STRINGSCALES

E neapolitan minor Scale — Guitar Fretboard Visualization

Low E string: E, F, G, A, B, C, D#, E at frets 0, 1, 3, 5, 7, 8, 11, 12

A string: A, B, C, D#, E, F, G, A at frets 0, 2, 3, 6, 7, 8, 10, 12

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

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

B string: B, C, D#, E, F, G, A, B at frets 0, 1, 4, 5, 6, 8, 10, 12

High E string: E, F, G, A, B, C, D#, E at frets 0, 1, 3, 5, 7, 8, 11, 12

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E 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:

E

i

Em
F

bII

Fmaj
G

bIII+

Gaug
A

iv

Am
B

V

Bmaj♭5
C

bVI

Cmaj
D♯

VII

F7no5/D♯

Same notes, different mode

E 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.

F lydian #6G mixolydian augmentedA romani minorB locrian dominantC ionian major #2D# ultralocrian

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

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

How to play E neapolitan minor on guitar

Both E strings carry the tonic open, and the A, G and B strings add a fourth, a minor third and a fifth, so open-position playing needs almost no left hand. Roots then repeat at 7 on the A string and 5 on the B string. First-box work ends at 4. One sharp in the signature and an augmented second between C and D# give the fingering its only awkward reach, which means that pair is worth isolating before anything faster.

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