perhaps the BEST instructor on RUclips. Terrific stuff. Thank you for the gifts that you give to us.
I am a pianist and your channel helps me as much as piano channels or even more
Keep going bro u got a sub
I love how music is a universal language
Best analysis of this scale and chord I've seen so far. Thanks
I “created” this scale and called it “harmonic phrygian.” I liked using this over a standard I bII Phrygian chord progression with a V7 chord slammed in occasionally.
You never fail to amaze me/Yet again awesome class!
The way you explain things is masterful
Super duper, bro. Thnx❤
Great video. Love the time frame. Short lessons are more effective for learning, at least in my case. Thanks
It's nice to put a name to this scale that I've messed around with quite a bit. I always just thought of it as harmonic phrygian or something like that.
Excellent, thank you.
Very cool sounds!
Just what I needed. Thanks!
Wow you're awesome dude gonna buy your course
Modes of Neapolitan minor:
1. Phrygian #7
2. Lydian #6
3. Mixolydian #5 (Mixo augmented)
4. Aeolian #4
5. Locrian #3
6. Ionian #2
7. Dorian #1 (altered bb3 bb7); this is the second darkest 7-tone scale in existence.
What's the first?
Very good stuff! I rarely hear about this scale! I like this
actually learned a lot throught this, thanks !
Nice video Tommaso, as always!
Superb!
Great explanation Tommaso!
Grazie Mille
Thanks Tommaso!
Tommasso you are awesome. I love all of your content
Thank you! :)
thanks!
I was trying to figure out the Canzone du Mal de Lune melody by ear on my guitar, to figure out how they made something sound so beautiful and tragic, and was wondering - can this be right? A scale that goes from minor at one end to Byzantine at the other? And ended up here. I'm not sure I got Mal de Lune right, but this thorough straight forward explanation of the Neapolitan scale is what I need to understand that sound. Thanks.
Excellent ! Your courses on "exotic" scales have me back practicing more again, mille grazie and greetings from Berlin
Man you let's give a free course?
I don't study guitar either, but I like theory so much! Cause that I see channels like this one!
I actually use this a lot
Neapolitan culture is so great that we got a scale and a mode. Great lesson anyway
So...harmonic Phrygian , Lydian #6, augmented Mixolydian, Minor #4, Locrian Dominant, Major #2 and Dorian #1/Gigalocrian? Nice.
This is great. Thank you for sharing.
i've seen a few explanations on the scale and N6 chord and this was one of the best. Very detailed.
My only recommendation is to get rid of the background music. It is distracting from your lesson.
Thank you again for sharing your knowledge.
And also he talks fast and with the accent, its hard for me to make out some words. Dude please talk more clearer and slower for some of us. Your lessons are great :)
IMO it's easier to think of this scale starting from an Ionian #2, where the #2 can act as a "minor third" stand-in. So whatever major chords you would normally choose, like a major 6 or major 7, you could also choose a minor 6 or minor 7. In this situation, Neopolitan minor would be the III scale degree (E in C Ionian #2).
Cycling through the modes of Ionian #2:
C Ionian ♯2
D# Locrian 3
E Neapolitan Minor
F Lydian #6
G Mixolydian Augmented
A Aeolian #4
B Locrian dominant
SO many beautiful sounds. Relate this back to the modes of the C ionian scale... focus on the d# for the highlight... beautiful.
As a side note, he scratches the record when he brings up Lydian #6, as if its really complicated, but let's think about how simple it actually is -- it is a lydian scale, but you can use the #6 as a standin b7, OR the normal major 7, so you can kind of imagine it like a lydian dominant / major.
bone-bone 'uaglio! complimenti, tieni nu gran bellu canale!
saluti dalla ciociaria!
:-)
I've written something in what I thought was G Phrygian, but there are points in the progression where an F# appears (accidentally 😉). It sounds great and I don't know why. Am I using this Neapolitan minor without understanding it?
I've just modulated into the G Phrygian from Eb minor so the F# is helping to make G the tonal centre of the new phrase, but I really want to understand why it sounds so good.
“Aattuvithaal yaaroruvar” 1972 Tamil classical song in this scale
Thank you for this but PLEASE can you omit the Startrek noise in the background next time? Please… Prego…
Nardis by miles davis uses this
Ya. A Night in Tunisia too
which is the sourge scale (escala fuente) of the napolitan minor scale?? my english sucks i know, sorry
Could you please do one for Neapolitan Major too?
Sure!
Sounds like Silent Hill
What's the Backing Track for the first 1:55 seconds of this? Is there a Place to Purchase it?
Thanks for this!
I'm puzzled by the chord on G#. If you harmonize in thirds from it, you get G# A# D (F). I'm not sure what you'd call that, apart from A#7 (Bb7). G#+ makes a lot more sense, but it isn't really a scale-tone chord, is it. Can you explain?
It is a scale-tone chord because it's derived from the Neapolitan minor scale, not the diatonic minor scale. You're getting confused because you've also switched Bb which is a third above G# in this scale to its enharmonic equivalent, A#, which isn't in the scale at all. (You can't have an A *and* an A# in the same key signature.) Likewise, A#7 doesn't have a D or an F in it; those notes are properly named CX (C##) and E#.
@@JohnDAvery-tf4td Oof, yeah -- I really got the spelling wrong, didn't I? (As did the vid, I guess?)
But, with correct spelling in place, shouldn't the scale-tone chord, strictly speaking, be G# A# C## (E#), and if so, what would you call that vis-a-vis G#?
@@dividedwords - A Neapolitan minor scale is just a harmonic minor scale with the (major) 2nd flattened to a minor 2nd. So the 7th step scale-tone chord in A Neapolitan minor, spelled correctly, is still going to be G# Bb D F, not G# A# C## E# (3rd inversion of A#7). We still have to abide by the names of the notes in the scale itself. Since G# B D F is G#dim7, the Bb would make it a G#dim7(dim3)!?
How about Lydian #6 b2 - Bb Cb D E F G# A Has any name?
Looks like a mode of D Hungarian minor, but I'm not sure there's any "official" name for it
I kinda accidentally stumpled upon this scale, while improvising in the phrygian mode and went to look, whether this scale has a name
Hear Duran Duran’s “The Seventh Stranger” to hear this scale.
E G# Bb - this is augmented chord???
G# Bb D - and his inversion?
Aaah.. No!? The three notes are C E G# always.
@@Apfelstrudl - Only in C+ and its inversions. Neither Bb nor D appears in E+ or G#+. Stacking the thirds above the E and G# in keeping with scale-tone chord voicings actually results in the 5th in each instance being diminished rather than augmented. Ergo, neither the fifth or seventh scale-tone chord is an augmented chord.
Didn't got why on 5th and 7th it is aug chords on that scale.
On 5th this would be major b5
On 7th this would be dim b3
dim b3 ?
sus2 #4 or sus2 flat5
@@kukumuniu5658 ok thx.
What do you mean when you said the Bb chord was technically not in key? Seems to be in key to me. Correct me if im wrong plz. Thanks
If you are in the key of Am, the Bb chord is not in key, as the Am key has a natural B, note, not a Bb note. If you are in the A Neapolitan minor scale though, the Bb chord is 'in key'.
@@MusicTheoryForGuitar Thanks for clearing that up.
Hello, Tomaso. I enjoy your videos, but I don't see how you arrived at E+ and G#+ for the 5th and 7th scale-tone chord in A Neapolitan minor. When each root, 3rd, and 5th are "stacked" in thirds in keeping with the scale, then the results would be E G# Bb and G# Bb D, neither of which is an augmented triad. Neither of them has a #5 which is what makes an augmented triad augmented. Using scale-tone chords, the 5ths in both instances are in fact the *diminished* 5th of each chord's parent major scale.
Moreover, the root and 3rd of the chord you called E+ is a major 3rd whilst the root and 3rd of the chord you called G#+ is a diminished 3rd. How can two chords built on two entirely different chord structures have the same chord quality?
You also appear to have skipped over the Bb in favour of C in your E+ example although Bb is the 5th and C is the 6th of the chord according to scale-tone chord construction. Likewise, you skipped over the Bb and D in favour of C and E in your G#+ example although C and E are the 4th and 6th of the chord according to scale-tone chord construction. In all three instances, the notes are a whole tone higher than they should be.
I'm not trying to be contentious here; you obviously know more about theory than I do. But I cannot for the life of me figure out how you determined that the 5th and 7th scale-tone chords derived from a Neapolitan minor scale are augmented when 1.) neither of them even has a sharp 5th and 2.) their chord structures are completely different. Please clarify.
Hey. The 3rd from a G# is either B natural (minor 3rd) which does not appear in this scale or C which does appear. Hence G# C E. G# to C is a major 3rd and C to E is a major 3rd leading to an Augmented chord.
Also, the G# to C thing applies on the E Augmented chord. G# to Bb as you proposed is a Major 2nd and not a 3rd.
The concept of stacking 3rds is to start counting your respective 3rds from each chord note. So G# to C is a 3rd, C to E is a 3rd Hence the Gz# Aug chord. Likewise E to G# is a 3rd and the next stack in the chord, G# to C is a 3rd, hence the E Aug chord.
I hope that helps. Wishing you the best!
Xan Blacq thanks but I can’t grasp why we count the relative 3rd of the 3rd? Also why 3rd from G# must be b natural or C? Please enlighten us
@@Arda.D Hey! This approach to creating chords is to stack intervals on top of each other. Take a Diminsihed Chord for example; it is created by stacking Minor 3rd Intervals on top of each other. C Dim chord is C to Eb (minor 3rd interval), then Eb to Gb (minor 3rd interval) and Gb to A (minor 3rd Interval) so the notes for C Dim chord is C,Eb,Gb,A. Stacks of minor 3rds.
The Augmented chord is a stack of Major 3rd Intervals. C Augmented is C to E (major 3rd) then E to G# (major 3rd). So the notes for C Augmented chord are C,E,G#.
The Major chord is created by stacks of alternating Major and Minor 3rds. C Major 7 is C to E (maj 3rd interval) E to G (minor 3rd interval) G to B (major 3rd interval) and if you wanted to add the 9th to the chord then B to D (a minor 3rd interval) C,E,G,B,D = C Maj 9
In the case of this Neapolitan Minor scale, the same principle of stacking 3rd intervals applies. This time the 3rd intervals don't necessarily alternate from major to minor. The most important thing is that the intervals are always a 3rd.
The 3rd interval from G# must be a B Natural (minor 3rd) or C (Major 3rd) because G# to A = minor 2nd, G# to A# = Major 2nd, G# to B = minor 3rd and G# to C is a Major 3rd interval.
I hope that helps. Phew!!! Typing this out is way more work than showing it on an instrumnet or explaining it in words! 😂
Xan Blacq woah I can’t thank you enough! Best regards Xan!
This is a late reply but I think the chord is G#+ despite not following expected chord construction of "every other note in the scale" because stacked thirds is the proper way to make chords and this scale only has a major second between G# and Bb. C is the first available third.
Why can I just grab the C to make the E augmented??????
Now write the key signature for an A Neapolitan minor.
Why didn't you talk about the difference beetwen ascendent and discendent? It would have been much easier
Wondering where in classical music I might have heard this?
You can hear it in like every Classical piece, classical composers really like to use the Neapolitan 6th chords, which in Am is a Bb.
I.e. Cicerenella (NCCP Nuova compagnia di canto popolare) Trad. tarantella
L.Van Beethoven, Moonlight Sonata, 2nd movement, the famous one with slow arpeggios
4:50 Nah bro, keep going!
PHRYGIAN HARMONIC MINOR
yeah but every time I searched on google it came up with dominant Phrygian
@@noahlovotti7722 neopolitan minor is phrygian harmonic minor. Harmonic minor contains b3 #7. Phrygian contains a b2 b3. Mix them together, you get 1 b2 b3 4 5 6 #7 i.e. phrygian harmonic minor or neopolitan minor.
this scale is 1 b2 b3 4 5 b6 7, phrygian dominant is 1 b2 3 4 5 b6 7
Your video is very well done ,very cool (like the others) !!! But it's a beat pity, the ambient music behind your voice is a little beat disturbing and deconcentrating. It makes that we do not hear clearly your voice. And the cut between the ambient music and the guitar playing doesn't serve very well the subject.
Please, please delete the terrible noise pollution passing for background “music”. It has nothing to do with what you are teaching. There is no law that says every bit of silence has to be filled with third rate muzak.
too much in the air & mystifying...