“Super Mario Land - Underground Theme/Easton Kingdom” brought me here. Thought it was double harmonic major at first (major 7 paired with flat 2), but because of the minor 3, I knew it wasn’t. Very pleased to have found this scale!

Another masterclass in less than 7 minutes....Genius

I had a thought hit me in the shower, “what if I combine the darkness of Phrygian with the darkness of Harmonic Minor....” I thought it would be too dark to sound good. I made a composition and it was just so beautifully dark, I thought I had founded a new key but when I looked up what it was... the Neapolitan Minor. I am so surprised there aren’t more metal songs in this key, it’s so deliciously dark.

These type of videos are my favorite. You expound the knowledge beautifully. Stay gorgeous and groovy Tomasso, thank you!

I “created” this scale and called it “harmonic phrygian.” I liked using this over a standard I bII Phrygian chord progression with a V7 chord slammed in occasionally.

You are perhaps the BEST instructor on KZfaq. Terrific stuff. Thank you for the gifts that you give to us.

I am a pianist and your channel helps me as much as piano channels or even more Keep going bro u got a sub

haven't bothered learning more theory in years until I came across your videos. thanks for renewing my interest in odd chords and new scales. the old ones were getting stale XD

Best analysis of this scale and chord I've seen so far. Thanks

I just learned about this scale. I was composing and "discovered" it and spent a good hour looking up different things to try and figure out what it was called. It has some very nice modes with the lociran bb3 and Lydian #6. Imo Lydian #6 has some beatiful chord voicings

Grazie Mille

Super duper, bro. Thnx❤

Great video. Love the time frame. Short lessons are more effective for learning, at least in my case. Thanks

The way you explain things is masterful

It's nice to put a name to this scale that I've messed around with quite a bit. I always just thought of it as harmonic phrygian or something like that.

Modes of Neapolitan minor: 1. Phrygian #7 2. Lydian #6 3. Mixolydian #5 (Mixo augmented) 4. Aeolian #4 5. Locrian #3 6. Ionian #2 7. Dorian #1 (altered bb3 bb7); this is the second darkest 7-tone scale in existence.

Excellent, thank you.

Just what I needed. Thanks!

Wow you're awesome dude gonna buy your course

Very cool sounds!

Superb!

You never fail to amaze me/Yet again awesome class!

Great explanation Tommaso!

Nice video Tommaso, as always!

Man you let's give a free course? I don't study guitar either, but I like theory so much! Cause that I see channels like this one!

Very good stuff! I rarely hear about this scale! I like this

Thanks Tommaso!

Tommasso you are awesome. I love all of your content

actually learned a lot throught this, thanks !

I was trying to figure out the Canzone du Mal de Lune melody by ear on my guitar, to figure out how they made something sound so beautiful and tragic, and was wondering - can this be right? A scale that goes from minor at one end to Byzantine at the other? And ended up here. I'm not sure I got Mal de Lune right, but this thorough straight forward explanation of the Neapolitan scale is what I need to understand that sound. Thanks.

Excellent ! Your courses on "exotic" scales have me back practicing more again, mille grazie and greetings from Berlin

bone-bone 'uaglio! complimenti, tieni nu gran bellu canale! saluti dalla ciociaria!

IMO it's easier to think of this scale starting from an Ionian #2, where the #2 can act as a "minor third" stand-in. So whatever major chords you would normally choose, like a major 6 or major 7, you could also choose a minor 6 or minor 7. In this situation, Neopolitan minor would be the III scale degree (E in C Ionian #2). Cycling through the modes of Ionian #2: C Ionian ♯2 D# Locrian 3 E Neapolitan Minor F Lydian #6 G Mixolydian Augmented A Aeolian #4 B Locrian dominant SO many beautiful sounds. Relate this back to the modes of the C ionian scale... focus on the d# for the highlight... beautiful. As a side note, he scratches the record when he brings up Lydian #6, as if its really complicated, but let's think about how simple it actually is -- it is a lydian scale, but you can use the #6 as a standin b7, OR the normal major 7, so you can kind of imagine it like a lydian dominant / major.

I actually use this a lot

thanks!

So...harmonic Phrygian , Lydian #6, augmented Mixolydian, Minor #4, Locrian Dominant, Major #2 and Dorian #1/Gigalocrian? Nice.

This is great. Thank you for sharing. i've seen a few explanations on the scale and N6 chord and this was one of the best. Very detailed. My only recommendation is to get rid of the background music. It is distracting from your lesson. Thank you again for sharing your knowledge.

Neapolitan culture is so great that we got a scale and a mode. Great lesson anyway

Nardis by miles davis uses this

Thank you for this but PLEASE can you omit the Startrek noise in the background next time? Please… Prego…

“Aattuvithaal yaaroruvar” 1972 Tamil classical song in this scale

I've written something in what I thought was G Phrygian, but there are points in the progression where an F# appears (accidentally 😉). It sounds great and I don't know why. Am I using this Neapolitan minor without understanding it? I've just modulated into the G Phrygian from Eb minor so the F# is helping to make G the tonal centre of the new phrase, but I really want to understand why it sounds so good.

How about Lydian #6 b2 - Bb Cb D E F G# A Has any name?

What's the Backing Track for the first 1:55 seconds of this? Is there a Place to Purchase it?

which is the sourge scale (escala fuente) of the napolitan minor scale?? my english sucks i know, sorry

Could you please do one for Neapolitan Major too?

Sounds like Silent Hill

Hello, Tomaso. I enjoy your videos, but I don't see how you arrived at E+ and G#+ for the 5th and 7th scale-tone chord in A Neapolitan minor. When each root, 3rd, and 5th are "stacked" in thirds in keeping with the scale, then the results would be E G# Bb and G# Bb D, neither of which is an augmented triad. Neither of them has a #5 which is what makes an augmented triad augmented. Using scale-tone chords, the 5ths in both instances are in fact the *diminished* 5th of each chord's parent major scale. Moreover, the root and 3rd of the chord you called E+ is a major 3rd whilst the root and 3rd of the chord you called G#+ is a diminished 3rd. How can two chords built on two entirely different chord structures have the same chord quality? You also appear to have skipped over the Bb in favour of C in your E+ example although Bb is the 5th and C is the 6th of the chord according to scale-tone chord construction. Likewise, you skipped over the Bb and D in favour of C and E in your G#+ example although C and E are the 4th and 6th of the chord according to scale-tone chord construction. In all three instances, the notes are a whole tone higher than they should be. I'm not trying to be contentious here; you obviously know more about theory than I do. But I cannot for the life of me figure out how you determined that the 5th and 7th scale-tone chords derived from a Neapolitan minor scale are augmented when 1.) neither of them even has a sharp 5th and 2.) their chord structures are completely different. Please clarify.

Thanks for this! I'm puzzled by the chord on G#. If you harmonize in thirds from it, you get G# A# D (F). I'm not sure what you'd call that, apart from A#7 (Bb7). G#+ makes a lot more sense, but it isn't really a scale-tone chord, is it. Can you explain?

Now write the key signature for an A Neapolitan minor.

Why can I just grab the C to make the E augmented??????

I kinda accidentally stumpled upon this scale, while improvising in the phrygian mode and went to look, whether this scale has a name

Hear Duran Duran’s “The Seventh Stranger” to hear this scale.

Didn't got why on 5th and 7th it is aug chords on that scale. On 5th this would be major b5 On 7th this would be dim b3

Why didn't you talk about the difference beetwen ascendent and discendent? It would have been much easier

PHRYGIAN HARMONIC MINOR

E G# Bb - this is augmented chord??? G# Bb D - and his inversion?

What do you mean when you said the Bb chord was technically not in key? Seems to be in key to me. Correct me if im wrong plz. Thanks

4:50 Nah bro, keep going!

Wondering where in classical music I might have heard this?

Your video is very well done ,very cool (like the others) !!! But it's a beat pity, the ambient music behind your voice is a little beat disturbing and deconcentrating. It makes that we do not hear clearly your voice. And the cut between the ambient music and the guitar playing doesn't serve very well the subject.

Please, please delete the terrible noise pollution passing for background “music”. It has nothing to do with what you are teaching. There is no law that says every bit of silence has to be filled with third rate muzak.

too much in the air & mystifying...