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A plain example of the Phrygian II6, also known as the Neapolitan sixth. Note the ^b2-^7 movement in the soprano, which is typical of the Phrygian II progression. It is generally best to double the bass note of the Phrygian II. Note how different Db-B sounds from C#-B! |
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Phrygian II is essentially the supertonic and can occur more or less interchangeably with ii6. Because the flattened ^6 of the chord occurs normally in minor, it occurs more often in the minor mode. Here a Phrygian II leads to V4/2. |
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The same progression works equally well with vii4/3 instead of V4/3—just as it would work well with V4/2. Note that the use of the Phrygian II creates a potential cross-relation, but since the C to C# occurs between outer and inner voices, the effect is not at all objectionable. |
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Here the Phrygian II passes through a vii7/V and then lands onto a cadential 64. This allows a rather nice ^b2-^1 motion in the tenor. |
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The flattened ^2 does tend to govern other notes as well. This progression uses a lowered V6, followed by iv6, flattened iii6, and finally the flattened ii6—a progression of 6/3 chords, all of them modified. It works just fine and is in fact similar to the Mozart example given in the text. |
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Although bII in root position is rare, it works very well in motion towards V6, V6/5, or vii7. It does not move well to root-position V due to the tritone leap that results. |
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The Phrygian II is less common in major keys but is highly effective nonetheless. It requires modifying both ^3 and ^6 in order to work. |
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The entire Phrygian II can be tonicized. This is really quite a common progression, found in Viennese Classical composers, for example. Here the second measure tonicizes bII with its V42, and then leads on to the cadential 64. |
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A rare but useful progression: the use of bII to gloss over the awkwardness of an ascending sequence in minor. Instead of the usual diminished ii, we have a major chord. |
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Shock value! Phrygian II does not contain notes common to two keys and thus would not be a likely candidate as a pivot chord. Its very unsuitability makes it an ideal candidate for a shock-treatment modulation. Composers fond of this kind of kamikaze modulatory approach are Haydn, Beethoven, and Schubert. The example here would not be at all out of place in a Schubertian scherzo movement. |
