Hi,
I wrote a chord progression using the chords from the B Harmonic and Neapolitan Minor Mixed scale.
Half - Half - Half - Whole - Whole - Half - Augmented - Half
B C C# D E F# G A#
When I play an ascending melody along with the chords, the C# fits in, but when I descend the scale, the C# does not sit well.
It reminds me of the way a Melodic minor scale might work, rather than a scale labeled as Harmonic.
I don't know much about "Neopolitan" or "Harmonic Neopolita Mixed"; I just arbitrarily picked this scale as the basis for making a progression and then a melodic accompaniment, which I did as a learning exercise.
Can you share some insights about the C#?
Thank you!
Harmonic and Neapolitan Minor Mixed. Going up... going down?
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- KVRist
- Topic Starter
- 133 posts since 24 Jun, 2013
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- KVRAF
- 25053 posts since 20 Oct, 2007 from gonesville
It's your scale. I can't know why something strikes you as an individual the way it does, as the melody and its accompaniment are not provided.
Trust me, not everyone found or cared about the internet finding of 'neapolitan minor mixed scale', I started investigating synthetic scales 50 years ago, which became a staple of how I played lead guitar, and never heard of it, so it's just some words which provide no insight into your thinking. Neapolitan describes a flat 2 to tonic interval in a certain sense, and a Neapolitan harmony derives from minor, and that's about it. I'd guess it begins 1 - b2. "Mixed" may as well be random.
(BTW the real meaning is a specific harmonic usage, a subdominant harmony in minor but formed by the alteration of '2'. Its bass note is its 3rd (4 to tonic), called 'a six chord' - Neapolitan Six(th) chord - to be that harmony. F Ab Db to F G B (bII6 to V4/2) is the typical move.)
"G - A# - B" is exactly how B harmonic minor winds up. Melodic minor means the one thing, +6 +7 in ascension distinguishing it from two other things we call minor scale.
Trust me, not everyone found or cared about the internet finding of 'neapolitan minor mixed scale', I started investigating synthetic scales 50 years ago, which became a staple of how I played lead guitar, and never heard of it, so it's just some words which provide no insight into your thinking. Neapolitan describes a flat 2 to tonic interval in a certain sense, and a Neapolitan harmony derives from minor, and that's about it. I'd guess it begins 1 - b2. "Mixed" may as well be random.
(BTW the real meaning is a specific harmonic usage, a subdominant harmony in minor but formed by the alteration of '2'. Its bass note is its 3rd (4 to tonic), called 'a six chord' - Neapolitan Six(th) chord - to be that harmony. F Ab Db to F G B (bII6 to V4/2) is the typical move.)
"G - A# - B" is exactly how B harmonic minor winds up. Melodic minor means the one thing, +6 +7 in ascension distinguishing it from two other things we call minor scale.
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- KVRAF
- 25053 posts since 20 Oct, 2007 from gonesville
The other thing is, synthetic scales are not usually built for harmony, albeit I guess they might be. Like in that jazz chord scale bidness.
That looks like a list of accidentals with no context at all, to me and I tend to suppose regular chords with funny notes interspersed with only text to go by.
I actually recommend getting your harmony thing together with the usual normal materials, at this juncture all this info is not looking conducive to a clear grasp of either melodic or harmonic handling but distracting. The internet can get to be a vast wasteland of floating rubbish pretty quickly. It's great, your curiosity but you appear to lack all guidance or a cogent path right now.
That looks like a list of accidentals with no context at all, to me and I tend to suppose regular chords with funny notes interspersed with only text to go by.
I actually recommend getting your harmony thing together with the usual normal materials, at this juncture all this info is not looking conducive to a clear grasp of either melodic or harmonic handling but distracting. The internet can get to be a vast wasteland of floating rubbish pretty quickly. It's great, your curiosity but you appear to lack all guidance or a cogent path right now.
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- KVRAF
- 5512 posts since 2 Sep, 2019
Starting from F# might make more sense. Then it's just the 5th mode of harmonic minor with a tritone thrown in. Which would be quite gypsy sounding, which is what I suspect you're after.
Another scale that I think you would like is the double harmonic major.
From C, it is:
C, D♭, E, F, G, A♭, B, C
And there’s also the double harmonic minor, aka Hungarian minor, which is harmonic minor with an augmented 4th. Good stuff.
Another scale that I think you would like is the double harmonic major.
From C, it is:
C, D♭, E, F, G, A♭, B, C
And there’s also the double harmonic minor, aka Hungarian minor, which is harmonic minor with an augmented 4th. Good stuff.
THIS MUSIC HAS BEEN MIXED TO BE PLAYED LOUD SO TURN IT UP
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- KVRist
- Topic Starter
- 133 posts since 24 Jun, 2013
Hi,
Thank you for the suggestion.
Thank you for the suggestion.
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LocrianLocrian LocrianLocrian https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=617322 - KVRer
- 10 posts since 18 Jun, 2023
The word Neapolitan is a historical hand me down from the (broadly) Classical period of European Art music. The C# will fit depending on the harmonic sequence and underpinning when you hit the note. The notion of fitting will be dependent on the overall effect you are going for. Trust your ears. 
