![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj74RpLAAYz8c4BR0v1_m1PTrlA0IMa3LlE4Xm8sJeH_zLBj77ENaZuZSjONA6gwPp7Sk1kfNZeTdOyYZxHEH7s8codp-RUYJCzBkF48bda0OZFAau8jo9vFGFJrsH-IYl3EidqOPyikdmp/s320/neap-min-on-c.jpg)
Harmonically there are some interesting chords. Look at the V7 chord: it's a free-roaming dominant 7 b5 chord. Look at it in 2nd inversion...that's right, it's a French augmented sixth chord (which is also analyzable as a Fr 4/3). Here is the G7b5 and the Fr+6 with its common resolution (the +6 opening up to a P8):
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQLDWmPuYKyew7_hpmF9rwHj83cKFAIIrIR1TvjbuTMlltEOI8Zoubapxvq64fQkZkF6kqcWAZTN4SRdzXpJjBUAJLehLRLlAu0xjyOu618zdhcr4yGvZOrxSiORv5Ak_ZPFeaIk-Y1U9A/s320/french-chord-from-neap-min.jpg)
There are two extended triads: the V (a maj-dim, aka the Italian augmented 6th in root position) and the VII (dim3-dim).
As for the modes they're really interesting:
[mode i: phrygian #7]
mode ii: lydian #6
mode iii: mixolydian #5 (mixolydian augmented)
mode iv: aeolian #4 (lydian-aeolian)
mode v: locrian #3
mode vi: ionian #2
mode vii: (dorian #1) locrian bb3, bb7
And here's an actual use of the aeolian #4 found in measure 11 of Manuel Ponce's fantastic Sonata III:
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhS7e9qN-phQ46J3RGOLgRjdS8B_4itUwM_1jqXd2VlAzVzV-D2WkTwP82naAt8vXx_WcIlTR04S6RMywPAw6aKWETNZH1NiaDkAoh-OCqY9Mz-KLMOxe7uwIITZZYYYL6sInlR-EaWZkfk/s320/ponce_sonata-iii_m11.jpg)
And for you guitarists here is the scale in five positions comparable to the five positions of major, melodic minor and harmonic minor:
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyOzj5Y1B5X-WsPwV1CteAWhVZcaqWf-PaZT_D8Z52saQBJxlB3UjdRkJ6FmbvDE0CebwzXTfZ40BvzbQebXYGBgIPlMMq9BhSmbf2QkiITdbNkK88ju8_YC2cEZRuhos9x_jTOxTpKvxf/s320/neap-minor-5-positions.jpg)
Learn it, love it, live it...
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