For examples and discussion, see Tritone substitution, or the section 'In popular music' below.Įspecially in its most common occurrence (as a triad in first inversion), the chord is known as the Neapolitan sixth:

These are sometimes referred to as 'Neapolitan' chords, but these rarely follow the classical voice-leading and chord functions described below. D ♭ major chord in the keys of C major or C minor), but usually in root position. Other music traditions often feature ♭II harmonies (ex. The Neapolitan sixth chord is an idiom specific to classical music. In C major or C minor, for example, a Neapolitan sixth chord in first inversion contains an interval of a minor sixth between F and D ♭. In European Classical music, the Neapolitan most commonly occurs in first inversion so that it is notated either as ♭II 6 or N 6 and normally referred to as a Neapolitan sixth chord. Therefore, like the augmented sixth chords it should be assigned to a separate category of chromatic alteration. Moreover, even Schenkerians like Carl Schachter do not consider this chord as a sign for a shift to the Phrygian mode. The Neapolitan chord does not fall into the categories of mixture or tonicization. In Schenkerian analysis, it is known as a Phrygian II, since in minor scales the chord is built on the notes of the corresponding Phrygian mode.Īlthough it is sometimes indicated by an 'N' rather than a ' ♭II', some analysts prefer the latter because it indicates the relation of this chord to the supertonic. In Classical music theory, a Neapolitan chord (or simply a ' Neapolitan') is a major chord built on the lowered ( flatted) second ( supertonic) scale degree.

B flat 6 chord