The Harmonic Major and Minor Paradox
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- Опубліковано 7 гру 2017
- In this episode of Everything Music we explore the Harmonic Major/Minor Paradox. The inversion of intervals between modes of the Harmonic Major and Harmonic Minor create Alternating Mirror Pairs. This is a concept closely associated with Negative Harmony or Harmonic Dualism. Check out why and how.
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I love this video because this 55 year old dude who has probably been obsessed with music all his life is still clearly obsessed with even the most arcane (to me) subject matter. Having begun my musical journey this year, at 55, it pleases me no end to know that I have many, many years of similar enjoyment ahead of me. Thanks for the inspiration, Rick.
Haha! I hear that @pixelatedparcel, Rick's passion has been my fuel for the last year to get me motivated to music school next September. So, this 43 year old feels the sae way. Cheers guys! PS - Get the book @pix!
Dave Pierce Best wishes to you on your returning to school, at 43, my friend. In my 30's I had been living in British-Columbia (Canada) in a 37 ft converted bus for a couple of years and had a diploma in dumpster-diving and the school of hard knocks. Then I met a good woman, got married, had four kids, worked nights until a prof hired me as his assistant and got a law degree at 45. Now, at 55, the mortgage on the house is finally paid up, my oldest daughter is 18 and my kids are all sight-reading multi-instrumentalists, I am still with the same woman, my wife of 20 years, and just this year got deep into music theory and the study of guitar . It's cliché as hell but there are only a very few things you can't achieve when someone who loves you believes in you and you put your mind to it. Hope this story motivates, during the hard times.
God love ya @pixelatedparcel. I love that story! I wish you all the best as well, my friend. I can only dream of an outcome like that. How much of a life saver is music? And I mean quite literally! I might very well be looking for a van to live in while doing this degree. Ha! And for my own cliché, as long as I have this passion for music, I'll be alright! Thanks @pixelatedparcel !! Peace!
Dave Pierce Well, I think as long as you don't - or no longer - have kids to support, pretty much anything is achievable in the long run. If I had no dependents? You better believe I would only do what brings me joy with the time I have left on this planet of ours...
Just wanted to jump in and say best of luck to both of you as well as a "me too" since I have a somewhat similar story. I studied classical piano from age 7 to 20, in high school I taught myself guitar, bass & drums and picked up Chapman Stick in college. Earned a music degree, played in lots of original bands in NYC, slogged for years and at 29 decided it was time to move on. I never stopped writing music but felt I needed more structure and reliable income so my days were spent in the corporate world for the next 16 years.
Getting to my point...one can't just move on from an artistic talent/obsession, it's always there, in your dreams, popping out from behind a tree while you walk through the woods with your soulmate, saying "Hey! I thought we were friends!"...it leads you away from the action at parties to the lonely, unused piano or guitar at a friend's house. Finally, in 2014 I went back to school at 47 to learn orchestration, arranging and writing for films. I'm still learning the craft, it's been hard, my wife has MS and logistical issues are tough to overcome, but Rick Beato, Adam Neely and Ben Levin are the 3 who've most inspired me to keep at it, to find and make the time to improve. I just turned 50 and now I'm doing small local jobs & building up my business, I'm kinda broke but it's cool because this is the happiest I've been in my adult life. I hope you both feel the same through your own journeys. All the best. 👍
I arrived to the same discovery by doing the same thing around the same time, maybe a year or two earlier. Prior to this mirror imaging of Harmonic Major and minor I did it with Double harmonic , and before I did that to the standard major scale's modes and melodic minor modes they have mirror images of modes within themselves unlike modes of the Harmonic Major with Harmonic minor. It is fascinating, when one discovers, that one's deductions must be "correct" when suddenly they meet from start to end. I would like to point out, the Harmonic major has several very important Arabic sounds of equal temperament scales. Maqam Saba Zamzam/Phrygian b4, maqam Zanjaran/Mixolydian b2, maqam Sawq Afza/Harmonic Major, maqam Nahawand Murassah/Dorian b5. By the way it is interesting when modulating from Harmonic Major to Harmonic minor through Double Harmonic/Maqam HijazKar (HijazKar maqam has different names depending on transposition, the other maqam names with the same intervals of Double harmonic are Shadd' Araban , Suzidil and Shahnaz) Another interesting thing with Harmonic Major and Harmonic minor is when transposing the modes by minor thirds both direction, it only changes 2 notes which still gives a strong link with the original mode plus a nuance of the new one plus some modes do not contain roots of the original mode and give very outside and surprising sound without, in theory, sounding wrong. However, care must be taken to make it work as intended dissonance. Here on my youtube channel I have an improvisation of Harmonic Major (modes of Saba Zamzam maqam centred) and Harmonic minor ( with modes of Lydian sharp2 centred ) and everybody is welcome to check them out. cheers
I was watching this video being very drunk and understood everything and even noticed a mistake in "negative" spelling. Definitely will not understand anything tomorrow. Thanks Rick anyway!
Underrated comment🍾🍺
THIS! Thank you Rick, your channel is an endless source of compositional/analytical tools for us musicians to chew on for years and create new things. I've always tried to figure out why the harmonic major is talked about so rarely, and this gave me directions and ideas on how to explore it. Keep up the GREAT work done here, really grateful for your material. Cheers from Brazil.
Every scale has a sister scale. 66 seven note scales, 33 pairs. Each scale has 7 modes for a total of 462 unique 7 note modes. Each of these modes has a corresponding pentatonic mode (think of the 5 notes you are NOT playing any scale, or the "empty spaces"). So each pentatonic mode has a sister. 66x7 7 note modes and 66x5 5 note modes give you every possible permutation of 5 and 7 note scales.
Jamon Holweet each mode of the major scale has between 1 and 3 different pentatonic scales built in! The possibilities....
yes i meant the minor pentatonic and its "modes" not just simply "5 note scales"
oooooh interesting thank you for the info :)
Sigh... I'm trying to put together a list of every 7 note scale and then arrange them from brightest to darkest. I have 56 modes so far but if 462 is the correct number of modes then I will give up lol. How did you arrive at that number?
@@max-fj7np I was working on the same thing. Trying to order everything from bright to dark. I had the 5 scales and their modes... There's a lot more scales than that. There's more than this guy listed. I worked on finding the mirror harmony to every scale I could think of.... found so many weird scales I didn't know what to do with them all.... it's a fun life long puzzle I finally stopped and decided to get back to playing music. The o.c.d. in my wants to see a matrix of all the scales in order. It's a matrix...
There's a website for scales with ian bracelet you should check out. I think it's called a study of scales.
I took all ten 7 note palindrome scales and ordered them found all their mirror scales...
It was fun I admit
I think I seen someone you an agerithm to find out there....
I forget, 1500 to 3000 possible 7 note scales...
I have pictures of all of them thinking I was gonna write them all down and order them
Maybe one day.... haha
Good luck! Let me know if you find the matrix of music.... I wanna see!
I love what you do so much. You're part of my day. Very impressive there's still some space of research on scales.
Finally! I was very excited for this video to come out when you talked about it yesterday in the stream.
Great video Rick! I never would have thought about that relationship...
It's a very cool concept I really never heard about it! Thank you for on more great video, I'v been learning a lot and getting very inspired by your channel and videos! Cheers!
This is great information! It is full of compositional raw material. I could really 'hear' things just by playing the mirrored scales. I grabbed several screens from the lecture and will transpose them and start experimenting. Again, thanks.
Thanks Rick. Lot of quality contents !!! From France
Wow! Never thought about that! Great Stuff Rick! Hope you find more Curious Information! 🎸🎶🤘🏻
Thank you for this interesting upload. You make learning interesting overall and that's why I subbed. Great channel!
I really loved it. In one of your recent videos you talked about 'negative Harmony'.. I follewed your idea of that whole process and I did the same thing with other heptatonic scales that I know. That was one thing that I thought, it would be pretty cool if you could do a video on that. And now we have it.
And also thank you Rick for all that . This is amazing. I´m looking forward to buy your book. I cannot afford it now. But I´m going to buy it sooner or later.
Greetings from Germany
Great work on this new lesson Rick!
Heavy stuff Rick. Great work as always
I also just thought of this: all the notes of any harmonic minor and harmonic major scale can be derived from the notes of any diminished 7th chord, plus the notes of any augmented triad, plus the note either a half-tone above or below the note that those two chords share. If you add the note a half-step above the common note, then you get a harmonic minor scale where the common note is the leading tone (which distinguishes harmonic minor from natural minor). If you add the note a half-step below the common note, then you get a harmonic major scale where the common note is the minor 6th (which distinguishes harmonic major from Ionian/natural major). Also, the root of the harmonic minor scale that you get from doing this is a minor third below the root of the corresponding harmonic major scale, so the two roots are parallel in terms of natural minor and natural major.
NICE VIDEO Rick!!!! 🌟🌟🌟🌟🌟
Cool that you explore new stuff and actually gets an interesting result - great job Rick🏋🏽👍😀
The Harmonic Major and Minor Paradox
Alternating Harmonic Major / Minor Pairs
Harmonic Minor: 1 - 2 - b3 - 4 - 5 - b6 - 7
Harmonic Major: 1 - 2 - 3 - 4 - 5 - b6 - 7
Harmonic minor and harmonic major are mirror images of
each other.
They work in the same way, and they start fromm dark to light
in the exact same way.
Each scale has one augmented second in them.
(between b6 and 7)
-
Mirror Pairs:
Ascending:
Lydian Augmented ♯2 (6th Mode Harmonic Major)
C D♯ E F♯ G♯ A B C
A2 ½ ½ W ½ W ½
Descending:
Super Locrian bb7 (7th Mode Harmonic Minor)
C Bbb Ab Gb Fb Eb Db C
A2 ½ ½ W ½ W ½
-
Brightest / Darkest: (Mirror Pairs)
Lydian Augmented ♯2 / Super Locrian bb7
Lydian ♯9 / Locrian bb7
Lydian b3 / Locrian Natural 6
Ionian Augmented / Phrygian b4
Ionian b6 / Phrygian Major
Harmonic Minor / Mixolydian b2
Dorian b5 / Dorian ♯4
-
Alternating Harmonic Major-Minor (brightest, order)
Lydian Augmented ♯2 (6th Mode Harmonic Major)
Lydian ♯9 (6th Mode Harmonic Minor)
Lydian b3 (4th Mode Harmonic Major)
Ionian Augmented (3rd Mode Harmonic Minor)
Ionian b6 (1st Mode Harmonic Major)
Harmonic Minor (1st Mode Harmonic Minor)
Dorian b5 (2nd Mode Harmonic Major)
Alternating Harmonic Minor-Major (darkest, order)
Super Locrian bb7 (7th Mode Harmonic Minor)
Locrian bb7 (7th Mode Harmonic Major)
Locrian Natural 6 (2nd Mode Harmonic Minor)
Phrygian b4 (3rd Mode Harmonic Major)
Phrygian Major (5th Mode Harmonic Minor)
Mixolydian b2 (5th Mode Harmonic Major)
Dorian ♯4 (4th Mode Harmonic Minor)
-
Review, copy paste, improve, and whatnot
Thank!
Good eye, Rick; never noticed that before. Thanks for sharing this!
I'm gonna have to spend some time playing around with mirror progressions in these scales, now.
Your videos bring a lot of inspiration to my music!
You're blowing my mind Beato
Rick thank you for enlightening my limited music knowledge base. It’s like another door open
Mirror Pair is really interesting.... but please Rick! Make a video where you demonstrate how to apply that concept in real music! Thanks in advance
Luke Jav just pick up an instrument, and jam till it pleases your ear.
Your videos are fantastic Rick
I alway learn something new from them.
Thanks for this video! I recently stumbled across this concept by accident. Long story short, I came up with a short ascending and descending pattern using notes of harmonic minor and I wondered why it sounds much better to my ears when I slightly change the scale as I change the direction. As I only have very basic knowledge of music theory, my first reaction was that something is wrong and I should maybe fix it somehow -- but finally I left it as it was. Now I find the explanation in this video for why it sounds the way it sounds. This is so cool, made my day!
Thanks Rick. Interesting and well explained. Palindromes with harmonic major and harmonic minor scales. It might be a fun exercise to find one assending paired to descending and write the related chords to make a song from. Hmm. Your clips always ignite ideas. I appreciate your work.
I learned the Harmonic Major today in 30 minutes all across the neck when I noticed this, then I found your video, amazing :)
Thank you for this interesting upload. You make learning interesting.
Okay, I've been obsessing over this concept quite a bit and ended up writing some code that finds all the mirror pairs. Out of 66 heptatonic scales, only 10 of them contain a mirror pair in the same scale. So harmonic minor/major are actually part of the vast majority of what could be called inter-scale mirror pairs.
Out of the 56 inter-scale mirror pairs a couple cool examples are:
Melodic Minor b5 and Dorian b9, #11
Ionian #2 and Phrygian bb7
Mixolydian Augmented #2 and Lydian #2, #3, #6
This is the stuff. Love it.
I don't understand what is the relationship between LydAug#2 and SuperLocbb7 that you are trying to show using the circle of fifths. Once you had established that these two are "Mirror Pairs", (that is one has the same interval going up as the other has going down) it was quite obvious to me that they will have the same intervals in the circle of fifths going forward and backward. Because the Circle of Fifths is just a Special permutation of all the notes. Special as in having a regular intervals between consecutive notes and covers all 12 notes before going back to 1. In this case 6 notes between two consecutive notes.
Any sequence of notes, mirrored, will remain mirrored in any other special permutation of the notes. Again special means having regular intervals between consecutive notes. You can check this claim by taking a total of 13 notes instead of 12. And make a Circle of "Seconds". (having a whole interval between consecutive notes) then take any sequence, mirror it and you will find that it will be mirrored in the permuted sequence as well.
Example:
Label our notes: 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13
Sequence of notes Ascending: 1, 3, 5, 6, 8, 9, 11, 13
Mirrored Sequence Descending: 1, 12, 10, 9, 7, 6, 4, 2
Circle of "Seconds": 1, 3, 5, 7, 9, 11, 13, 2, 4, 6, 8, 10, 12
Circle of "Thirds": 1, 5, 9, 13, 4, 8, 12, 3, 7, 11, 2, 6, 10
You can see that in all these Special Circles the sequences are mirrored.
You need to take 13 to show this because in a system of 12 notes the only circles with regular intervals that covers all the notes are Circle of Fifths and the Circle of Fourths, which is just the Circle of Fifths inverted. So actually there's only one possible special circle in a system of 12 notes other than the trivial permutation of 1, 2, 3...
So my point is anything mirrored in the trivial permutation will remain trivial in any other Special Permutation. So why is it interesting or important that LydAug#2 and SuperLocbb7 are mirrored in the Circle of Fifths?
Sorry I didn't think it will turn out to be an elaborate lesson in basic Combinatorics.
Snow in Atlanta today Rick! What are you guys doing down there? I live for this stuff, Rick. Please keep keepin' on!!
Wow. I've been waiting for this since you were talking about it on the live stream. Very fascinating stuff! I have to admit, I'm not entirely sure what the implications are when it comes to composition but it's very intriguing nonetheless. I'd like you explore this more and how to actually apply it to composition. Also, you mention you've never read this in any book, maybe there's gonna be a new chapter in the Beato book? ;)
Rick, very fascinating! I never realized that!
Uh, ok, I'm going to take some Tylenol and go out to my Zen garden and meditate for awhile and find out if I'm insane....... :)
larf larf larf
lol, this reminds me of when I was looking for a lecture on blackholes and I found a lecture by leonard susskind on blackholes and how virtual particles relate. one of those moments when you realize that you are in so far over your head that you should be wearing a pressure suit........
This is really great, I'll have to experiment with this. 🎶🤘
nice video Rick!
You are right. I didn't know about this harmonic major/ minor relationship. I really should study theory more, but most of the time I just play what I hear ( in my head or what someone else is playing) that I think is interesting. Thank you for music theory lesson.
Interesting! Thanks Rick!
Awesome discovery, man!
Another really interesting video!
"From dark to light and light to dark." That's some crazy Star Wars talk. You're a philosopher, Rick Beato. A philosopher . . . and a poet.
This is super cool!
The harmonic scales are my favorites ♡
You are one crazy dude. Great video!
Awesome, I never thought of this before! In fact, based on Jacob Collier's idea of negative harmony, harmonic major and harmonic minor are actually inverses of each other.
Very cool, I gotta play through this stuff.
Wonderful, did you compose any pieces exploring these pairs?
This is nuts!!
So many terms for the same thing.
I've heard teachers equate mirror imaging to negative harmony...but I learned it as chromatic inversion....
Now I'm either confused unless one applies to notes of scales or melodies and the later to harmony.Where as mirror imaging Is generic for both.
But brightness and darkness is definitely the concept
Great insight!
Rick - these types of patterns are super obvious on an isomorphic keyboard like Wicki-Hayden layout. It's based around interleaved whole tone scales forming a circle of fifths on every diagonal motion. If you move the root left of any scale shape, it makes the scale brighter, and to the right, it makes the scale darker. You can use this to sort modes from brightest to darkest as well as seeing reflections like this.
I'll probably make some videos about it once I finish building my iso keyboard. Lots of ways to easily visualize concepts w/o having to memorize intervals but instead thinking about things as shapes and movement w/ respect to a scale's tonal center
Love this.
Fascinating!
Pretty cool. I've been learning this stuff via "The Guitar Grimoire."
I like what you are doing and I have been studying this kind of thing a lot lately. The place to look for this kind of analysis is Ian Ring's website of all possible single-octave scales. This is the order in which you show the scales pairs, but I think you erred in saying that Dorian flat 5 is brighter than Dorian sharp 4. I have an objective way of measuring heptatonic brightness that I think is always correct: just sum up the numbers in the pitch class set (the numbers of semitones from the root to the pitches). Dorian flat 5 has a sum of 35 while Dorian sharp 4 has a sum of 37 -- bigger is brighter. It always works. Flatting darkens and sharping brightens. Check it out.
I give the mode number, scale name (harmonic Maj or harmonic min), the pitch class set, Ian Ring scale number and scale name.
Your ordering of the pairs:
6 Maj 41 {0,3,4,6,8,9,11} Scale 2905: "Aeolian Flat 1" ("Lydian Augmented #2")
7 min 31 {0,1,3,4,6,8,9} Scale 859: "Ultralocrian" ("Superlocrian 𝄫7")
6 min 40 {0,3,4,6,7,9,11} Scale 2777: "Aeolian Harmonic" "Lydian Sharp 2" ("Lydian ♯9")
7 Maj 32 {0,1,3,5,6,8,9} Scale 875: "Locrian Double-flat 7"
4 Maj 38 {0,2,3,6,7,9,11} Scale 2765: "Lydian Flat 3"
2 min 34 {0,1,3,5,6,9,10} Scale 1643: "Locrian Natural 6"
3 min 39 {0,2,4,5,8,9,11} Scale 2869: "Major Augmented" "Ionian Augmented"
3 Maj 33 {0,1,3,4,7,8,10} Scale 1435: "Makam Huzzam" "Phrygian Flat 4"
1 Maj 37 {0,2,4,5,7,8,11} Scale 2485: "Harmonic Major" ("Ionian ♭6")
5 min 35 {0,1,4,5,7,8,10} Scale 1459: "Phrygian Dominant" "Phrygian Major"
1 min 36 {0,2,3,5,7,8,11} Scale 2477: "Harmonic Minor"
5 Maj 36 {0,1,4,5,7,9,10} Scale 1715: "Harmonic Minor Inverse" "Mixolydian Flat 2"
2 Maj 35 {0,2,3,5,6,9,10} Scale 1645: "Dorian Flat 5"
4 min 37 {0,2,3,6,7,9,10} Scale 1741: "Lydian Diminished" "Dorian Sharp 4"
But I would order them this way:
6 Maj 41 {0,3,4,6,8,9,11} Scale 2905: "Aeolian Flat 1" ("Lydian Augmented #2")
7 min 31 {0,1,3,4,6,8,9} Scale 859: "Ultralocrian" ("Superlocrian 𝄫7")
6 min 40 {0,3,4,6,7,9,11} Scale 2777: "Aeolian Harmonic" "Lydian Sharp 2" ("Lydian ♯9")
7 Maj 32 {0,1,3,5,6,8,9} Scale 875: "Locrian Double-flat 7"
3 min 39 {0,2,4,5,8,9,11} Scale 2869: "Major Augmented" "Ionian Augmented"
3 Maj 33 {0,1,3,4,7,8,10} Scale 1435: "Makam Huzzam" "Phrygian Flat 4"
4 Maj 38 {0,2,3,6,7,9,11} Scale 2765: "Lydian Flat 3"
2 min 34 {0,1,3,5,6,9,10} Scale 1643: "Locrian Natural 6"
4 min 37 {0,2,3,6,7,9,10} Scale 1741: "Lydian Diminished" "Dorian Sharp 4"
2 Maj 35 {0,2,3,5,6,9,10} Scale 1645: "Dorian Flat 5"
1 Maj 37 {0,2,4,5,7,8,11} Scale 2485: "Harmonic Major" ("Ionian ♭6")
5 min 35 {0,1,4,5,7,8,10} Scale 1459: "Phrygian Dominant" "Phrygian Major"
1 min 36 {0,2,3,5,7,8,11} Scale 2477: "Harmonic Minor"
5 Maj 36 {0,1,4,5,7,9,10} Scale 1715: "Harmonic Minor Inverse" "Mixolydian Flat 2"
Small typo: At 5:23 you have a double-flat 7 when it should be a single flat (i.e., the text under the staff is wrong).
I don't know if I'd call it a paradox. It's pretty neat, but I think of dead ends that don't follow a pattern when I think of a paradox.
Say, do you know about the Schillinger system?
I wonder if this has anything to do with tritones. Harmonic minor and harmonic major both have the same tritones, 4-7 and 2-b6. I do a lot of this type of experimentation on my own, and I've found that tritones and their positions relative to the root of a mode are largely responsible for the "colors" in a mode. Two-tritone scales are a lot deeper with their connections than regular old major, and I find it fascinating. I'll go get some paper and see if I can throw anything insightful in a reply here.
Hey i love your comment, i’ve noticed the exact same thing regarding tritones. Also, if you have a chromatic scale (starting on any tonic) and you harmonize every note as the same chord type and its full harmonized extension, (ex: C7,Db7,D7,Eb7,E7,F7,Gb7,G7,Ab7,A7,Bb7,B7,C7) you can find the tritone position is always 3 and b7 however the tritone pairs themselves change. Also, which is diatonic to a tonal center of an unharmonized C? if you think of C’s parallel scales and C ad the tonal center in each, you’ll find that following the aeolian pattern will give you the diatonic dominant seventh chord for the respective C parallel scale….in this case it would be (C7 mixolydian, D7 Lydian[locrian], Eb7 Phrygian, F7 Dorian, G7 Ionian, Ab7 Locrian[Lydian] and Bb7 Aeolian)
all other Dominant Chords are non diatonic yet they still share the same tritone for their respective tritone pair (if that makes sense)
i.e…C ad a tonal center has its diatonic dominant sevenths and C’s non diatonic dominant sevenths belong to F#/Gb (C’s tritone pair) and you can find those using the aeolian formula like you did for C….Finally, isn’t it funny that To find the diatonic mixolydian chord (dominant chord type) for the selected tonal center requires the aeolian formula to find??
Mixolydian and Aeolian are mirror pairs….
i love hate theory….it illuminates but it never ends and leads to more questions…..i fell down the rabbit hole:(
My God, that's amazing
Muy interesante. Gracias por la data. Salud!
Wow that's pretty cool!
Fascinating
Rick you are the best
Brilliant.
Rick, as usual always enjoy watching what you have to say. Regarding the Mirror Images of these and the other scales you mentioned in earlier footage. I first came across this concept while searching for some more interesting "out of box" practice studies in: Thesaurus of Scales and Melodic Patterns, by Nicolas Slonimsky. Check it out if you have not done so by now. Don't recall what page these concepts are on but it's in there. Not sure if the harmonic major and minor concept was there, would be surprised if it wasn't.
Curious how it could be used as an improvisational expression or arrangement concept. But somehow when I look at this I keep thinking about what George van Eps once said in an interview with Ted Greene: There is only one key, the chromatic....also on that same thought process, Ted Greene has said similar things when he expressed that every note, and every chord is or can be used at any given point, depending on where you are going, coming from, etc...Way too much info to put in a comment now, but love to hear from you sometime.
I don't use social media much, if at all. But when I start I hope we can chat....Er I guess that goes for anyone else out there in cyber reality...Peace.
Here's an idea for you: Expand on your interview with Steve Vai, about nested tuplets. Can't play them but find them fascinating. Would like to grasp them, but confused as hell.
Thank you
Interesting video Rick, got confused a little at the negative harmony part, I saw below you said there was no dom-tonic relationship. What about when using harmonic minor w your dom phyrigian maj would you still use the tonic to derive negative harm?
blew my mind
jees Rick this new info for me and 58 I guess we never stop learning
I am about write some songs in harmonic scale, and wondering what was the major difference might be the major and minor scales.! Well this video gave me some good understanding.😁🆗
The composer and classical theorist Howard Hanson observed exactly this phenomenon way back (I think in the '50s?) and referred to these mirror pairs as "involutions," a term taken from set theory. One of the more interesting mirror pairs which I discovered in my research was that of Hungarian major (G-A#-B-C#-D-E-F-G) and... a scale which really doesn't seem to have a name other than "the involution of Hungarian major" (G-Ab-B-C#-D-E-F-G). Both are essentially Lydian b7 with a flattened or sharpened 2/9, which either way sounds deeply weird in a very interesting way. And the former has the Hendrix chord in it.
There's also Neapolitan minor and Ionian b2, both of which feel kind of wrong for slightly different reasons. And the Neapolitan major/leading whole-tone scale being a pair with itself. But that's slightly less exciting than "Purple Haze".
So cool.
Rick, with all due respect, doesn't it seem like Dorian #4 and Dorian b5 need to be switched? Also, harmonic minor and mixolydian b2 need switched?
Thanks for your channel and all your work!
Ive found a great way to cycle through modes is transpose the parent scale through each step of it mirror image, i call it fractal harmony.
Now imagine that descending cycle harmonizing with its mirror image that is ascending through its own cycle of fractal harmony.
I have no idea what he is talking about...but I'm happy Ol'Rick is happy.
Nice!
great video again! there is a little typo 5:22 (locrian natural 6), where it should be b7 instead of bb7. the note shown above this is Bb, therefore correct though. :)
Sweet vid
Mind = Blown
awesome
Trippy!
I’m now officially a disciple of the great Rick Beato
I love when you throw your glasses :D
Amazing :) Quantum mechanics / wave theory in action :)
I would like to hear an applied example of this. The theory is fascinating, but how to use it?
Doesn't the axis line for negative harmony lie in between C and G on Circle of 5ths?
Thanks for this. I used to wonder why I found it so hard to differntiate between double harmonic major and the harmonic minor scales. eg The gypsy scale is referred to as a double harmonic major yet it to me sounds like the harmonic minor. I'm not practiced enough in music theory or playing instruments to know the difference.
I actually figured these out back in May. At the end of the day, it’s only a taxonomy or a way to justify certain harmonies when composing. But man, the true revelation is when you find it in primary sources and realize that THATS what a certain composer has been doing this whole time.....
All of this Mirror Pair theory is amazing but....what do you do with it?
Be happy about the finding
Modal mixture but with crazy scales :D
crazy scales :D
"To gradually lead the listener toward the tonal precipice in a compelling way."
That's a really cool idea for those who are interested. (I just happen to be a "shove the listener straight into the abyss" kinda guy)
Uhhhhhh that's cool, how do you do that in composition, master? :)
It's not a discovery that the Double Harmonic Scale is symmetrical and that the minor and major harmonic scales are like 2 halves of the puzzle. There are two ways to arrive to the Double Harmonic Scale, by sharpening or by flattening two notes of a mode of the major scale. (e.g.: Phyg.#3#7 = Ion.b6b2). Sharpen or flatten only one note and you respectively get the minor or the major harmonic scale. (It works for all modes.)
wenisima
Super Locrian bb7 to me sounds a lot like E harmonic minor. Is this mode used in a similar fashion to E harmonic minor? If not, how would you use the scale when composing?
looking fresh with the glasses on
I INVENTED THIS
chapeau,..me too!
hey rick i have a cofusion here i hope u can help me ..
i play the melodic minor scale and harmonic major scale,..and they both have similar sound..melodic has flat3 while harmonic major has flat6..
is harmonic major similar to melodi minor?
if not , appreciate if you can help me with their diferrences..
Thanks Rick :)
always interesting, always learning!
Lydian Augmented #2 and Super Locrian bb7 are enharmonically the same scale, except LydAug#2 has a nat7 leading tone up to the tonic, and SupLoc bb7 has a b2 downward leading tone.
Hi Rick, another amazing lesson and discovery!! But I´m still confused when you mention the negative harmony, because they have diffent reflection points. Scale Pairs are a reflection starting from the Tonic and Negative Harmony starting from the "note" between the Root and the Dominant!?I would also like to know how would you apply these concepts in a musical context. Thank you
+Pedro Martins There is not really a dominant to tonic relationship between these scales however, it is interesting that off the same root, each note is exactly the same distance apart on each side of the circle of fifths
Yes, it´s really interesting, and I think this is just scrachting the surface of the musical possibilities inside this whole concept!
I thought the same thing in regard to the negative harmony bit Interesting im stumped