Chromatic figures

The Neapolitan sixth: the ♭6 figure over the fourth degree builds the flattened supertonic in first inversion, and its dark second degree walks down through the cadential 6/4 onto the sharp.

The Neapolitan in D minor: E♭ under the ♭6 figure, the fourth degree doubled beneath it, and the same stepwise descent through the six-four onto C♯.

The Italian sixth: ♯6 over the sixth degree, the third doubled, and the augmented interval closing outward — bass down a semitone, raised tone up one — onto the dominant’s octave.

The French sixth: the full stack ♯6/4/3 — the Italian chord plus the second degree — approached from the subdominant’s own first inversion by sharpening one tone.

The German sixth: ♯6/5, the fullest of the three — and its famous trap: the fifth above the bass must ride through the cadential 6/4, or it falls into forbidden fifths with the bass.

The German sixth in major, where the spelling needs both hands: ♯6 for the raised tone, ♭5 for the borrowed one — two signs, one chord, approached by the bass’s own chromatic fall.

Applied dominants in an elided chain: each chord’s falling seventh lands on the next chord’s raised third, and the made leading tones climb the circle rung by rung into new roots.

The applied diminished seventh: vii°7 of V, its sharp on the staff and its diminished seventh under a ♭7 figure — four tendency tones converging on the dominant.

The deceptive resolution onto the flattened submediant: V7 rises a semitone into a chord the key never owned — ♭5 in the figures, the third doubled, the refusal darker than vi could make it.

The same borrowed refusal in G major: E♭ under the bass, B♭ under the ♭5, and the ♭6-to-5 semitone spending the deception the way minor’s own cadences do.