The Neapolitan Chord

For the footnotes and other extra information see the following link:

0:00 Introduction
0:48 First description of the "Neapolitan"
4:20 17th century examples
11:25 Alessandro Scarlatti's cantata
14:24 18th century examples
18:25 19th century developments

Created by Elam Rotem and Sean Curtice, June 2022

The recordings made especially for this episode are by Doron Schleifer (voice) & Elam Rotem (organ), Karel Valter (audio engineer).

Special thanks to Jörg-Andreas Bötticher, Gilad Katznelson, Lisandro Abadie, Alon Schab, Hannah Lane and Anne Smith.

[johnopalko]

This is probably one of the most obscure, arcane, and specialist channels on YouTube and I absolutely adore it!
Keep up the good work, Dr. Rotem.

[federicoalcaraz]

I just love the way you added the Napolitano chord on the intro

[silviomp]

The 🍨 notation was hilarious. I could swear this video was only 10 minutes long. So good! 😂😂😂

[maniak]

How about a compilation video with all those variants of your 'jingle' you made over the years? That would be cool.

[andreamundt]

Whoa, the Scarlatti aria is extremely beautiful! ....goosebumps... Thank you for another fine episode! :D
Love the ice cream scoop and the tiny pig (Is it chocolate or ceramics?) - and of course the altered intro!! <3

[scruffysean]

I've been a musician my entire life. And I never ceased to be amazed by the fact that there is such an abundance of tremendous musical beauty, yet at the same time one only has so much time to enjoy it.

[whycantiremainanonymous]

The ice-cream scoop on the desk in the background... Now, that's attention to detail!

[rjwusher]

What a glorious episode. This is such a valuable and informative channel. As an (amateur-)organist of Early Music and Baroque it is indispensable. I would love to see an episode dedicated to organ music.
Anyways, thank you so very much!

Thanks for this great video. However, my favourite part will always be the intro music on the harpsichord, how it always changes a bit. Now it has Neapolitan chord, of course! I love that little detail so much!

[reedmullican]

I love how you show that Neapolitan sixth chords are not so hard if you look at it through counterpoint/thoroughbass; they seem to only be difficult if you are focused on roots! If you see it as a change of "chroma, " it's not so bad. The same could be said of augmented sixth chords.

[jcortese]

This was SUPER useful and clear -- thank you!!

[rfv]

Can I commend you on the GORGEOUS choice of HIP recordings, including Doron's divine delivery of music and text. I'm off to find all those recordings to listen to them now.

[soundknight]

I have always been fascinated by this chord, so glad you have made this video

[georgh.]

Finally, I understand the meaning of this chord! thank you for this great explanation! Fun fact: in Germany the Neapolitan Ice cream is also known as "Fürst-Pückler-Eis", named after a weird prince.

[BFDT-]

I always have heard this, but not being musically trained, could not "name" what I aurally felt.

Now, for me it's got a name.

Excuse me, for at this moment, I have to go out and buy some ice cream.

[yvanvelojuillet]

the Alessandri example with a minor sixth, is the "gangster paradise"' (Coolio) theme...at 7'00"

[ginacrusco]

Fantastic episode. You neither pander to your audience with oversimplification nor present in the dry academic manner. The examples of the Neapolitan chord are very enlightening (love the bowl of ice cream icon) and wonderfully sung. The example from Handel's "He was despised" is especially memorable and heartrending. Scarlatti's Orfeo is just sublime, and Pergolesi's Livietta e Tracollo, which I happen to know well, is a delightful confection.

[kruloon]

Would it also be possible that the chord is named after the “Neapolitan Scale”? The scale has a distinct quality of flat 2. If you build a triad on that degree, voila, a neapolitan chord.

[RicardoMarlowFlamenco]

What I don’t understand is why the direct use like 3:25 and 3:57, and having been discussed by Crotch along with the Aug 6th chords, that they do not recognize these ALL, as alternate forms of the basic Phrygian cadence? The one that derives from the soft cadence situation (fa-mi). The sopran/cantizan cadence is when the bass goes re-mi (second Neapolitan ex.), the aug 6th chords use tenorizan bass, the 4th Neapolitan example is bass moves down 4-3. All the Neapolitans are essentially substituting the plagal G-D for D-A in the bass, beneath a cadential fa-mi, all using parallel 4ths to avoid 5ths. For example the Grandi 7:22, is Phrygian Eb7#11 sound (French6 in G minor, if the Eb is maintained and not changed to E natural) resolving to D. The only difference is the Neapolitan versions, end on D minor instead of D major (Picardy third).

[ShredmasterScott]

this chord tastes better than Ice Cream muhahaha