Sorry, I watch this video literally eight times and you lost me. I appreciate your brevity and straightforward approach, but sometimes you need to slow your presentation down. Question: are you using a C pure minor on the way down? So you have the same notes as E flat, Major? And when you play that beautiful example at the end of your clip, it would be great if you could show us what you’re actually doing are you playing a melody in C major with your right hand and harmonizing with the chords from E flat, major in your left hand?
@@GuitarUniverse2013 same frustration here :-) l can only confirm (from the notes played) that the C minor scale played is indeed the aeolian (6th) mode of Eb
@@simonvanprooijencan you explain why it’s useless please ? I’m new to theory and I want to learn music inside and out . Any sources ? I want to go to school in 5 years . Film score , composition and music theory. Any suggestions?
@@tenerochiBeats I mean I can't exactly explain why it is NOT usefull, but my dad has been an arranger/composer for 20 years now maybe, and he has never used it in his life, he hadn't even heard of it when I asked him what it is. It does remind me of melodies that are used inverted, which is a common thing in classical music (f.e. the 18th variation in rachmaninov variations on a theme of paganini or Bruckner 6th symphony, Richard Atkinson has a beautiful video about that symphony, I would recommend watching that :)), but yeah I don't think any big composer has used negative harmony ever, or written about it...
@@simonvanprooijenIt's basically a subset of Neo-Riemannian theory under a catchier name. In a certain sense, composers are using it all the time, but have no need to think of it in this way, because there are better and easier ways to think about it, e.g. just using ascending fifths rather than descending fifths. It's not that the music indexed by it is useless--it's that the indexing itself is fancier and more inefficient than it needs to be.
The simple explanation for this is that major intervals become minor when they are inverted. This is in contrast to perfect intervals which remain perfect when they are inverted! Perfect intervals are prime (unison), 4th, 5th and octave. Major/minor intervals are 2nd, 3rd, 6th & 7th.
@@quikjip Holy Cow, now this is an eddicayshun for me! I have a mandolin (tuned in fifths), and what you and PianoVideos have said is suddenly right out at me! Thanks to you both for showing me something so important, that I would have blithely skipped over!😮
@@quikjip I don't get it. What is "shifting"? Changing octaves? If you first play a C plus an E (two steps above) and then move the E to the octave below instead, does that make it a "minor" interval in some sense?
@@herrbonk3635 yes by shifting I meant moving, but I should mentioned up/down AN OCTAVE (so that it stays the same note / keeps the same note name). Indeed, the chord E-C (in that ascending order) is a minor sixth.
@MiscBaraldi I'm a master toolmaker by trade, so math is my Forte. That's what amazes me so much. I can't believe I've never studied it before. It comes very naturally to me.
@@daniellopes6766 Sure thing. So, let's say your axis is C, as Nahre Sol is using in this video. Let's say your melody is C D F A B (ascending), the "response" would be C Bb G Eb Db (descending). In this case, basically the "response" is what is called a perfect or chromatic inversion of the original subject/melody. But of course this is easy to do when you chosen axis is also the first note of your melody. Let's say that you still want your axis to be C, but now your starting melody is D E F# B (ascending), your "response" would be Bb Ab Gb Db (descending). I'm not the best teacher and I could show better examples but it is hard to do without showing the notation. But, if you get all this, using the "negative" response is a quick and easy way to extend a phrase, so to say. I've used it in some of my own pieces because it does provide a sort of variety that is really just a veiled form of the original material. Really seasoned composers, of all kinds, seem to develop/derive entire compositions from a single "musical idea" (in the Schoenbergian sense) and so their works have a sort of gestalt unity, even if it is not always so obvious on the surface. Using negative harmony is one more tool in the arsenal.
i believe you have the axis drawn wrong in the diagram. the axis should be between the 1 and 5 chord for the given key, in C the axis would be between C and G. you're right that Fmaj becomes Gmin, but using diagram provided here, it's impossible to derive negative harmony correctly... aside from that i like your way of finding the chords using the minor key descending to the left and the major key of the right. you are much better at music than me:)
@@AlexGeek There is reason though: not any reflection goes well with a given scale. If I remember it right, mirroring around C in the circle of fifths is meant to go well in C major context, for example (and A minor too, I guess).
Negative harmony sounds really interesting, and I think I understand the concept of how to do/create it, but can someone explain when it should be used or what the point of it it is?
It helps to allow for tonal equivalents that have opposite emotional effect. Like iv6 and V7, or bIImaj7 and viib13 (Vmaj7). It can even be applied to modes and scales, like Aeolian and Ionian, or Dorian and Mixolydian, or harmonic major and harmonic minor. Some scales and chords are axially closer to each other than others, like Dorian & Mixolydian versus Lydian & Phrygian, or harmonic major & harmonic minor versus melodic minor & Aeolian dominant (melodic major).
As a musician, at first I found it confusing, but then I rewatched it, paid more attention and tried to perform, then I understood. I know how you like to teach, Nah! Congratulations, you do this very well!
Your BLACK & WHITE blouse Nahre!! It supports the negative harmony concept pretty nicely! Am I the first one to catch this? You are on a whole new level my Friend! 😂😂🎉
Great short! It also helps to start out with knowing that the chords and scales are spelled opposite of each other at their root and fifth, and that the negative of the dominant (V7) is the minor subdominant (iv6), and vice versa. Where one chord is spelled upward from the root, the other is spelled downward from its fifth.
I’m a lead bassist and I’ve been really looking into using negative harmony in a metal/goth context. Especially by having the guitar play one thing and have the bass play the negative harmony. I’m not a pianist but I think I get what you’re trying to say. Thank you so much.
Two approaches to learning a little about this awesome musical instrument, the piano. You have shown for both methods a map and how to cover the distance. To someone with a penchant for analysis and makes-sense-scenario, both explanations are suitable to someone with no knowledge of piano theory. Thank you.
The way I learned this technique was with a 3rd very different method. It's really cool to see some alternative ways of thinking about this. Thank you!
This is a really good way to look at it. Like it makes sense how it maps out against the circle of fifths but its much easier to visualize this way. I've only ever seen it mapped out in the circle, not laid out like this.
There's lots of really neat synchronicities in music like this and the more you play around with it the more of them you'll discover and it is really cool
You can also think of the axis between the tonic and dominant (C and G), and you can flip all the notes in a chord across that axis to create it's negative harmony equivalent
This is awesome, I am a guitarist n I approach n identify negative harmony in guitar easier. This video now completes my jigsaw puzzle on piano. Thank you very much.
I thought the same thing. Same interval sequence up vs down. whole whole half whole whole whole half, going up, is major. Same interval sequence going down is Phrygian. But on second thought, if you flip the F note on the traditional E/Eb axis then it does become a D natural. I guess the identical interval sequence starts on the fifth? So it's a G Phrygian, which makes C Minor
As a musician who has practiced music theory since middle and have always just played by ear and feel, this actually made a lot of sense. And now i have a way to explain to others. Thank you!
What I find funny is there is already an axis of symmetry in the normal diatonic scale (the Greek modes), so in reference to the Ionian scale: I → vi ii → V iii → IV vii° → itself If the idea of negative harmony is that the image of a chord will have the same level of tension, then try to think about the implications this has on the normal diatonic scale.
@@SilverTheFlame Sure thing What's the formula for the major (ionian) scale? Well it's: W-W-H-W-W-W-H (W being whole-step and H being half-step) As you can see, it's a specific structure, which, like any structure, can be represented mathematically. If you alter this structure, it's not the major scale anymore. Now a principle we go by in occidental music is octave equivalency, which means that notes repeat after the octave. Therefore, the chromatic scale can be represented mathematically as all 12 notes disposed in a circle, like a clock. If you look at the modes of the major scale, they have these formulas: Ionian: W-W-H-W-W-W-H Dorian: W-H-W-W-W-H-W Phrygian: H-W-W-W-H-W-W Lydian: W-W-W-H-W-W-H Mixolydian: W-W-H-W-W-H-W Aolian: W-H-W-W-H-W-W Locrian: H-W-W-H-W-W-W Except, because of octave equivalency, these patterns repeat endlessly, which means that all of these seven scales are the exact structure; they're the same scale: ...W-W-H-W-W-W-H-W-W-H-W-W-W-H-W-W-H-W-W-W-H-W-W-H-W-W-W-H-W-W-H-W-W-W-H-W-W-H-W-W-W-H-W-W... forever So I call the structure of the seven Greeks modes "the diatonic scale." While negative harmony invents an axis around which to flip notes to find an equivalent, the diatonic scale already has one. How so? Well if you look at its structure, it is symmetrical if the axis is in between the two consecutive whole tones, like so: W-W-W-H-W | W-H-W-W-W If you were to continue the pattern on both sides, you would always be symmetrical around this axis. Now why is this important at all? Well why does negative harmony even do? It's a tool that lets you find notes equivalent in tension to ones you want replaced. This means that the resulting set of notes will be functionally similar to the original ones. The thing is, you don't even need negative harmony to do this, as the diatonic scale already provides this. If we pick the key of C major, then the axis of symmetry goes through the note D (and coincidentally G#/Ab). This means that at a whole tone away from the axis, C and E are images of each other, B and F are but at a minor third away from the axis, as well as A and G at a perfect fourth away. If you kept going, at a perfect fifth would be G and A, F and B at a major sixth, E and C at a minor seventh, and just D at the octave, but we already have the correspondence between these notes. Now the I chord is C, which is composed of the notes C-E-G. The images of these notes are E for C, C for E, and A for G. The resulting chord is Am, the vi chord. The ii chord, Dm, is made up of D-F-A, which are the images of D-B-G, so G major, the V chord. Em is the iii chord, and E-G-B become C-A-F, which is the IV chord F. The only chord left is B°, the vii° chord, which to no one's surprise is its own image because it's the only diminished chord in the scale. Now if the I chord is equivalent to the vi chord, ii is equivalent to V, and iii is equivalent to IV, can you tell me what implications this has on our understanding of chord functions?
@@althealligator1467 all of those images already follow each other in sequence in a standard sense of progression too, especially ii > V and iii > IV Actually kinda bonkers
I had to watch this twice to get it. But this is a great tip. Now I'm rushing to finish this essay so I can sit down at my Donner and apply it. Thank you!
That music circle is arranged exactly like a steel pan! It's Trinidad's national instrument and all the notes are in the same order as that circle! ❤🇹🇹
Use the D notes as your mirror point (symmetric inversion). It is far easier to do than the axis method. On paper, use D middle line of bass clef as your mirror point.
It's a cool theoretical concept. For me though, it's always been so weird that I never think to use it in my compositions. I think ill try again though in the near future.
Although it’s tempting to try to use the concept consistently throughout a piece (eg C Ionian melody over G Phrygian harmony) but I find using negative harmony sparingly to add color to otherwise boring cadences to create interest
![Relaxed Scene - Roblox Break In Ost | Kalimba Tutorial & Tabs [EASY] #roblox #kalimba](http://i.ytimg.com/vi/heKd2mgDsoc/mqdefault.jpg)
As a non pianist, I am even more confused
Well than... it shouldnt matter to you ?
@@jmack619 it's a joke 😑
@@nihartley5265 awww you got me! As a very amateur pianist, I'm confused.
@@jmack619 he got you jmack
As a has-been-playing-piano-for-years-but-doesn’t-know-the-music-theory-stuff person I have no idea what she’s talking about
As a pianist I find that approach much easier and not at all confusing, thanks!
You'd still have to know what the circle of fifths is though 😅
But what would you use Negative harmony for?
Sorry, I watch this video literally eight times and you lost me. I appreciate your brevity and straightforward approach, but sometimes you need to slow your presentation down. Question: are you using a C pure minor on the way down? So you have the same notes as E flat, Major? And when you play that beautiful example at the end of your clip, it would be great if you could show us what you’re actually doing are you playing a melody in C major with your right hand and harmonizing with the chords from E flat, major in your left hand?
@@GuitarUniverse2013 same frustration here :-)
l can only confirm (from the notes played) that the C minor scale played is indeed the aeolian (6th) mode of Eb
@@scottanos9981 nah bro we take some pitches and arrange them like this.
Negative harmony is fascinating. It would deserve a longer video
czcams.com/video/aewI1F8bA8M/video.html
As someone who has too many hours in music theory and composition, it is very useless, but yeah kinda cool for 10 minutes
@@simonvanprooijencan you explain why it’s useless please ? I’m new to theory and I want to learn music inside and out . Any sources ? I want to go to school in 5 years . Film score , composition and music theory. Any suggestions?
@@tenerochiBeats I mean I can't exactly explain why it is NOT usefull, but my dad has been an arranger/composer for 20 years now maybe, and he has never used it in his life, he hadn't even heard of it when I asked him what it is. It does remind me of melodies that are used inverted, which is a common thing in classical music (f.e. the 18th variation in rachmaninov variations on a theme of paganini or Bruckner 6th symphony, Richard Atkinson has a beautiful video about that symphony, I would recommend watching that :)), but yeah I don't think any big composer has used negative harmony ever, or written about it...
@@simonvanprooijenIt's basically a subset of Neo-Riemannian theory under a catchier name. In a certain sense, composers are using it all the time, but have no need to think of it in this way, because there are better and easier ways to think about it, e.g. just using ascending fifths rather than descending fifths. It's not that the music indexed by it is useless--it's that the indexing itself is fancier and more inefficient than it needs to be.
The simple explanation for this is that major intervals become minor when they are inverted. This is in contrast to perfect intervals which remain perfect when they are inverted! Perfect intervals are prime (unison), 4th, 5th and octave. Major/minor intervals are 2nd, 3rd, 6th & 7th.
But... what does it mean to 'invert' an interval?🤔
@@hindisikhnewaalaa just flipping the notes around (basically shifting up the lower note of a 2-note chord, or shifting down the upper note)
@@quikjip Holy Cow, now this is an eddicayshun for me! I have a mandolin (tuned in fifths), and what you and PianoVideos have said is suddenly right out at me! Thanks to you both for showing me something so important, that I would have blithely skipped over!😮
@@quikjip I don't get it. What is "shifting"? Changing octaves? If you first play a C plus an E (two steps above) and then move the E to the octave below instead, does that make it a "minor" interval in some sense?
@@herrbonk3635 yes by shifting I meant moving, but I should mentioned up/down AN OCTAVE (so that it stays the same note / keeps the same note name).
Indeed, the chord E-C (in that ascending order) is a minor sixth.
I'm convinced music theory is some form of ancient black magic. I just started studying it, and I'm amazed by it. It only took 57 years to get here.
It’s just math
Math with a high level of emotion and subjectivity
amen. It's still a little confusing!
Music theory is a deep rabbit hole. I think its designed to make you pull your hair out. ;-)
@MiscBaraldi I'm a master toolmaker by trade, so math is my Forte. That's what amazes me so much. I can't believe I've never studied it before. It comes very naturally to me.
perfect shirt to wear. black on one side, white on the other. major up, minor down. 😎🤓
This comment! 😂😂
ying yang
_Monokuma has entered the chat._
Negative harmony is pretty useful for call-and-response phrases, too.
explain!!!
@@daniellopes6766 Sure thing.
So, let's say your axis is C, as Nahre Sol is using in this video. Let's say your melody is C D F A B (ascending), the "response" would be C Bb G Eb Db (descending).
In this case, basically the "response" is what is called a perfect or chromatic inversion of the original subject/melody.
But of course this is easy to do when you chosen axis is also the first note of your melody.
Let's say that you still want your axis to be C, but now your starting melody is D E F# B (ascending), your "response" would be Bb Ab Gb Db (descending).
I'm not the best teacher and I could show better examples but it is hard to do without showing the notation.
But, if you get all this, using the "negative" response is a quick and easy way to extend a phrase, so to say. I've used it in some of my own pieces because it does provide a sort of variety that is really just a veiled form of the original material.
Really seasoned composers, of all kinds, seem to develop/derive entire compositions from a single "musical idea" (in the Schoenbergian sense) and so their works have a sort of gestalt unity, even if it is not always so obvious on the surface.
Using negative harmony is one more tool in the arsenal.
Madam can you make a full video on nagative harmony? And how altering with nagative harmony would sound?
@@rhea8186 thanks
@@AliasgarVirdiwala5253 no prob
What I like about this is your jazz ii-V-I in negative harmony turns into your gospel bVII-iv-I, with that lovely minor plagal.
Sick. Thanks for sharing :)
Yup :) Technically the tonic becomes minor too, but yes, it’s very effective 😅
i believe you have the axis drawn wrong in the diagram. the axis should be between the 1 and 5 chord for the given key, in C the axis would be between C and G. you're right that Fmaj becomes Gmin, but using diagram provided here, it's impossible to derive negative harmony correctly... aside from that i like your way of finding the chords using the minor key descending to the left and the major key of the right. you are much better at music than me:)
but somehow the way you have the axis drawn works for your method of finding neg harmony using a major scale on the right and a minor on left...
If you symmetrize all notes with respect to D or G sharp you also preserve the colors or the keys!
but pro musicians always making it harder for us beginners :D
What do you mean? Yes those are the mirror notes on the piano.
@@AlexGeek There is reason though: not any reflection goes well with a given scale. If I remember it right, mirroring around C in the circle of fifths is meant to go well in C major context, for example (and A minor too, I guess).
She plays chords faster than I can play notes
you should give yourself some time and practice more ;)
I like the fine details, like her shirt is half black half white
Negative harmony sounds really interesting, and I think I understand the concept of how to do/create it, but can someone explain when it should be used or what the point of it it is?
It helps to allow for tonal equivalents that have opposite emotional effect. Like iv6 and V7, or bIImaj7 and viib13 (Vmaj7). It can even be applied to modes and scales, like Aeolian and Ionian, or Dorian and Mixolydian, or harmonic major and harmonic minor. Some scales and chords are axially closer to each other than others, like Dorian & Mixolydian versus Lydian & Phrygian, or harmonic major & harmonic minor versus melodic minor & Aeolian dominant (melodic major).
@@gillianomotoso328 oh damn man, thankyou for that great response🙏🙏 preciate it
@@michaelmcglaughlin9383 no problem :) it’s a very interesting topic.
@@gillianomotoso328 thanks !
Should be used when you feel like, the point of which is to create negative hamrony.
How beautiful the chord progression at the end. Thank-you for sharing!
Holy cow, this is way easier than trying to mirror the circle of 5ths in my head. Great tip. Thanks for this!!
Lol CZcams seems to be full of videos explaining negative harmony but I have yet to find any videos where I can actually hear it used 🙃
well , they dont care so much about your education
Check out Jacob collier
It is not a whole tool on it own but part of various tools used to approach improvisation and reharmonisation as a pianist
@@rsxexip i guess he wont help me haha
That's how that's done? Wow, ok thank you! Simple -and explains a lot of how that sound is accomplished.
As a musician, at first I found it confusing, but then I rewatched it, paid more attention and tried to perform, then I understood. I know how you like to teach, Nah! Congratulations, you do this very well!
Your BLACK & WHITE blouse Nahre!!
It supports the negative harmony concept pretty nicely!
Am I the first one to catch this?
You are on a whole new level my Friend! 😂😂🎉
Very cool approach to expand a musical repertoire. Sounds jazzy elegant.
Her blouse really helped. I got this. Thank you so much!
Most educational video I have watched yet on shorts, very cool
This is about to open a rabbit hole for me, I’ve never heard of negative harmony before.
Look for negative harmony covers on CZcams. You'll be amazed.
Understood! Bless you, NahreSol
Never thought it could be so easy to understand 😅. Thanks 🙏🏽.
That melody at the end immediately brought Thomas Newman and Shawshank to mind.
It's literally one of the composition tools that Newman uses when writing 😎
So beautiful! Loved the harmony! 🌄
You just blew my mind
I never saw negative Harmon this way
Thanks
You just broke my brain!!! 🤣 I caught all of the FEELS watching this!! ❤️❤️
OMG! Why didn’t someone tell me this, 40 years ago?! thank you, very much!😊
The Boss!! Thank you for breaking that down so fast....
This was super helpful after hearing about negative harms for ages. Thanks!
This is actually a really good technique. It's what I've always done with chords.
Great short! It also helps to start out with knowing that the chords and scales are spelled opposite of each other at their root and fifth, and that the negative of the dominant (V7) is the minor subdominant (iv6), and vice versa. Where one chord is spelled upward from the root, the other is spelled downward from its fifth.
This makes so much sense. I've never been good with theory at all. Very nice little vid. Thank ya!
I’m a lead bassist and I’ve been really looking into using negative harmony in a metal/goth context. Especially by having the guitar play one thing and have the bass play the negative harmony. I’m not a pianist but I think I get what you’re trying to say. Thank you so much.
Two approaches to learning a little about this awesome musical instrument, the piano. You have shown for both methods a map and how to cover the distance. To someone with a penchant for analysis and makes-sense-scenario, both explanations are suitable to someone with no knowledge of piano theory. Thank you.
these are the keys I'm looking for on every thing that makes sound. all the time. thank u! your channel is awesome!
This lady is a music genius. ±++++
The way I learned this technique was with a 3rd very different method. It's really cool to see some alternative ways of thinking about this. Thank you!
Simplest explanation I’ve seen. Thank you!!
Interesting way to look at it! Very creative and love the visuals
This is a really good way to look at it. Like it makes sense how it maps out against the circle of fifths but its much easier to visualize this way. I've only ever seen it mapped out in the circle, not laid out like this.
There's lots of really neat synchronicities in music like this and the more you play around with it the more of them you'll discover and it is really cool
You can also think of the axis between the tonic and dominant (C and G), and you can flip all the notes in a chord across that axis to create it's negative harmony equivalent
What does that mean though? Wtf is "negative harmony"? What is the purpose of it?
What a fantastic teacher!
(:
Love this. Best explanation of this I've heard.
This is awesome, I am a guitarist n I approach n identify negative harmony in guitar easier. This video now completes my jigsaw puzzle on piano. Thank you very much.
Very neat. Should the minor scale going down have a Db technically?
If it’s a Phrygian scale.
I thought the same thing. Same interval sequence up vs down. whole whole half whole whole whole half, going up, is major. Same interval sequence going down is Phrygian.
But on second thought, if you flip the F note on the traditional E/Eb axis then it does become a D natural.
I guess the identical interval sequence starts on the fifth? So it's a G Phrygian, which makes C Minor
Very nice! Thanks for sharing!
As a musician who has practiced music theory since middle and have always just played by ear and feel, this actually made a lot of sense. And now i have a way to explain to others. Thank you!
You described this beautifully and in lucid manner..
Bartok took this tonality concept and expanded it even more :)
He's my favourite composer of all time
This is genius! I composed a piece with a negative reharm of the main motif on the coda, and knowing this would have saved me a lot of mental work.
Clearest explanation of pitch axis I've seen
Bravo!
👏😎
Wow, this is magic! Thanks!
What I find funny is there is already an axis of symmetry in the normal diatonic scale (the Greek modes), so in reference to the Ionian scale:
I → vi
ii → V
iii → IV
vii° → itself
If the idea of negative harmony is that the image of a chord will have the same level of tension, then try to think about the implications this has on the normal diatonic scale.
Dostonic scale ??
@@SilverTheFlame diatonic* autocorrect didn't save me rip
@@althealligator1467 Can you explain your message a bit more? What axis of symmetry are you talking about? How does iii invert to IV?
@@SilverTheFlame Sure thing
What's the formula for the major (ionian) scale? Well it's:
W-W-H-W-W-W-H
(W being whole-step and H being half-step)
As you can see, it's a specific structure, which, like any structure, can be represented mathematically. If you alter this structure, it's not the major scale anymore. Now a principle we go by in occidental music is octave equivalency, which means that notes repeat after the octave. Therefore, the chromatic scale can be represented mathematically as all 12 notes disposed in a circle, like a clock.
If you look at the modes of the major scale, they have these formulas:
Ionian: W-W-H-W-W-W-H
Dorian: W-H-W-W-W-H-W
Phrygian: H-W-W-W-H-W-W
Lydian: W-W-W-H-W-W-H
Mixolydian: W-W-H-W-W-H-W
Aolian: W-H-W-W-H-W-W
Locrian: H-W-W-H-W-W-W
Except, because of octave equivalency, these patterns repeat endlessly, which means that all of these seven scales are the exact structure; they're the same scale:
...W-W-H-W-W-W-H-W-W-H-W-W-W-H-W-W-H-W-W-W-H-W-W-H-W-W-W-H-W-W-H-W-W-W-H-W-W-H-W-W-W-H-W-W...
forever
So I call the structure of the seven Greeks modes "the diatonic scale."
While negative harmony invents an axis around which to flip notes to find an equivalent, the diatonic scale already has one. How so? Well if you look at its structure, it is symmetrical if the axis is in between the two consecutive whole tones, like so:
W-W-W-H-W | W-H-W-W-W
If you were to continue the pattern on both sides, you would always be symmetrical around this axis.
Now why is this important at all? Well why does negative harmony even do? It's a tool that lets you find notes equivalent in tension to ones you want replaced. This means that the resulting set of notes will be functionally similar to the original ones. The thing is, you don't even need negative harmony to do this, as the diatonic scale already provides this.
If we pick the key of C major, then the axis of symmetry goes through the note D (and coincidentally G#/Ab). This means that at a whole tone away from the axis, C and E are images of each other, B and F are but at a minor third away from the axis, as well as A and G at a perfect fourth away. If you kept going, at a perfect fifth would be G and A, F and B at a major sixth, E and C at a minor seventh, and just D at the octave, but we already have the correspondence between these notes.
Now the I chord is C, which is composed of the notes C-E-G. The images of these notes are E for C, C for E, and A for G. The resulting chord is Am, the vi chord.
The ii chord, Dm, is made up of D-F-A, which are the images of D-B-G, so G major, the V chord.
Em is the iii chord, and E-G-B become C-A-F, which is the IV chord F.
The only chord left is B°, the vii° chord, which to no one's surprise is its own image because it's the only diminished chord in the scale.
Now if the I chord is equivalent to the vi chord, ii is equivalent to V, and iii is equivalent to IV, can you tell me what implications this has on our understanding of chord functions?
@@althealligator1467 all of those images already follow each other in sequence in a standard sense of progression too, especially ii > V and iii > IV
Actually kinda bonkers
CLEAR AS SLUDGE.
You don’t play piano
@@AustinRoss1420 I do, and I agree.
I have no clue but I like the fact that she discovered sth that feels worth sharing🎉
Thank you so much! This was very helpful. You explained very well
wow this is sooooo useful!! thank you!!
Wow... Amazing. This approach has really cleared much in my head
Thank you for your illuminating explanation!
This took me a moment to understand.
Wow!!🤯 You’re an amazing teacher!
Much easier to understand, thank you!
Infinitely simpler thank you!!
It maKes sense to me now. Thanks. You saved my life
Starting to make sense
Thanks
Very clever! Thanks for this!
Pretty interesting take. Thank you Nahre.
It's like Yin and Yang, like your shirt. :-) Great demonstration!
I would love to hear this Heavenly angel play...just play!!!... all those new chords without words and theory!!!😇
Your channel is brilliant!!
Wow! cool! I'd never heard of this before. Awesome!
I had to watch this twice to get it. But this is a great tip. Now I'm rushing to finish this essay so I can sit down at my Donner and apply it. Thank you!
Reminds me of the color wheel❤ All Frequencies
Thank you. Its a jump start for me .
Never heard about the negative harmony. Thank you for pointing 👉 I need to check it out 😊
I need to try this! Well explained, thank you!
very nice trick! Thank you
The explanation can't be better. Please continue.
That music circle is arranged exactly like a steel pan! It's Trinidad's national instrument and all the notes are in the same order as that circle! ❤🇹🇹
Awesome! I like to get your course and learn from your techniques. 🙂🙏🏝️
Love it! Awesome visual tool for pianists.
ohh those chords at the end sounded like the start of something intriguing. super cool.
You make it sound so simple!
Use the D notes as your mirror point (symmetric inversion). It is far easier to do than the axis method. On paper, use D middle line of bass clef as your mirror point.
Thank you!
Nice! I'll try this!
This is awesome thank you so much
This was helpful so much. Thanks!
Thank you. I am a violinist who uses the piano for pitch and theory and really appreciate r/l hand tricks.
You are a genius!
It's a cool theoretical concept. For me though, it's always been so weird that I never think to use it in my compositions. I think ill try again though in the near future.
Although it’s tempting to try to use the concept consistently throughout a piece (eg C Ionian melody over G Phrygian harmony) but I find using negative harmony sparingly to add color to otherwise boring cadences to create interest
Man I wish I had an instrument these sounds so cool
I have no idea whats happening, but it sounds pretty at the end 😀
You make it a lot more easier tnx
I love your Yin Yang shirt in a discussion of negative harmony
ok, ok...