Nothing like random filler background music in a music theory video. I find I really absorb these concepts more easily with random, unrelated music playing over everything.
It should be mentioned that negative harmony is not just flipping a chord around tonic, but it's flipping a chord around the note in between the tonic and dominant. For C major, this would be E-half-flat. D would not become Bb, but instead would be F. In general, you use the same system of figuring out a note's negative value that was used in this video (D is 1.5 chromatic steps below E-half-flat, F is 1.5 above). Alternatively you can use the Circle of Fifths to figure this out by drawing a line from between C and G and then reflecting notes about the line, or to figure out chords, a line from C to Gb/F# - chords one one side that are major become minor on the other, as in, G major becomes F minor, D minor becomes Bb major, etcetera. That last method of finding chords was used in this video. Also, a plagal cadence and an authentic cadence do not hold the same gravity as each other when talking about their relationship to tonic. In a major key, a plagal cadence is major IV to major I, and an authentic is major V to major I. However, the negative of a major dominant (V) chord is a minor iv. Technically, yes, a plagal and authentic cadence have the same gravity towards tonic, but it should be more specified that it's the minor plagal cadence in a major key that carries the same weight as a major dominant. The same is true for minor keys except if the dominant is minor, it will become a major plagal cadence in a minor key.
Thanks for your feedback, Tom! The flipping happens only with the root of the chord you want to put into negative harmony, not the other (chord) tones. And sure, you can always get into deeper levels and I agree with everything you said but in order to make this WORK, the information shown in this video gets you to results quickly.
thanks for the comment. But we are not just flipping a chord around the tonic as you state. We flip around the root tone and use the reverse formula of the upper structure above that new root tone. We are totally aware of how ErnstLevy describes his procedure but the interval approach is different. There is no need to split a chromatic step into a half in order to apply negative harmony, or plagal harmony how it should be called properly :) ... however, both perspectives lead to the exact same result.
Tom It should also be noted that the negative of the major supertonic (V/V) is simply the minor subtonic (iv/iv), and that the negative of the major subtonic (IV/IV) is the minor supertonic (v/v). One needn’t measure only from the neutral third of the key or chord, but based on the functions of the chords in the key the negative of a chord may be built downward or upward from the root, fourth, or fifth depending on whether it relates plagally, dominantly, or identically to the tonic. As a result, auxiliary chords like the supertonic and subtonic are related to the tonic by their simplified extension as dominant or subdominant of dominant or subdominant. By extension, mediant chords mirror each other across the root as isolated extensions of the initial tonic - vi bIII (minor third from the root), iii bVI (major third from the root). And even in the mediants, there is reduction of each mediant into 1 -> 5 -> 2 -> 6 (the submediant as dominant^3, or flattened variant thereof) and 3 -> 7 -> 4 -> 1 (the mediant as subdominant^3, or sharpened variant thereof). This is another reason for why bIII & vi are negatives of each other as well as iii & bVI, biii & VI and III & bvi. If we go around another fifth or fourth, we reach the 3 and 6 chords again, just in major third from the tonic unless altered (minor and major, built upward and downward respectively, as they imply major and minor tonalities respectively). Another fifth or fourth and you have the 7 and 2, just as lower or upper leading tone to the tonic unless altered (minor or diminished and major or dominant, again built upward and downward respectively due to the tonalities they imply). This translation about the scale in fact gives us our leading-tone chord and Neapolitan chord, as well as our tritone sub of V.
We know that the negative of the authentic dominant, built upward from the five to lead upward, is the minor plagal, built downward from the root to lead upward. This founds everything. But more neutral chords may be more complex: the negative of the major subdominant or Lydian dominant (upper mediant of the supertonic and built upward from 4) is the minor dominant or what I guess you could call “Mixodorian” minor (lower mediant of the subtonic and built downward from 2). The dominant minor to subdominant major translation is somewhat confusing... but the main idea for them is that both are neutralizing chords. The major third in IV counteracts the downward pull of the subdominant toward 3 and 1, and the minor third in v counteracts the upward pull of the dominant toward 1 and 6. They still fit this rule, as the major subdominant is simply both 4 -> 1 and 5 -> 1 in relation to the tonic and subtonic, and the minor dominant is simply both 5 -> 1 and 4 -> 1 in relation to the supertonic. They function neutrally because they are both subdominant and dominant simultaneously. The third renders them androgynous.
Yes, great content but I turned the sound off and put subtitles on. The music is annoying and unnecessary, it sounds like a bank or yogurt commercial or something.
Many thanks for the feedback. Yes, we've received that background music feedback enough times and we learn. :D ... the newer ones are more in-depth and without the background music! :)
Hi Brian and thanks for your comment. You are not alone with your opinion as you can see from the other comments. And actually, I'm getting it. But we won't upload a new version of that video because it's not worth the time and effort to go back and adjust things. Instead, we are working very hard on a complete course about the application of negative harmony! This course probably will become available in 1 week from now on - and the best thing, there's no background music in there! :D ... so, I'm hearing you but we are focusing on bringing more value with new (and better) materials to our members, followers, and visitors. And btw, we are also having a full ebook with over 1 hour of video explanation about negative harmony in our membership as well! We haven't really advertised for that yet as we want to tie this to the application course but there'll be so much content about how to really use negative harmony with an interval approach that probably this video will become obsolete at some point. I'm hoping that makes sense to you!
Great explanation, however, please play an example that you have already written down. That's what music primarily is, sounds, not symbols on a piece of paper.
Yes, we totally agree! M.I.T.A. is about to finish an all-encompassing ebook about how to translate anything into the negative world (melodies, 2p, 3p, 4p). Actually, the ebook is finished but we are working on the musical demonstration to show these things in action. ... One thing I can say for sure is that Negative Harmony doesn't sound good if you applied it to a track that DOES sound great on its own, just like these videos that you see here on YT. Listen to "Over the Rainbow" or "House of the Rising Sun" in their negative versions and you'll agree with me. This technique is not a binary thing but wants to be combined with other types of compositional methods. It's funny because people believe that this is the holy grail which is nonsense. In cooking you also not only use pepper and nothing else to bring out some flavors! The same is true for composition, it's a mixture of all the great things that are available to us .... We are planning to release the ebook in Oct 2018 (this month) for members of our Online Acamdey. Have a look at that if this sounds interesting to you: musicintervaltheory.academy/
I don’t mean to be rude, but I believe you should check your resulting negative chord in 5:07, what you actually have is a Gm/B (Bb vs B natural, conflicting major and minor modes). If you analize each note of the blue chord, the Db’s negative should be F#, not B natural. Also, the blue chord is a Db+M7, its negative should be GmM7. It should be noted that negative relationships are not absolute. It all depends on the tonic and dominant of whichever scale. For instance, C and G will be negative with each other only in the C major scale (or A minor natural scale since they share the same key signature, no accidentals). On the other hand, C and G are not negatives in the F major scale, for example, since F (tonic) and C (dominant) would be negatives with each other as well as G (supertonic) and Bb (subdominant). I hope this is helpful.
thank youu, but i did not understand the part of the video when you count the fifth scale note, and count towards the highest note. what does that do to the negative chord??. i dont know what does that do, like where is it aplied
Hi Rodrigo, I see. Well, in negative harmony, there is a magic number from the original root tone, and that is 7! Of course, going up 7 chromatic steps from the original root brings you to the perfect fifth above it, right? ... Now, when you move over that distance (into 8, 9, 10, ...) you have to apply a shift to your negative structure. And that shift is determined by the number of chromatic steps you move over 7 on the original side. For example: moving over 7 on the original side by 2 leads to a shift of your negative structure by -2 from your negative root tone. We've just finished a whole ebook on Negative Harmony! It is almost 40 pages long and includes orchestral application as well. Allow us a few more days and I'll bring up the application in a dedicated video here on YT. Probably, this all could potentially lead into a YT live stream if that topic is interesting for some of you!
Music Interval Theory Academy Thank you dude, its really hard for me to understand because i dont speaak english, i speak spanish, so there are like a lor of terms that i dont get. but thank you a lot,❤️❤️
From what I understand, and I'm just learning about negative harmony, you're supposed to across the circle of fifths. But with the note between the tonic and the dominant as your axis. So, for example of a harmony in C, you have C going to G F going to D Bb going to A, etc. This video is mapping the notes with the TONIC as the axis. I suppose that's a different way to do things. I guess it depends on what you're going for.
Hi Eric, thanks for your comment. Your approach is absolutely correct and leads to the same results. The idea of applying negative harmony describes to substitute your original chord structure in your progression (could also be a single note or any number of voices really) with those who have the same gravity to your tonal center. That's exactly what you are talking about in the circle of fifths. Actually, negative is a funny word, because it implies that there has to be positive harmony :) ... if you would describe those movements as authentic and plagal, it would be more easy to find connections in the circle of fifths, but it would all sound less fancy! :)
Hi. Good video, thanks, but I didn't get why G7 turned into Fm6, I mean, I get the G turning into an Fm, but I didn't get the seventh into sixth thing. I have to count the additional note from the fifth of the chord and them countdown from the octave of the negative chord? I'm assuming so, since D is 3 notes below F, which is the octave note. So in C major scale, Am would be a Eb. And Am7 would be Eb6? There are 3 notes from the fifth of Am7 to the seventh (E F G), so subtracting the same number from the octave of the negative chord I get C, which makes Eb6, but that doesn't feel right, bc every seventh chord would be turned into a sixth. Also, a Dm7(9) would be a Bb6(11)?
Hi @Marceline, many thanks for your comment. Technically, everything that you say in your comment is absolutely correct in terms of the notes to pick on the negative side. However, the last example that you brought up is a tricky one, so let's tackle that real quick: The D root translates to Bb. The treble notes translate in the following way. F becomes D, A becomes Bb, C becomes G and E becomes Eb. So, if we put those notes over the Bb root tone, you won't create a valid chord structure as you end up having even-numbered scale tones over your Bb root without the support of scale tone 7, see? ... now, what does this mean? :) ... That means, that Bb is not the root although the tone is correct. Look at all the treble tones of the negative structure: Eb, G, Bb, and D. That's a very straightforward Ebmaj7 chord .... now, let's bring in the bass note again and this scale tone Bb to the Ebmaj7 chord. See it?
@@marcelinemorgerstern9074 Frank here, co-founder of MITA. Yes, a Dm triad translates to a Bb major triad, that's completely right. What we meant in the comment above is that your notes are all correct but the way you interpreted your negative chord structure is not correct. That has nothing to do with negative harmony but how the Overtones Series works :)
You already share a lot of information and I'm very happy watching, listening and learning. I've studied music on and off for all of my life (well, since just before my 5th birthday) but I am still learning...always learning.
It's called 'negative' because it equals a reflection of your original harmony. Think of a tree that grows to the sky and builds strong roots in the opposite direction. That is your reflection. And you can also refer to this as "plagal harmony" as it (most of the times) is a reflection of authentic cadences. I hope that helps.
In Interval Theory, we prefer the term "reflective harmony" but I have a strong feeling that we both mean the same! :) ... so, if you wanna call it mirrored harmony, that should work as well.
@@Blackster2002 Nice. Ive searched for it and I dont really know if it still is mirror harmony, but the idea is that the tendencies of the tones invert, so if there is a B in C major it becomes a Ab. The B has the tendency to go to C, and the Ab has the tendency to go to G, so there you. I guess I gotta read Ernst Levy.
I still don’t get it! Why don’t any of these videos on negative harmony ever provide audio examples of the harmony rather than playing background music? I can read music and have a reasonable understanding of theory but many of us need to hear it for it to make sense. After all, it is music, not math!
Hi Glen, thanks for your comment. You might want to do a UA-cam search like "Negative Harmony Songs" and you'll find tons on tracks that show how it sounds ... however, in our opinion, it doesn't sound good if you simply applied negative harmony-concepts to the whole progression as not all notes translate equally well. For that reason, negative harmony is a concept that allows for more creativity if applied correctly. And yes, it sounds very good and it is very inspiring. In fact, our Academy not only has ebook available for all members but also a whole course on how to apply these concepts step by step to different structures. All of those materials come with musical examples and demonstrations in video and mp3 format. If you want to learn more about these things, I invite you to hop on our free email newsletter (please see the description below) as we send out more information about that quite soon. I'm sure you'll benefit a lot from it!
many thanks, David. Actually, we have a full course on Negative Harmony, including a ton of musical examples. Please reach out to me should you want to get more information.
It's clear that in the key of C major, a G major triad reflects into F minor when the root is G, but what about triad inversions? Your method suggests that G/B (G major 1st inv.) and G/D (2nd inv.) will result respectively into Fm/D♭ (Fm♭6) and Fm/B♭ (Fmadd11). Is that right? It feels weird using these extra notes that don't derive from a reflection in the tonic-dominant axis and getting different chords all coming from reflecting a G major triad...
Dear pitpank, thanks for your input. Short answer to your question: I'll explain these cases in the next webinar on Oct 1st, 2018. However, this webinar won't be mainly about Negative Harmony (but more about the opening of our online membership). But we are writing a complete ebook about Negative Harmony that is going to be released in Oct/early Nov. If you can, please register for the free Webinar: musicintervaltheory.webinarninja.com/webinars/56794/register ...
The information you are giving is not sufficient to give you an answer. Unfortunately, I have no idea what "other video" you are referring to as our channel only has ONE video about negative harmony. I'm assuming, though, that you are having difficulties finding the split or axis because the original theory from Ernst Levy is being based on the middle between the tones C and G. Hence, you have to have a tonal center first. Then, you have to have a cadence on that tonal center otherwise you just switch from a major to a minor triad. And that is the exact reason why we are splitting the root and the upper structure and treat them separately. This way, it doesn't matter what your tonal center actually is as our method only describes the relation from one root tone moving to the next, no matter the tonal center.
It's interesting from a cerebral point of view, if you want to approach music as a coder or an engineer. Or you could just study Classical and Jazz - it's all in there: melody, rhyrhm, harmony, notation, modes, counterpoint, intervalic structures, tone rows, space, consonance, disonance, tension, resolution, sequences, inverting, reversing, composing, improvising, free form, stream of consiousness, intention, lifestyle, philosophy, history, communication. Oh, and don't forget to use your ears. Jeffrey, c/o Lothar
Thanks a lot for your comment, Lothar. You are right with all you've said. Btw, we are working on the 2nd (more advanced) application course on Negative Harmony. Here's the first one: musicintervaltheory.academy/courses/1-2-1-negative-harmony-i/ ... if you are interested in that, please let us know if you have any questions regarding the membership that we offer!
Your first example you display is an A minor to C major (vi -> I) deceptive cadence progression. You then state this the negative of this is an Eb major to -> C major (bIII -> I) resolution. If you reflect the A minor chord over its access and use your method of chromatic distance of 5 chromatic steps from above or below, it does not result in Eb. From your method, 5 chromatic steps above is a D, and from below is an E, not an Eb which would be 6 chromatic steps. But if we actually count correctly, we would result in the D and then if you apply your (4+3) for interval steps of a major chord since we are coming from a minor (3+4) would result in a D Major chord (4+3), not Eb major. Which would be a (IV - I) cadence. I am perplexed on how you get the Eb Major chord, I see no method to get to it. If we look at what Levy Stated, it is as follows in reflection: F Ab C E G Bb Db F A C Eb G B D Eb Gb Bb D F G Bb D F# A This forms a pyramid if you draw intersecting lines through C A F and C Eb Bb And also shows the refection of these chords. Your method seems flawed or I am missing something.
Hello @DawayneKing, our method is correct. You don't get to the right notes because you are changing your point of reference during the process! We are stating that the harmonic weight from Amin to C is equal to Ebmaj to C. This is exactly the reflection that you know from Levy. You changed the point of reference from C to A during the process (why?) and then you build 5s upwards and downwards from A. Do not overthink Negative Harmony. It's not that complex, it's all about counting chromatic distances. Best always to you
@@MusicIntervalTheoryAcademy Can you walk me through the process in which you resulted at the Eb Major chord so I can understand where you derived that from? If my point of reference is the A min chord resolving to C, then looking at the A root, 5 chromatic tones from the bottom is E and 5 chromatic tones from the top is D. In this case, I am reflecting either an E Major chord which would be a 4+3, or a D Major. If I look at it from C major, I would have an F minor chord or G Major chord. Can you help me understand how you ended up at a Eb Major so I can understand your process.
@@DawayneKingMusic Thanks for your reply. Sure. The easiest way to get from Amin to EbMaj is to put every note individually through the process of negative harmony. According to Levy, your axis is in the middle of your root tone and its scale tone 5. In our case, the root is C, scale tone 5 over C is G. The middle is located between Eb and E, right? ... The middle becomes your axis of reflection, whatever distance any tone is away from that axis, move the same distance in opposite direction from the axis to get to the negative tone. Here are the tones from an Amin triad: A, C, E. If we reflect A, it becomes Bb. C becomes G, E becomes Eb. Look at those three negative tones: Bb, G, Eb. That's your EbMaj chord :)
@@MusicIntervalTheoryAcademy Thank you so much, that helps me greatly and I now see what is taking place here. Thank you again so much for the explanation and the time you have taken to help me understand. It makes me rethink so much on what I have learned.
@@DawayneKingMusic You are very welcome! May I invite you to stay in the conversation by signing up to our free "MITA Magazine". We try to help people grow as much as possible and put out great value in there. This might be a very valuable resource for you. Just an invitation, you decide! ... musicintervaltheory.academy/email/
good question, I believe we didn't address this in the video but here it is: If scale tone 5 is on top of your 4p-structure than no shift is applied to your negative pendant. In this case simply use the reversed formula and start on your negative root tone. Here is the example with the G7 chord in a position of the 5th. The notes are from bottom to top: F-G-B-D and this gives a formula of 2+4+3. The reverse of the that formula is 3+4+2, right? You know how to get to your negative root tone (which is F in this example), now start that formula on the root tone and the notes are: F-Ab-C-D .... I hope that clears it up! :) ... Thanks for the question and please consider spreading the word for us as we (MITA) try to reach more attention by value and quality!! :D
Major to minor, minor to major, dim and aug stay the same... Somehow I memorize these pairs by associating them with colors, and spend not that much time getting used to them... (subconsciously?) Actually the last background music inspires me a lot, where's that music from?
Thanks for your comment, John. I'm the composer of all the music in there (it's also my voice that you are hearing). The last track is called "On Eagle's Wings". You can listen to it fully on our website when you scroll down to the Soundcloud Player: musicintervaltheory.academy/ ... and of course, please let me know if I can help you in any way! :)
Thanks, Udo! We are going to do more (shorter) videos on various subjects (Polytonality, Negative Harmony, Chromatic Harmony, etc.) in the near future. Right now, our whole Academy staff is busy finishing many different projects, courses and other video content for the membership area! Btw, we are having a whole course about the Application of Negative Harmony using interval theory. This makes it way easier to apply in the actual writing process :)
Yes, I believe you are right. We prefer the term "plagal harmony" because 'negative harmony' brings you to the other side of the circle of fifths. And most cadences are authentic. The opposite of that is plagal. But it seems to be a trendy slogan that people search for, so it still makes sense if you want people to find your video! :) ...
Thanks for the video subject , now ...How do you get the formula 3-4 or 4-3 for the triad ? ...I counted de semitones and chromatically you get 7 ; what means 3 ? and what 4 ? -Thanks to anyone who can clarify.
Hi Simon, thanks for your message. The numbers refer to the distance between two tones. If you start from the note C and go up 4 chromatic steps then it brings you to E. From E you go up 3 and it brings you to the note G. Hence, 4+3 describes 3 notes, and those notes create a major triad, like C-E-G. If you did the same procedure with 3+4 then you get to a minor triad instead, like C-Eb-G, see it? ... I hope that clarifies it. What you are describing with the number 7 is what we refer to as the "Outside Interval". That's the bottom note and the top note of a structure, independently from any tones in between. Please let us know if you have further questions and we'll chime in! :)
@@MusicIntervalTheoryAcademy+ Thank you so much for taking the time to answer my question , I really appreciated !! ...yes, of course, now is very clear your "counting" perspective, counting by sections, the numbers refer to the semitones between the first two notes of the triad and then the second two notes, to the final 5th of the triad. - You have a great channel, you certainly do. Thanks again indeed, I will be in touch and following you, certainly I will have in the future some questions !! All the best to you.
@@theicberg Simon Magus We are glad we could help! :) you might want to consider hopping on the newsletter as we constantly share great value there as well! Just in case you haven't found it already, on the "free materials" page (in the description to this video), please scroll down all to the bottom and you'll see the button "M.I.T.A. Magazine", that's the newsletter and it's free, of course.
You're absolutely right! This is one of our earlier videos and we'll hopefully get better with the more recent ones! :) I hope you enjoy them, though! :)
@@MusicIntervalTheoryAcademy honestly I don't understand it yet. If I have chord progression of C, Dm, Em, F, G7, Am, B halfdim, what is the negative harmony for that?
@@Danumurti18 Before you can determine ANY negative result, what is your overall tonal center? Is it C? ... if so, you count the distances of your roots in opposite directions and flip major to minor and vice versa. So, Dm turns into Bb major, Em turns into Ab major, F major turns into G minor, A minor turns Eb major, B dim turns into Db dim. ... you need to know your starting point from where you count, that's why I was asking if it was C. If it wasn't, then things change. Negative Harmony needs to be based on a tonal center, it doesn't work with atonal or free writing. I hope that helps already!
@@MusicIntervalTheoryAcademy Ok I think I get it now.. So in the tonal of C, with progression Dm, G7, C, the negative of that progression will be Bb, Fm, Cm?
@@Danumurti18 Yes, that's correct. We actually have a full application course on that inside the Academy and this can turn into a very inspirational starting point for composition. Btw, later today, we'll release a full 3-hour composition course using Sergei Prokofiev as the source of analysis and apply Interval Theory to his work. This way, we extract stunning composition techniques and even turn them into action. It's all demonstrated in that course. I'm sure you'll love that! :D ... video will come online in around 9 hours from now on ... still exporting here ...
Well, there are people (especially non native speakers) who are not so proficient in English but still want to learn about negative harmony: a slow pace let them understand more easily. I tried this video at 1.25 speed and it is still very enjoyable; on the other hand stretching a normal video to 0.75 makes the sounds of a language always more blurry and harder to undrstand: I tried this too.
hi soundseen, the video explains the basic concepts of how to translate triads into negative harmony. It's not a performance but a guide for the composer. Simply grab your instrument and play the basic chord structures yourself. But just to be clear, we have a full course on Negative Harmony and its application available inside the membership of our Academy and yes, we have PDFs and MP3 on literally everything in there.
i absolutely despise videos that use that cheery, happy, clappy music..i really hate it..even worse is when they do the cartoon being drawn during the explanation..hate it..
Thanks for your comment. If you would be more specific about your musical background and what confused you than I maybe could provide more value for you. But sure, check out other explanations, the internet is a free place! :)
Hi Yash, thanks for your comment. Do you mean actual notes, like note pitches as a graphic? Or am I getting your comment completely wrong? :) ... please help me a bit what you refer to.
hi Carlos, what parts are unclear? If you don't mind taking the time to tell us what is confusing you, we'll get back to you and try to clear things up. Please send us a message through the contact form on our website: musicintervaltheory.academy/contact/
Supposedly "new" hip concepts for jazz kids who didn't have enough patience to study classical harmony for more than a year. Will be forgotten by History as quickly as it appeared.
Being that pop music usually revolves around the same 4 chords in the same key and the same instruments and timbres and styles and everything, it is not surprising to me that interesting musical concepts get ignored by 99% of musicians since the beginning of music itself. Now, I am not sure why you (2 years ago) thought that this was just a fad because... I guess everything is, ain't it? hahahahaha Shit, I went through a odd time signature phase, that doesn't mean odd time doesn't have the potential to be amazing even if I didn't grasp all that I could of it (same as negative harmony) unless I am misunderstanding the point of your comment
Patrick, the whole video is an explanation so I don't really understand what you are referring to!? ... please be specific about what you don't understand and we can help you.
I already feel guilty for getting dark in my comment. I do feel that it is true that any music is a poor layering idea to your video, but did not mean any disrespect. I am a person that hears sound in my mind. As soon as notation is presented-- especially if it is also explaining a concept-- I am hearing that in my mind as I look at it. If one adds whistling or any other music on top of that, I sort of feel disrespected. The irony is that I, in turn, seemed disrespectful to the work that you are doing in my comment. That was the sequence. I do wish you the best in your work.
You are not the first one who is mentioning that! But don't worry, constructive criticism is always welcomed and we learn. You should check out the most recent videos on our channel ... no background whistling anymore! *LOL*
man i hate when people use cheesy ad-like music in the background
Nothing like random filler background music in a music theory video. I find I really absorb these concepts more easily with random, unrelated music playing over everything.
It should be mentioned that negative harmony is not just flipping a chord around tonic, but it's flipping a chord around the note in between the tonic and dominant. For C major, this would be E-half-flat. D would not become Bb, but instead would be F. In general, you use the same system of figuring out a note's negative value that was used in this video (D is 1.5 chromatic steps below E-half-flat, F is 1.5 above).
Alternatively you can use the Circle of Fifths to figure this out by drawing a line from between C and G and then reflecting notes about the line, or to figure out chords, a line from C to Gb/F# - chords one one side that are major become minor on the other, as in, G major becomes F minor, D minor becomes Bb major, etcetera. That last method of finding chords was used in this video.
Also, a plagal cadence and an authentic cadence do not hold the same gravity as each other when talking about their relationship to tonic. In a major key, a plagal cadence is major IV to major I, and an authentic is major V to major I. However, the negative of a major dominant (V) chord is a minor iv. Technically, yes, a plagal and authentic cadence have the same gravity towards tonic, but it should be more specified that it's the minor plagal cadence in a major key that carries the same weight as a major dominant. The same is true for minor keys except if the dominant is minor, it will become a major plagal cadence in a minor key.
Thanks for your feedback, Tom! The flipping happens only with the root of the chord you want to put into negative harmony, not the other (chord) tones.
And sure, you can always get into deeper levels and I agree with everything you said but in order to make this WORK, the information shown in this video gets you to results quickly.
we know
thanks for the comment. But we are not just flipping a chord around the tonic as you state. We flip around the root tone and use the reverse formula of the upper structure above that new root tone. We are totally aware of how ErnstLevy describes his procedure but the interval approach is different. There is no need to split a chromatic step into a half in order to apply negative harmony, or plagal harmony how it should be called properly :) ... however, both perspectives lead to the exact same result.
Tom It should also be noted that the negative of the major supertonic (V/V) is simply the minor subtonic (iv/iv), and that the negative of the major subtonic (IV/IV) is the minor supertonic (v/v). One needn’t measure only from the neutral third of the key or chord, but based on the functions of the chords in the key the negative of a chord may be built downward or upward from the root, fourth, or fifth depending on whether it relates plagally, dominantly, or identically to the tonic. As a result, auxiliary chords like the supertonic and subtonic are related to the tonic by their simplified extension as dominant or subdominant of dominant or subdominant.
By extension, mediant chords mirror each other across the root as isolated extensions of the initial tonic -
vi bIII (minor third from the root), iii bVI (major third from the root). And even in the mediants, there is reduction of each mediant into 1 -> 5 -> 2 -> 6 (the submediant as dominant^3, or flattened variant thereof) and 3 -> 7 -> 4 -> 1 (the mediant as subdominant^3, or sharpened variant thereof). This is another reason for why bIII & vi are negatives of each other as well as iii & bVI, biii & VI and III & bvi.
If we go around another fifth or fourth, we reach the 3 and 6 chords again, just in major third from the tonic unless altered (minor and major, built upward and downward respectively, as they imply major and minor tonalities respectively). Another fifth or fourth and you have the 7 and 2, just as lower or upper leading tone to the tonic unless altered (minor or diminished and major or dominant, again built upward and downward respectively due to the tonalities they imply). This translation about the scale in fact gives us our leading-tone chord and Neapolitan chord, as well as our tritone sub of V.
We know that the negative of the authentic dominant, built upward from the five to lead upward, is the minor plagal, built downward from the root to lead upward. This founds everything. But more neutral chords may be more complex: the negative of the major subdominant or Lydian dominant (upper mediant of the supertonic and built upward from 4) is the minor dominant or what I guess you could call “Mixodorian” minor (lower mediant of the subtonic and built downward from 2). The dominant minor to subdominant major translation is somewhat confusing... but the main idea for them is that both are neutralizing chords. The major third in IV counteracts the downward pull of the subdominant toward 3 and 1, and the minor third in v counteracts the upward pull of the dominant toward 1 and 6. They still fit this rule, as the major subdominant is simply both 4 -> 1 and 5 -> 1 in relation to the tonic and subtonic, and the minor dominant is simply both 5 -> 1 and 4 -> 1 in relation to the supertonic. They function neutrally because they are both subdominant and dominant simultaneously. The third renders them androgynous.
Gorgeous contents and explications.But---why are you using that background "music"?...
Thanks, Carlo! Well, let me put it this way: We learn as we go! :) ... thanks for your criticism.
I actually liked the music :]
Yes, great content but I turned the sound off and put subtitles on. The music is annoying and unnecessary, it sounds like a bank or yogurt commercial or something.
Thanks for the lesson, interesting stuff for sure. But was that happygolucky elevator music background necessary? I had problem concentrating.
Many thanks for the feedback. Yes, we've received that background music feedback enough times and we learn. :D ... the newer ones are more in-depth and without the background music! :)
Hi, is there any chance you could re-upload this without the background music, I hope it was on a separate audio track, I cannot tolerate it sorry.
Hi Brian and thanks for your comment. You are not alone with your opinion as you can see from the other comments. And actually, I'm getting it. But we won't upload a new version of that video because it's not worth the time and effort to go back and adjust things. Instead, we are working very hard on a complete course about the application of negative harmony! This course probably will become available in 1 week from now on - and the best thing, there's no background music in there! :D ... so, I'm hearing you but we are focusing on bringing more value with new (and better) materials to our members, followers, and visitors. And btw, we are also having a full ebook with over 1 hour of video explanation about negative harmony in our membership as well! We haven't really advertised for that yet as we want to tie this to the application course but there'll be so much content about how to really use negative harmony with an interval approach that probably this video will become obsolete at some point. I'm hoping that makes sense to you!
No worries, thanks. )
Great explanation, however, please play an example that you have already written down. That's what music primarily is, sounds, not symbols on a piece of paper.
Yes, we totally agree! M.I.T.A. is about to finish an all-encompassing ebook about how to translate anything into the negative world (melodies, 2p, 3p, 4p). Actually, the ebook is finished but we are working on the musical demonstration to show these things in action. ... One thing I can say for sure is that Negative Harmony doesn't sound good if you applied it to a track that DOES sound great on its own, just like these videos that you see here on YT. Listen to "Over the Rainbow" or "House of the Rising Sun" in their negative versions and you'll agree with me. This technique is not a binary thing but wants to be combined with other types of compositional methods. It's funny because people believe that this is the holy grail which is nonsense. In cooking you also not only use pepper and nothing else to bring out some flavors! The same is true for composition, it's a mixture of all the great things that are available to us .... We are planning to release the ebook in Oct 2018 (this month) for members of our Online Acamdey. Have a look at that if this sounds interesting to you: musicintervaltheory.academy/
Intruging. I love to think of this kind of thing as a question of eliminating intervals from the chramatic scale.
Well explained. I was carried away by background music from focusing on the topic.
Thank you! Yes, we got rid of the music in the other 100+ videos that followed this one! :)
Great example (mnemonic) devices that can improve pitch recognition, improves compositional skills!!!!!!
I don’t mean to be rude, but I believe you should check your resulting negative chord in 5:07, what you actually have is a Gm/B (Bb vs B natural, conflicting major and minor modes). If you analize each note of the blue chord, the Db’s negative should be F#, not B natural. Also, the blue chord is a Db+M7, its negative should be GmM7.
It should be noted that negative relationships are not absolute. It all depends on the tonic and dominant of whichever scale. For instance, C and G will be negative with each other only in the C major scale (or A minor natural scale since they share the same key signature, no accidentals). On the other hand, C and G are not negatives in the F major scale, for example, since F (tonic) and C (dominant) would be negatives with each other as well as G (supertonic) and Bb (subdominant).
I hope this is helpful.
thank youu, but i did not understand the part of the video when you count the fifth scale note, and count towards the highest note. what does that do to the negative chord??. i dont know what does that do, like where is it aplied
Hi Rodrigo, I see. Well, in negative harmony, there is a magic number from the original root tone, and that is 7! Of course, going up 7 chromatic steps from the original root brings you to the perfect fifth above it, right? ... Now, when you move over that distance (into 8, 9, 10, ...) you have to apply a shift to your negative structure. And that shift is determined by the number of chromatic steps you move over 7 on the original side. For example: moving over 7 on the original side by 2 leads to a shift of your negative structure by -2 from your negative root tone.
We've just finished a whole ebook on Negative Harmony! It is almost 40 pages long and includes orchestral application as well. Allow us a few more days and I'll bring up the application in a dedicated video here on YT. Probably, this all could potentially lead into a YT live stream if that topic is interesting for some of you!
Music Interval Theory Academy Thank you dude, its really hard for me to understand because i dont speaak english, i speak spanish, so there are like a lor of terms that i dont get. but thank you a lot,❤️❤️
From what I understand, and I'm just learning about negative harmony, you're supposed to across the circle of fifths. But with the note between the tonic and the dominant as your axis. So, for example of a harmony in C, you have
C going to G
F going to D
Bb going to A,
etc.
This video is mapping the notes with the TONIC as the axis. I suppose that's a different way to do things. I guess it depends on what you're going for.
Hi Eric, thanks for your comment. Your approach is absolutely correct and leads to the same results. The idea of applying negative harmony describes to substitute your original chord structure in your progression (could also be a single note or any number of voices really) with those who have the same gravity to your tonal center. That's exactly what you are talking about in the circle of fifths.
Actually, negative is a funny word, because it implies that there has to be positive harmony :) ... if you would describe those movements as authentic and plagal, it would be more easy to find connections in the circle of fifths, but it would all sound less fancy! :)
I appreciate the time you took to make this, but the explainations came so slowly. Listening to the video on 1.5 speed was perfect for me
Thanks for the feedback! I'll work on that in future videos! :)
Hi. Good video, thanks, but I didn't get why G7 turned into Fm6, I mean, I get the G turning into an Fm, but I didn't get the seventh into sixth thing.
I have to count the additional note from the fifth of the chord and them countdown from the octave of the negative chord?
I'm assuming so, since D is 3 notes below F, which is the octave note.
So in C major scale, Am would be a Eb. And Am7 would be Eb6? There are 3 notes from the fifth of Am7 to the seventh (E F G), so subtracting the same number from the octave of the negative chord I get C, which makes Eb6, but that doesn't feel right, bc every seventh chord would be turned into a sixth.
Also, a Dm7(9) would be a Bb6(11)?
Hi @Marceline, many thanks for your comment. Technically, everything that you say in your comment is absolutely correct in terms of the notes to pick on the negative side.
However, the last example that you brought up is a tricky one, so let's tackle that real quick: The D root translates to Bb. The treble notes translate in the following way. F becomes D, A becomes Bb, C becomes G and E becomes Eb. So, if we put those notes over the Bb root tone, you won't create a valid chord structure as you end up having even-numbered scale tones over your Bb root without the support of scale tone 7, see? ... now, what does this mean? :) ...
That means, that Bb is not the root although the tone is correct. Look at all the treble tones of the negative structure: Eb, G, Bb, and D. That's a very straightforward Ebmaj7 chord .... now, let's bring in the bass note again and this scale tone Bb to the Ebmaj7 chord. See it?
@@MusicIntervalTheoryAcademy ok, now I'm a bit confused, but I'm C Major scale, a Dm would still be Bb, right?
@@marcelinemorgerstern9074 Frank here, co-founder of MITA. Yes, a Dm triad translates to a Bb major triad, that's completely right. What we meant in the comment above is that your notes are all correct but the way you interpreted your negative chord structure is not correct. That has nothing to do with negative harmony but how the Overtones Series works :)
Thank you MITA. Long life and success to you.
thanks a lot, I can give that totally back to you! Please let us know if we can do something for you!
You already share a lot of information and I'm very happy watching, listening and learning. I've studied music on and off for all of my life (well, since just before my 5th birthday) but I am still learning...always learning.
Why negative? I don’t understand. And what was it called by Ernst Levy?
It's called 'negative' because it equals a reflection of your original harmony. Think of a tree that grows to the sky and builds strong roots in the opposite direction. That is your reflection. And you can also refer to this as "plagal harmony" as it (most of the times) is a reflection of authentic cadences. I hope that helps.
Is then negative harmony the same as mirror harmony??
In Interval Theory, we prefer the term "reflective harmony" but I have a strong feeling that we both mean the same! :) ... so, if you wanna call it mirrored harmony, that should work as well.
@@Blackster2002 Nice. Ive searched for it and I dont really know if it still is mirror harmony, but the idea is that the tendencies of the tones invert, so if there is a B in C major it becomes a Ab. The B has the tendency to go to C, and the Ab has the tendency to go to G, so there you. I guess I gotta read Ernst Levy.
6:50 the shift you want to apply to your negative ???? Pendant?
I still don’t get it! Why don’t any of these videos on negative harmony ever provide audio examples of the harmony rather than playing background music? I can read music and have a reasonable understanding of theory but many of us need to hear it for it to make sense. After all, it is music, not math!
Hi Glen, thanks for your comment. You might want to do a UA-cam search like "Negative Harmony Songs" and you'll find tons on tracks that show how it sounds ... however, in our opinion, it doesn't sound good if you simply applied negative harmony-concepts to the whole progression as not all notes translate equally well. For that reason, negative harmony is a concept that allows for more creativity if applied correctly. And yes, it sounds very good and it is very inspiring. In fact, our Academy not only has ebook available for all members but also a whole course on how to apply these concepts step by step to different structures. All of those materials come with musical examples and demonstrations in video and mp3 format. If you want to learn more about these things, I invite you to hop on our free email newsletter (please see the description below) as we send out more information about that quite soon. I'm sure you'll benefit a lot from it!
I miss so much to hear the examples. Without to hear them it doesn't really make sense of this whole thing.
many thanks, David. Actually, we have a full course on Negative Harmony, including a ton of musical examples. Please reach out to me should you want to get more information.
It's clear that in the key of C major, a G major triad reflects into F minor when the root is G, but what about triad inversions? Your method suggests that G/B (G major 1st inv.) and G/D (2nd inv.) will result respectively into Fm/D♭ (Fm♭6) and Fm/B♭ (Fmadd11). Is that right? It feels weird using these extra notes that don't derive from a reflection in the tonic-dominant axis and getting different chords all coming from reflecting a G major triad...
Dear pitpank, thanks for your input. Short answer to your question: I'll explain these cases in the next webinar on Oct 1st, 2018. However, this webinar won't be mainly about Negative Harmony (but more about the opening of our online membership). But we are writing a complete ebook about Negative Harmony that is going to be released in Oct/early Nov. If you can, please register for the free Webinar: musicintervaltheory.webinarninja.com/webinars/56794/register ...
Extraordinary! Absolutely great, elegant, precious! Thanks so much!
Thanks Julián! We are glad that you are getting something out of that! :) Best always!
I'm lost right at the beginning of this vid one vid said A flat M for C another vid said F minor I don't understand the split or axis point....
The information you are giving is not sufficient to give you an answer. Unfortunately, I have no idea what "other video" you are referring to as our channel only has ONE video about negative harmony. I'm assuming, though, that you are having difficulties finding the split or axis because the original theory from Ernst Levy is being based on the middle between the tones C and G. Hence, you have to have a tonal center first. Then, you have to have a cadence on that tonal center otherwise you just switch from a major to a minor triad.
And that is the exact reason why we are splitting the root and the upper structure and treat them separately. This way, it doesn't matter what your tonal center actually is as our method only describes the relation from one root tone moving to the next, no matter the tonal center.
It's interesting from a cerebral point of view, if you want to approach music as a coder or an engineer. Or you could just study Classical and Jazz - it's all in there: melody, rhyrhm, harmony, notation, modes, counterpoint, intervalic structures, tone rows, space, consonance, disonance, tension, resolution, sequences, inverting, reversing, composing, improvising, free form, stream of consiousness, intention, lifestyle, philosophy, history, communication. Oh, and don't forget to use your ears. Jeffrey, c/o Lothar
Thanks a lot for your comment, Lothar. You are right with all you've said. Btw, we are working on the 2nd (more advanced) application course on Negative Harmony. Here's the first one: musicintervaltheory.academy/courses/1-2-1-negative-harmony-i/ ... if you are interested in that, please let us know if you have any questions regarding the membership that we offer!
Your first example you display is an A minor to C major (vi -> I) deceptive cadence progression. You then state this the negative of this is an Eb major to -> C major (bIII -> I) resolution. If you reflect the A minor chord over its access and use your method of chromatic distance of 5 chromatic steps from above or below, it does not result in Eb. From your method, 5 chromatic steps above is a D, and from below is an E, not an Eb which would be 6 chromatic steps. But if we actually count correctly, we would result in the D and then if you apply your (4+3) for interval steps of a major chord since we are coming from a minor (3+4) would result in a D Major chord (4+3), not Eb major. Which would be a (IV - I) cadence. I am perplexed on how you get the Eb Major chord, I see no method to get to it. If we look at what Levy Stated, it is as follows in reflection:
F Ab C E G
Bb Db F A C Eb G B D
Eb Gb Bb D F G Bb D F# A
This forms a pyramid if you draw intersecting lines through C A F and C Eb Bb And also shows the refection of these chords.
Your method seems flawed or I am missing something.
Hello @DawayneKing, our method is correct. You don't get to the right notes because you are changing your point of reference during the process! We are stating that the harmonic weight from Amin to C is equal to Ebmaj to C. This is exactly the reflection that you know from Levy. You changed the point of reference from C to A during the process (why?) and then you build 5s upwards and downwards from A.
Do not overthink Negative Harmony. It's not that complex, it's all about counting chromatic distances. Best always to you
@@MusicIntervalTheoryAcademy Can you walk me through the process in which you resulted at the Eb Major chord so I can understand where you derived that from? If my point of reference is the A min chord resolving to C, then looking at the A root, 5 chromatic tones from the bottom is E and 5 chromatic tones from the top is D. In this case, I am reflecting either an E Major chord which would be a 4+3, or a D Major. If I look at it from C major, I would have an F minor chord or G Major chord. Can you help me understand how you ended up at a Eb Major so I can understand your process.
@@DawayneKingMusic Thanks for your reply. Sure. The easiest way to get from Amin to EbMaj is to put every note individually through the process of negative harmony. According to Levy, your axis is in the middle of your root tone and its scale tone 5. In our case, the root is C, scale tone 5 over C is G. The middle is located between Eb and E, right? ... The middle becomes your axis of reflection, whatever distance any tone is away from that axis, move the same distance in opposite direction from the axis to get to the negative tone. Here are the tones from an Amin triad: A, C, E. If we reflect A, it becomes Bb. C becomes G, E becomes Eb. Look at those three negative tones: Bb, G, Eb. That's your EbMaj chord :)
@@MusicIntervalTheoryAcademy Thank you so much, that helps me greatly and I now see what is taking place here. Thank you again so much for the explanation and the time you have taken to help me understand. It makes me rethink so much on what I have learned.
@@DawayneKingMusic You are very welcome! May I invite you to stay in the conversation by signing up to our free "MITA Magazine". We try to help people grow as much as possible and put out great value in there. This might be a very valuable resource for you. Just an invitation, you decide! ... musicintervaltheory.academy/email/
If degree 5 is highest note in structure of chord, how I get negative chord? Thank for great theory
good question, I believe we didn't address this in the video but here it is: If scale tone 5 is on top of your 4p-structure than no shift is applied to your negative pendant. In this case simply use the reversed formula and start on your negative root tone. Here is the example with the G7 chord in a position of the 5th. The notes are from bottom to top: F-G-B-D and this gives a formula of 2+4+3. The reverse of the that formula is 3+4+2, right? You know how to get to your negative root tone (which is F in this example), now start that formula on the root tone and the notes are: F-Ab-C-D .... I hope that clears it up! :) ... Thanks for the question and please consider spreading the word for us as we (MITA) try to reach more attention by value and quality!! :D
Yes, I saw it. Thank you so much!
Major to minor, minor to major, dim and aug stay the same... Somehow I memorize these pairs by associating them with colors, and spend not that much time getting used to them... (subconsciously?)
Actually the last background music inspires me a lot, where's that music from?
Thanks for your comment, John. I'm the composer of all the music in there (it's also my voice that you are hearing). The last track is called "On Eagle's Wings". You can listen to it fully on our website when you scroll down to the Soundcloud Player: musicintervaltheory.academy/ ... and of course, please let me know if I can help you in any way! :)
Thats amazing thank u a lot 🙏🙏🙏🙏🙏
Excellent
Thanks a lot! We are glad you got something out of that! :)
cool stuff like it!!
Thanks, Udo! We are going to do more (shorter) videos on various subjects (Polytonality, Negative Harmony, Chromatic Harmony, etc.) in the near future. Right now, our whole Academy staff is busy finishing many different projects, courses and other video content for the membership area! Btw, we are having a whole course about the Application of Negative Harmony using interval theory. This makes it way easier to apply in the actual writing process :)
I think the term "negative" harmony is misleading, perhaps reciprocal or inverse would make more sense and be more directly intuitive.
Yes, I believe you are right. We prefer the term "plagal harmony" because 'negative harmony' brings you to the other side of the circle of fifths. And most cadences are authentic. The opposite of that is plagal. But it seems to be a trendy slogan that people search for, so it still makes sense if you want people to find your video! :) ...
Thanks for the video subject , now ...How do you get the formula 3-4 or 4-3 for the triad ? ...I counted de semitones and chromatically you get 7 ; what means 3 ? and what 4 ? -Thanks to anyone who can clarify.
Hi Simon, thanks for your message. The numbers refer to the distance between two tones. If you start from the note C and go up 4 chromatic steps then it brings you to E. From E you go up 3 and it brings you to the note G. Hence, 4+3 describes 3 notes, and those notes create a major triad, like C-E-G. If you did the same procedure with 3+4 then you get to a minor triad instead, like C-Eb-G, see it? ... I hope that clarifies it. What you are describing with the number 7 is what we refer to as the "Outside Interval". That's the bottom note and the top note of a structure, independently from any tones in between. Please let us know if you have further questions and we'll chime in! :)
@@MusicIntervalTheoryAcademy+ Thank you so much for taking the time to answer my question , I really appreciated !! ...yes, of course, now is very clear your "counting" perspective, counting by sections, the numbers refer to the semitones between the first two notes of the triad and then the second two notes, to the final 5th of the triad. - You have a great channel, you certainly do. Thanks again indeed, I will be in touch and following you, certainly I will have in the future some questions !! All the best to you.
@@theicberg Simon Magus We are glad we could help! :) you might want to consider hopping on the newsletter as we constantly share great value there as well! Just in case you haven't found it already, on the "free materials" page (in the description to this video), please scroll down all to the bottom and you'll see the button "M.I.T.A. Magazine", that's the newsletter and it's free, of course.
Good tutorial... But it should be double-timed.
I feel like I am watching a laundry detergent commercial...
Man, if you play the sound of the notes, it will be much easier to follow
You're absolutely right! This is one of our earlier videos and we'll hopefully get better with the more recent ones! :) I hope you enjoy them, though! :)
@@MusicIntervalTheoryAcademy honestly I don't understand it yet. If I have chord progression of C, Dm, Em, F, G7, Am, B halfdim, what is the negative harmony for that?
@@Danumurti18 Before you can determine ANY negative result, what is your overall tonal center? Is it C? ... if so, you count the distances of your roots in opposite directions and flip major to minor and vice versa. So, Dm turns into Bb major, Em turns into Ab major, F major turns into G minor, A minor turns Eb major, B dim turns into Db dim. ... you need to know your starting point from where you count, that's why I was asking if it was C. If it wasn't, then things change. Negative Harmony needs to be based on a tonal center, it doesn't work with atonal or free writing. I hope that helps already!
@@MusicIntervalTheoryAcademy Ok I think I get it now.. So in the tonal of C, with progression Dm, G7, C, the negative of that progression will be Bb, Fm, Cm?
@@Danumurti18 Yes, that's correct. We actually have a full application course on that inside the Academy and this can turn into a very inspirational starting point for composition. Btw, later today, we'll release a full 3-hour composition course using Sergei Prokofiev as the source of analysis and apply Interval Theory to his work. This way, we extract stunning composition techniques and even turn them into action. It's all demonstrated in that course. I'm sure you'll love that! :D ... video will come online in around 9 hours from now on ... still exporting here ...
Your cheerful intro music gave me canbolaids
It's completely useless if you can't hear the chords.
why is this video soooo slow... the speech and the cut..
great content though! thanks alot!
Well, there are people (especially non native speakers) who are not so proficient in English but still want to learn about negative harmony: a slow pace let them understand more easily. I tried this video at 1.25 speed and it is still very enjoyable; on the other hand stretching a normal video to 0.75 makes the sounds of a language always more blurry and harder to undrstand: I tried this too.
Why don’t you play the example????
You speak about music and give a great information about harmony on this free music.....
It’s a dislike
hi soundseen, the video explains the basic concepts of how to translate triads into negative harmony. It's not a performance but a guide for the composer. Simply grab your instrument and play the basic chord structures yourself. But just to be clear, we have a full course on Negative Harmony and its application available inside the membership of our Academy and yes, we have PDFs and MP3 on literally everything in there.
Coach Greg intro sound
i absolutely despise videos that use that cheery, happy, clappy music..i really hate it..even worse is when they do the cartoon being drawn during the explanation..hate it..
sounds like you are having lots of fun in your life, man! :) ....
Yep, the bed music makes this video intolerable. Can't just turn the sound down , then you lose the narrative.
You explanation was not satisfactory and confusing, maybe its me. ill check other explanations about Negative harmony.
Thanks for your comment. If you would be more specific about your musical background and what confused you than I maybe could provide more value for you. But sure, check out other explanations, the internet is a free place! :)
sorry to hear that but fair enough!
Plzz use notes instead of staff.. Your viewers will be more then..
Hi Yash, thanks for your comment. Do you mean actual notes, like note pitches as a graphic? Or am I getting your comment completely wrong? :) ... please help me a bit what you refer to.
I mean to use Am, C sus4, F7, G aug instead of that staff notations
Still unclear
hi Carlos, what parts are unclear? If you don't mind taking the time to tell us what is confusing you, we'll get back to you and try to clear things up. Please send us a message through the contact form on our website: musicintervaltheory.academy/contact/
It's a little bit counter intuitive for my taste
Many thanks for watching and sure, I guess, everybody needs to find the things that work for him. so, all good :)
Supposedly "new" hip concepts for jazz kids who didn't have enough patience to study classical harmony for more than a year. Will be forgotten by History as quickly as it appeared.
Being that pop music usually revolves around the same 4 chords in the same key and the same instruments and timbres and styles and everything, it is not surprising to me that interesting musical concepts get ignored by 99% of musicians since the beginning of music itself. Now, I am not sure why you (2 years ago) thought that this was just a fad because... I guess everything is, ain't it? hahahahaha Shit, I went through a odd time signature phase, that doesn't mean odd time doesn't have the potential to be amazing even if I didn't grasp all that I could of it (same as negative harmony)
unless I am misunderstanding the point of your comment
Ugh you don't actually explain the examples which makes this really frustrating to follow...
Patrick, the whole video is an explanation so I don't really understand what you are referring to!? ... please be specific about what you don't understand and we can help you.
The background whistling is insipid.
I already feel guilty for getting dark in my comment. I do feel that it is true that any music is a poor layering idea to your video, but did not mean any disrespect. I am a person that hears sound in my mind. As soon as notation is presented-- especially if it is also explaining a concept-- I am hearing that in my mind as I look at it. If one adds whistling or any other music on top of that, I sort of feel disrespected. The irony is that I, in turn, seemed disrespectful to the work that you are doing in my comment. That was the sequence. I do wish you the best in your work.
You are not the first one who is mentioning that! But don't worry, constructive criticism is always welcomed and we learn. You should check out the most recent videos on our channel ... no background whistling anymore! *LOL*
Please stop the background music. It's so distracting
Please silence the distracting third-rate "music" in the background.
we will in future videos, many thanks for your input
This is the very worst attempt at an explanation of negative harmony that I've so far encountered.
We're sorry that you don't like it
I can't stand the fucking repetitive noise so goodbye at 5.12. Grrrr,,,,
bye Jim
NONSENSE