Nonetheless, it is important for analysis that you be able to conceive of the Neapolitan in both ways. Of the two, the latter is more common today since the usual notation of the Neapolitan more readily resembles a bII 6 chord than a iv chord with an altered fifth. (In major keys, scale degree \hat6 must also be lowered.) These dual derivations are why we label the Neapolitan generically, using N 6 instead of a Roman numeral. It does not indicate that the chord is in an inverted position.) In the second conception, the Neapolitan is derived by chromatically lowering the root of a diatonic ii o chord. (Remember that in this case the superscript 6 is a bass figure indicating that a sixth appears above the lowest note. The resultant sonority is a major triad: N 6. In the first, the fifth of a subdominant triad is replaced by its chromatic upper neighbor. To summarize, the Neapolitan can be thought of in two ways. G must be replaced with G b and D with D b.
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