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C♯ neapolitan minor Scale — Guitar Fretboard Visualization

Low E string: E, F#, G#, A, B#, C#, D, E at frets 0, 2, 4, 5, 8, 9, 10, 12

A string: A, B#, C#, D, E, F#, G#, A at frets 0, 3, 4, 5, 7, 9, 11, 12

D string: D, E, F#, G#, A, B#, C#, D at frets 0, 2, 4, 6, 7, 10, 11, 12

G string: G#, A, B#, C#, D, E, F# at frets 1, 2, 5, 6, 7, 9, 11

B string: B#, C#, D, E, F#, G#, A at frets 1, 2, 3, 5, 7, 9, 10

High E string: E, F#, G#, A, B#, C#, D, E at frets 0, 2, 4, 5, 8, 9, 10, 12

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C# neapolitan minor

The neapolitan minor scale is harmonic minor with a flat 2nd: root, flat 2nd, flat 3rd, 4th, 5th, flat 6th, major 7th. It combines the phrygian half-step opening with the harmonic minor's dramatic leading tone, giving two strong pulls toward the root from both sides. Classical composers used its namesake Neapolitan chord for exactly this dark-to-resolution effect.

it consists of these notes and degrees:

C♯

i

C♯m
D

bII

Dmaj
E

bIII+

Eaug
F♯

iv

F♯m
G♯

V

G#maj♭5
A

bVI

Amaj
B♯

VII

D7no5/B♯

Same notes, different mode

C# neapolitan minor uses the same notes as the scales below. Start from a different note and you get a new mode built on the very same note set.

D lydian #6E mixolydian augmentedF# romani minorG# locrian dominantA ionian major #2B# ultralocrian

neapolitan minor in all 12 keys, with chords and related scales

tip
  • Two half-step magnets pull to the root: bII (D) from above... approach C# from both directions in one phrase.
  • Use it over a minor chord when the bII (D) major triad (the Neapolitan chord) appears in the progression; the scale covers both.
  • Practice the augmented 2nd between b6 (A) and VII the same way you would in harmonic minor: as a deliberate expressive leap.
  • Compare against C# harmonic minor in the same solo: only the 2nd changes, and that single flat is pure classical drama.

How to play C♯ neapolitan minor on guitar

Capo fret 1 and every C shape maps onto this key, which lets a player reuse fingerings already under the hand. Roots turn up at 9 on both E strings and 4 on the A string. Scale tones fall on four open strings. Four sharps sit in the signature and the first box runs out at 13, so the next position has to be planned rather than stumbled into.

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