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In music theory, a Neapolitan chord (or simply a "Neapolitan") is a major chord built on the lowered second (supertonic) scale degree. Also, in Schenkerian analysis, it is known as Phrygian II,〔Oswald Jonas (1982). ''Introduction to the Theory of Heinrich Schenker'' (1934: ''Das Wesen des musikalischen Kunstwerks: Eine Einführung in Die Lehre Heinrich Schenkers''), Translated by John Rothgeb.: p.29n29. ISBN 0-582-28227-6.〕 since in minor scales the chord is built on the notes of the corresponding Phrygian mode. Although 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. The Neapolitan chord does not fall into the categories of mixture or tonicization. Moreover, even Schenkerians like Carl Schachter do not consider this chord as a sign for a shift to the Phrygian mode.〔 Therefore, like the augmented sixth chords it should be assigned to a separate category of chromatic alteration. The Neapolitan most commonly occurs in first inversion so that it is notated either as II6 or N6 and normally referred to as a Neapolitan sixth chord.〔Bartlette, Christopher, and Steven G. Laitz (2010). Graduate Review of Tonal Theory. New York: Oxford University Press, pg 184. ISBN 978-0-19-537698-2〕 In C, for example, a Neapolitan sixth chord in first inversion contains an interval of a minor sixth between F and D. ==Origin of the name== Especially in its most common occurrence (as a triad in first inversion), the chord is known as the "Neapolitan sixth": * The interval between the bass note and the root of the chord is a minor sixth. For example, in the key of C major or C minor the chord consists of D (the root note), F (the third of the triad), and A (the fifth of the triad) – with the F in the bass, to make it a II6 or N6 rather than a root-position II. The interval of a minor sixth is between F and D. * The chord is called "Neapolitan" because it is associated with the Neapolitan School, which included Alessandro Scarlatti, Pergolesi, Paisiello, Cimarosa, and other important 18th-century composers of Italian opera; but it seems already to have been an established, if infrequent, harmonic practice by the end of the 17th century, used by Carissimi, Corelli, and Purcell. It was also a favorite idiom among composers in the Classical period, especially Beethoven, who extended its use in root-position and second-inversion chords also (examples include the opening of the String Quartet op. 95, the third movement of the ''Hammerklavier Sonata'', and the first movement, appearing four times, of the ''Moonlight Sonata''). 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Neapolitan chord」の詳細全文を読む スポンサード リンク
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