Chaos Theory

[da.benson8r]

Hey Chris,

I've been checking out your Chaos Theory lessons lately and I'm really interested in the theory of the keyboard-style arpeggios that you did. You mentioned some interesting chords, like a Neapolitan chord and I believe you called it a 5 of 5 chord. I'm interested to find out: how exactly are both of those chords constructed? And is there a practical use for them, especially in conventional music (other than the excellent compositions that you write)?

 

[Mr.Sister]

A neapolitan Chord is a major chord build on the lowered second degree of a major or minor scale.
examples:
f major scale -> g flat major chord
f minor scale -> g flat major chord
c major sclae -> d flat major chord
a minor scale -> b flat major chord
a flat major scale -> b double flat major chord

these chords are often used in their first inversion as a substitution for the second or fourth chord of the scale.

I've never heard about 5 of 5 chords myself, maybe someone else can help; I'm interested too.

 

[zak1]

they're both predominate chords. Meaning, they postpone the tonal movement to the 5 chord, before resolving on one (in tonal harmony). You've got the Neapolitan chord right, a major chord built off of the flatted second, (This one has always sounded like music from Batman), the 5 of 5 is simply a secondary dominant.

This is easily explained by saying that you establish a momentary tonal center on your 5 chord, as opposed to a complete shift. Ex. in C major, you are approaching your G chord, but the chord in front is a D major chord. D major is outside the tonality of G major, as it has a C#, and would act as the 5 chord in G major. So we then have the 5 of 5 to 5. You can treat this as a time to shift keys, or continue in C major.

 

[da.benson8r]

Awesome, thanks for clarifying the Neapolitan. That's an interesting way to use a chord, for sure.

Okay, so would the 5 of 5 be a similar concept to tritone substitution in jazz music?

Also, I just did some research and found a section of the Moonlight Sonata that shows a Neapolitan example. The chords are G#dom7, C#m, D major (the Neapolitan 6th), and G#dom7 with an omitted 5. Since the song is in the key of C#m already, would the G#dom7 following the Neapolitan also be an example of a 5 of 5 chord?

 

[zak1]

My Jazz theory is a bit rusty, but a tri-tone sub is different.

I'd need to see the music you're talking about, but if the neapolitan is proceeded by the D major and finally the G, then yes, that would be a case of both chords. They both move to the dominant, so it is very common to see them both implemented.

 

[da.benson8r]

Here's the example that they have: http://www.musictheory.net/lessons/122

If I'm understanding you right, then the example wouldn't be a 5 of 5, but it doesn't hurt to ask anyway.

 

[zak1]

if you click on measure 50 on the list it shows you the chords. It just goes 5 to i. You made it sound like it when D major to G to C minor.

 

[da.benson8r]

Okay then, it makes more sense now. It's a really interesting concept though, I wanna try it out in some of my own compositions. Thanks for the clarification.