The Phrygian II (Neapolitan)

Homework: Workbook Chapter 28

Preliminaries a-i and K
Longer Assignments 1, 2
Study & Analysis #3, 4,5

or

Textbook Chapter 28 Preliminaries 1 a-j
Write 16 bars incorporating at least 2 usages of textbook preliminaries 1a-j above.
Workbook Study & Analysis #2 and #6 & #7

1.  The Phrygian II

a. We have seen that in certain circumstances, especially in minor, the II chord (which possesses a tritone in minor) can be harsh. In fact tritone of the II chord in minor can be so troublesome that we have gone out of our way to avoid the root position II5 in minor and instead have opted for II6
b. In certain circumstances, composers have sought other ways to avoid the harsh if not meager sound of the II5 in minor. One solution is to lower the root of the II5 from ^2 to -^2
c. In minor, the II5 with a -^2 is called the Phrygian II. Its name stems from the mode of the same name in which the II chord lies a half step above the I chord and naturally occurs as a Major triad.
d. Whereas the bII5 is a more accomodating to the ear than naturally occuring II5, voice leading considerations most often yield bII in 63 position.

NOTE: The bII6 is as frequently referred to as the Phrygian II6 as it is the Neapolitan II6 Infact, sometimes people will simply refer to the bII6 as the Phrygian II or the Neapolitan II. You should recognize both as being the bII in 63 position. Sometimes people will use the abbreviation N6 instead of a roman numeral. H&VL is against such identification stating that such an identification robs the chord of its II function. I happen to think that the bII6 is a bit more independent of its link to the traditional II chord than H&VL. As well, you know I do not like using b designations in such cases as its misleading to the real function of the chord. (consider the key of B minor: the lowered II is a Cnatural so why call it a "b" anything? )As such I will often refer to the bII6 as NII6. The N will indicate that it is build on a -^2, the II means its obviously a II chord of some sort, and the 6 indicates that it appears in 63 position. This nomenclature will give us greater flexability in the future should we decide we want to alter the chord further.

2.  Harmonic and melodic functions

a. Like the II6, NII6 tends to move to V or V7.
b. Since the -^2 is non diatonic, placing it in the soprano creates a very visible chromatic motion with great intensity
c. NII6 also may pass to V like chords and chords applied to the dominant (viiº7 (inv), viiø7 (inv), Cad64, and V(7 inv)>V and viiº/ø 7(inv)>V

d. Of great importance is the motion of -^2. Notice it is 1/2 step from the tonic. Just like the leading tone, ^2 is highly active towards ^1. However, the syntactic function of the NII6 necessitates its movement towards V as it, in and of itself, is not a cadential harmony.
e. As such, the -^2 tends to move not to I directly but to some other tone. This creates somewhat of a contradiction between the melodic and harmonic tendancy of the NII6 and creates a very dramatic effect especially when the -^2 is very prominant.

3.  Voice Leading

a. Since the -^2 is extremely active and nondiatonic we can consider it dissonant to diatonic harmony in general. As such we look to the -^2 to resolve down.
b. Since the melodic tendancy of the -^2 is to resolve to ^1, an examination of the voice leading in the progression NII6-Cad64-V will yield an insightful perspective to the melodic and harmonic connection behind the NII6

c. When the NII6 passes through the Cad64 to a V we hear -^2 move through ^1 to LT not reslove to it.
d. When the NII6 moves directly to V the -^2 is still perceived as active and dissonant to diatonic harmony and tends to move down to the leading tone. This motion will create a jump of a d3. Although odd, this seemingly dissonant jump is much less stark than one might think. In fact, a quick look at this jump reveals that it is nothing more than an enharmonic equivalent of a M2. That being said, it is important to understand that it functions not as a M2 but as a d3.
e. In 4 voices, we tend to double the bass of the NII6. This doubling will accomodate voice leading movements in viiº/ø and V and allow us to easily prepare the chordal 7th of the V7. As well it will allos for easy stepwise motion to an applied viiº/ø
f. Remember we tend to lead the -^2 down to the LT and not up to ^2

4.  Avoiding the direct progression -^2 , ^2

a. We have seen that -^2 is a diatonic dissonance and thus has some tendancy to resolve down
b. As such, the direct progression -^2, ^2 is often construed as "unconvincing"
c. Moving to ^2 from -^2 will necessitate a leap to the LT of either an A2nd or d5th... not happy.

5.  Melodic contrast between -^2 and ^2

a. Since in minor NII6 can serve a similar syntactic function as II6 composers will often exploit the coloristic difference between ^2 and -^2
b. This is particularly effective when it appears in the soprano.

6.  Leading to the Neapolitan 6th

a. In many regards NII6 serves a similar syntactic function in minor as II6
b. Therefore any chord that leads to II6 in minor can also lead to NII6
c. I moves well to NII6 to introduce it as an intermediary harmony
d. IV and VI move very well to NII6 as a continuation of intermediary harmony.
e. III can move effectively back to NII6

7.  Moving to V42 and viiº43

a. Since in minor NII6 shares a common bass with V42 and viiº43, we can lead convincingly from NII6 to V42 or viiº43
b. This is particularly effective when it appears in the soprano.

8.  Phrygian II in 53 position

a. The root position NII5 occurs much less often.
b. An immediate motion to V5 results in a dissonant tritone leap in the bass
c. Motion from NII5 to V6(5) or V43 (viiº7 or viiº65) yields a satisfying stepwise bass
d. Note: When utilizing the NII5 that ascends to V43 or viiº65 one may double the root of the NII5 as the resolution of the doubled -^2 will occur in contrary motion. Remember: When the soprano supports -^2 we will resolve that -^2 down.

9. -II in Major, enharmonic notation

a. In Major, -II requires both -^2 and -^6
b. It also creates an awkward Aug. 2nd between ( -^2 and ^3) and (-^6 and ^7)
c. As such its syntactic function in Major is rare and problematic
d. When we see -II in Major, it often serves either as the dominant to bVI. In such cases, mixture may have been introduced to lead the ear towards to minor.
e. Rarely we see -II come directly from a major key syntax. In such cases, be careful and use your ear.
f. When attempting to use -II in major with 4 or more b's in the key, you will be forced to write a bb. In such cases, composers will sometimes write the enharmonic equivalent instead of writing a double flat to facilitate the reading of the passage.

insert 28-05

10.  The 64 position

a. When -II64 appears, it almost always resolves with a bass motion down to a V7.

11.  Tonicizing -II

a. Tonicizing -II occurs frequently. Even when such tonicizations are long, the eventual syntax will move the tonicized -II to V.
b. A thematic idea, can be directly repeated a 1/2 step higher on -II. In such cases the harmonic syntax of the repeat will be that of a tonicized -II

12.  -II in figurated textures

a. H&VL simply states the obvious here: a figuration within a -II syntax may contain the tones native to the -II key formation or , more common, it may contain the tones native to the tonic scale formation.

13.  -II in sequential passages

a. H&VL states that "-II can improve the effect of sequences in minor-particularly those that rise by step from I" This is a point worth noting but I think the bigger point here is that one may use -II in a sequential passage at moments where II would otherwise be problematic (usually the result of an awkward tritone or a non symetrical bass.)
b. A good example is the Ascending 5ths sequence. We remember that we prefer the first half of the sequence in Major and the second half in minor to avoid an awkward tritone leap. By substituting the -II we can avoid such an awkward leap while exploiting the entire sequence in minor

14.  -II as a pivot

a. Sometimes -II will arise as a pivot chord. Since we know the pivot chord
b. Our standard rule is that the pivot chord is diatonic to both keys however we have shown a syntactic function of -II
c. Thus, when -II or NII6 arises as a good syntactic progression, it may also serve as a pivot in a key sharing the original key signature plus that of the lowered 2nd scale degree.
d. The term Chromatic Modulation is often used to describe a key change in which the pivot is a chromatically altered chord in one or both keys.

15.  -II as a passing or neighboring chord

a. Ocassionally we will see -II as a passing or neighboring chord
b. When near the final tonic, sometimes the NII6 will act much like the plagal IV (as it too contains the ^4 bass). In such instances we may refer to it as a Plagal NII6

16.  Apparent NII6

a. A NII65 would yield a problematic doubled leading tone or A2d when moving to the in the subsequent V. As such we will rarely see this chord formation function as a NII6. When we do see it, its resolution commonly avoids a doubled leading tone.
b. If one uses a NII65 it is wise to let the chordal 7th be part of a motivic statement that supercedes the need for that chordal 7th to resolve down.

17-21.  Chromatic Notation

a. Neighbors are always 2nds NOT altered unisons
b. Chromatic passing tones always bridge a 2nd. The accidental on the passing tone reflects the direction it is passing
c. The exceptions exist when the altered passing tone contains a remote accidental