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.
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, 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?
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.
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.
Why should the transformed root of E-6 chord in C major key, be an Ab chord?? Where on the shown inversion circle does E connect to the Ab note? Nowhere! so what's going on Rob?
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! =)
*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.
Best explanation of negative harmony on YT! Looking forward to part III.
Part 3 is on its way.
What a wonderful teacher! Good Luck!
Finally someone mentioned the most important part - it adds up to 9 ! Cheers!
This is completely logical as it is mirrored around 4.5
That really is a crystal clear explanation, with fantastic graphics, thanks Rob
Thanks!
great explanation , I watched a few others already but you really made it clear about transforming the root note , makes more sense now !
Thanks man, you clarified this topic and gave a pratical way of using this technique in an accessible way
Amazing video. Great explination. Love the ease of understanding with the circle of fifth visuals and templates. Thank a million. 🤘🤘
thanks Rob, you're the Best!🔥🔥🔥
Still wrapping my caveman brain around this theory. Awesome explanation. Thank you for this video kind sir!
This series is fantastic! Thank you so much.😊
The system does not fail when finding the negative roots of the b2 or #7. They work just like the others.
Yeah. Prt 2 🎉❤
Seen a few NH videos but this is gold. Thanks for your time and effort.
Thank you!
Excellent explanation!!! Many thanks.
Thank you Stephen.
Thank you sooo much
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.
Mind blown
What happens if you play the negative & positive versions simultaneously? Do you just get silence, or an epic explosion that puts Oppenheimer to shame? 😅
A musical Big Bang :)
@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?
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.
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.
Thanks Pedro.
And yes, that would be a good explanation indeed.
Why should the transformed root of E-6 chord in C major key, be an Ab chord?? Where on the shown inversion circle does E connect to the Ab note? Nowhere! so what's going on Rob?
...or Oppenheimer. 😂😂😂 Great video, man! Always appreciate these throughout presentations. Thank you!
Thanks!
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! =)
Ah yes, that could be a mistake...
And now we guess that "Traids" is the negative harmonic writing of "Triads" 😉
This was taught in basic composition. How is it all the sudden so cool? weird.
So negative harmony turns Bach into ocarina of time… hmmmm
Long winded, rambling, confusing presentation. Fascinating topic but there are simpler explanations out there.
*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.