Chapter 24

The Neapolitan Chord

EXERCISE 1 Analysis. Identify the Neapolitan chords in each of the following examples.
l. Verify and mark the voice leading of the voice with 2. Is the II chord in first inversion or root position?
2. Provide RNs (Roman numerals) for the actual m and also for the chords that precede and follow it.
3. What chord precedes UI? Is the m chord tonicized?
4. Does resolve directly to V? Does it resolve to V through sorne other harmonies?

Examples for Analysis:

l. Example 24.1.

,.' Example 24.1 W. A. Mozart, Piano Concerto in AM, K. 488, II, mm. 1-12

Andante

6 8

10 12

205
 206 PART 2 Chromatic Harmony and Forro

2. Anthology, no. 38, Erlkonig, mm. 113-123.

3. Anthology, no. 35, Beethoven, Waldstein Sonata, mm. 235-239.

4. Example 24.2.

-
, Example 24.2 E Chopin, Mazurka op. 7, no.. 2, mrn .. 11-16

14 a tempo
12 3 16

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EXERCISE 2 Realize the following short progressions in four voices. Add RNs to the progressions with a fig-
ured bass.

a. b. c.

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h V '-11- h
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AM: 7 GM: I .
 Chapter 24 The Neapolitan Chord 207

EXERCISE 3 Realize the following progression in four voices. Provide a RN analysis.

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I
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1 l
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1 1
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--
1 1
Bm: 4 #6 6 6 6 5 7
q3 #4 5 4 # #
2

EXERCISE 4 Harmonize the following melody by Schubert ("Der Müller und der Bach") with a bass and RNs.
Use bll6 chords where possible. One of the bll6 chords should be resolved to V through a viiº7N. The melody also
allows, in mm. 9-12, for a circle-of-5ths segment and for sorne tonicizations. Explore these possibilities in your
harmonization. As an additional exercise, write a version of your harmonization for voice and piano on your own
music paper. .

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