#1
Hey all.
Just 2 quick questions.
Does the secondary dominant equal the dominant chord borrowed from the parallel harmonic minor scale?
And does the tritone substitution equal the neapolitan chord?
#2
Neapolitan = a major b2 that is inverted on the 5th or 3rd. eg. in the key of G major, the neapolitan is Gb/Eb. this also works in minor keys as in my understanding.

Tritone = the b5 relative to the note you are playing (6 notes away). ie: if you are playing a G, the tritone of it is Db.
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Last edited by Banjocal at Aug 4, 2011,
#3
Quote by Banjocal
Neapolitan = a major b2 that is inverted on the 5th or 3rd. eg. in the key of G major, the neapolitan is G#/Eb. this also works in minor keys as in my understanding.


Remember, it's b2, so it would be Ab instead of G#. I've mostly seen them in root position or first inversion.
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#4
Quote by Banjocal
Neapolitan = a major b2 that is inverted on the 5th or 3rd. eg. in the key of G major, the neapolitan is G#/Eb.

Inversion isn't absolutely necessary as far as I know. Though in most cases, inversion is used.
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#5
Quote by soviet_ska
Remember, it's b2, so it would be Ab instead of G#. I've mostly seen them in root position or first inversion.

I said Ab though...

>_>
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#6
Neapolitan 6th = bIIb

secondary dominant - V of any chord other than I

Liampje, you don't know how to tell what key something is in, forget about chromatic harmony.

Either you don't listen to anyone or you're one hell of a troll.
#7
Quote by Banjocal
I said Ab though...

>_>



I quoted you with 'G#/Eb,' now you've changed it to Gb?
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#8
Quote by griffRG7321
Neapolitan 6th = bIIb

secondary dominant - V of any chord other than I

Liampje, you don't know how to tell what key something is in, forget about chromatic harmony.

Either you don't listen to anyone or you're one hell of a troll.

Diminshed fifth linked me to some collums about music theory and I read them...
That's where I got this from.
And the dude who wrote it made a B7 in G major.
Then I checked and it matched the parallel harmonic minor scale.
So I was wondering if it always is like that.
But I read the article again and now know that it isn't.
Well since I listened to diminished fifth I'm accidentally a troll.
And for the record I don't know how to find the key in CHROMATIC Harmony.
Give me a diatonic harmony and I can find your goddamnit key.
#10
Quote by liampje
Hey all.
Just 2 quick questions.
Does the secondary dominant equal the dominant chord borrowed from the parallel harmonic minor scale?
And does the tritone substitution equal the neapolitan chord?

the secondary dominant is a dominant of another chord, which helps pull to that chord. Lets try C major.

Dmin G7 Cmaj, a ii V7 I in the key of C. You could use D7, the Dominant of G, to pull to the G, then the G7 pulls to the tonic. it would turn into a V7/V V7 I.

Tritone subsitution is when you find a dominant chord that shares the tritone present in the standard dominant chord of the key. In the Key of Cmajor, the Tritone is B and F. You need to find another chord that uses this tritone, enharmonics are fine. In this case, itll be the bII. In the key of C, this would be Db7. The tritone in Db7 is F and Cb, which is enharmonic to F and B. This allows a tritone substition. So say in C major, you can instead of using Dmin G7 Cmaj, you can use Dmin Db7 Cmaj. This allows a chromatic bass movement for a smooth transition.

A neopolitan chord is a major triad built off the b2 of the key. So it would be Dbmaj. Its close to a tritone substition, but not quite. Dbmaj and Db7 can have different functions.
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