Negative Harmony Part 2 - Crystal clear guide for writing beautiful music.

In part 2 of my crystal-clear negative harmony tutorial, I’ll show you how to reflect a piece of music into a negative harmony version that results in a darker and very different version of the original music. You’ll learn what negative harmony really is and how to transform melodies and chords around a specific axis that lies between the minor and major 3rd of a major scale. We’ll take the Menuet in G by Johan Sebastian Bach as example and we transform a theme by Steve Vai into a negative harmony version. You’ll also learn how to transform an II-V-I progression into negative harmony. This is what you need to know first, to understand the hot subject of Negative Harmony that was invented (more of less) by Ernst Levy and popularized by musical genius Jacob Collier.
Chapters:
0:00 Introduction
0:29 Negative harmony short
01:42 Dark and bright in the Circle of Fifths
03:02 Axis of Reflection
05:13 Reflecting triads
07:31 Quickly find the negative root
08:58 Example with triads
11:04 Preserved tension
13:27 7th chords
17:46 Example with 7th chords
20:58 Conclusion
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(c)2024 Rob van Hal, Netherlands

[@bassbuffricky]

Best explanation of negative harmony on YT! Looking forward to part III.

[@QJamTracks]

Part 3 is on its way.

[@cristinamarin9041]

What a wonderful teacher! Good Luck!

[@johnmac8084]

That really is a crystal clear explanation, with fantastic graphics, thanks Rob

[@QJamTracks]

Thanks!

[@krudler406]

thanks Rob, you're the Best!🔥🔥🔥

[@charleswagner284]

Still wrapping my caveman brain around this theory. Awesome explanation. Thank you for this video kind sir!

[@TheChillennial]

Amazing video. Great explination. Love the ease of understanding with the circle of fifth visuals and templates. Thank a million. 🤘🤘

[@aylbdrmadison1051]

This series is fantastic! Thank you so much.😊

[@frannyp46]

Seen a few NH videos but this is gold. Thanks for your time and effort.

[@QJamTracks]

Thank you!

[@asrafulhaque3598]

Yeah. Prt 2 🎉❤

[@stephenowen5229]

Excellent explanation!!! Many thanks.

[@QJamTracks]

Thank you Stephen.

[@sacredgodslayer]

Thank you sooo much

[@jasonesty3880]

Mind blown

[@ericandriot2053]

Hi Rob, thanks for your clear explanation on that tricky notions & concepts. If I'm not wrong, I think there is a mistake on your screen at 16:12 / 21:53 when mentioning Bm7b5 as a possible chord in negative harmony for G7 chord. It should be more Dm7b5, what do you think? Thanks again for your work.

[@Pedro_MVS_Lima]

Hi Rob, so if I understood correctly, the key of Gb major (6 flats) would be darker than the key of F# (6 sharps)?
Thank you for a very interesting and challenging video. Kind regards.
Edit: I located your earlier video and understood better what you mean, it would not exactly be related to the number of sharps or flats of the signature or to the scales, but to the feeling you get on a modulation and on how the keys relate to one another in that situation.

[@QJamTracks]

Thanks Pedro.
And yes, that would be a good explanation indeed.

[@johnmac8084]

What happens if you play the negative & positive versions simultaneously? Do you just get silence, or an epic explosion that puts Oppenheimer to shame? 😅

[@QJamTracks]

A musical Big Bang :)

[@nicolasforfant484]

And now we guess that "Traids" is the negative harmonic writing of "Triads" 😉

[@davidwallace3933]

@QJamTracks, is it still considered negative harmony if every note is reflected over another axis, say through C so C maps to C, B maps to Db, Bb maps to D, etc?

[@QJamTracks]

No... because then the essence of NH is not present anymore and that is that the gravity to the tonic of chord negative harmony should be the same as the original chord. G7 to C has the same strong resolution as Fm6 to C in NH.

[@tracerammo]

...or Oppenheimer. 😂😂😂 Great video, man! Always appreciate these throughout presentations. Thank you!

[@QJamTracks]

Thanks!

[@TheAuthenticOne]

If I'm not mistaken, then at 17:40 (and 19:30) there is a small typo in the final table: not "bVII-6" but just "bVII6"
No matter what, the video is top-notch, as always. Thank you! =)

[@QJamTracks]

Ah yes, that could be a mistake...

[@liquidvideotube]

This was taught in basic composition. How is it all the sudden so cool? weird.

[@7stringst3r]

So negative harmony turns Bach into ocarina of time… hmmmm

[@johnp.johnson1541]

*Levy seems like he tried to make a science music. His work is pseudo-science.*
So-called negative harmony seems to be parallel minor.
It's all rather pretentious.