Post by Matt Faunce***In this post I corrected the chart. I meant Bb minor where I had written
Bb major.***
The Neapolitan-6 chord can precede the tonic chord. In these cases, instead
of the Neapolitan-6 chord I usually prefer to play a minor chord whose root
is the minor seventh above the tonic tone, e.g., in the key of C major,
I’ll play the Bb minor chord then the C major chord. This preserves most of
the feel that I want from the Neapolitan chord but because it has one tone
moving contrary to the others it’s richer than the Neapolitan chord.
Take a look at, and a listen to, the fifth stanza of Palestrina’s Stabat
Mater. Here’s a video showing the sheet music, with lyrics, with the Tallis
Scholars singing. Start at 3:42.
You can think of the first phrase (the first four measures) of this stanza
as being in the key of E major, the second phrase (also four measures long)
as being in A major, and the main key of D major starting the third phrase.
In this way of thinking, he ends the first two phrases with N, flat-vii,
I.* In the first phrase the cadence is F major, D minor, E major, which
goes with the lyrics, “fons amoris”; in the second phrase it’s Bb major, G
minor, A major, which goes with “vim doloris.”
The Neapolitan chord relates to the I chord similarly to how the VI chord
relates to the V chord. The flat-vii chord relates to the I chord similarly
to how the iv chord relates to the V chord. With this in mind, consider
this alternative analysis of Palestrina’s stanza:
If you think of the whole piece being in the key of D major, the second
phrase is in dominant harmony and the first phrase is in secondary-dominant
(V/V) harmony. In this way of thinking, the second phrase ends with, not N
vii I, but VI iv V. Then that V leads you to the I chord that finally
appears in the 9th measure, singing “Fac.” The first phrase ends with VI/V
iv/V V/V.
After the D major at the start of the 9th measure, Palestrina quickly takes
you back to dominant harmony, then to secondary-dominant harmony, back to
dominant harmony until the final chord in the tonic of D major. All the way
through he borrows a lot from the parallel minor…
*Note:
N = Neapolitan chord in root position.
flat-vii = the minor chord built on the minor-seventh above the tonic tone.
I = major tonic chord.
--
Matt