For comparison, play the example above from the Moonlight Sonata and try other pre–dominant chords in its place, like $\left.\text{iv}\right.$ ($\left.\text{F}^♯{}\text{m}\right.$) or $\left.\text{ii}^{\circ}{}^{6}\right.$ ($\left.\text{D}^♯{}^{\circ}{}\middle/\text{F}^{♯}\right.$), while noting the difference in effect.
As with the example from the Moonlight Sonata, try other pre–dominant chords (like $\left.\text{IV}\right.$, $\left.\text{iv}\right.$, or $\left.\text{ii}^ø{}^{6}_{5}\right.$) in place of the Neapolitan chord in the example above, and notice the difference in effect.