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

QJamTracks
QJamTracks
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Published 2024-04-07
In part 2 of my crystal-clear negative harmony tutorial, I’ll show you how to reflect a piece of music into a negative harmony version that results in a darker and very different version of the original music. You’ll learn what negative harmony really is and how to transform melodies and chords around a specific axis that lies between the minor and major 3rd of a major scale. We’ll take the Menuet in G by Johan Sebastian Bach as example and we transform a theme by Steve Vai into a negative harmony version. You’ll also learn how to transform an II-V-I progression into negative harmony. This is what you need to know first, to understand the hot subject of Negative Harmony that was invented (more of less) by Ernst Levy and popularized by musical genius Jacob Collier.

Chapters:
0:00 Introduction
0:29 Negative harmony short
01:42 Dark and bright in the Circle of Fifths
03:02 Axis of Reflection
05:13 Reflecting triads
07:31 Quickly find the negative root
08:58 Example with triads
11:04 Preserved tension
13:27 7th chords
17:46 Example with 7th chords
20:58 Conclusion

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(c)2024 Rob van Hal, Netherlands
All Comments (21)
  • @bassbuffricky
    Best explanation of negative harmony on YT! Looking forward to part III.
  • @johnmac8084
    That really is a crystal clear explanation, with fantastic graphics, thanks Rob
  • @charleswagner284
    Still wrapping my caveman brain around this theory. Awesome explanation. Thank you for this video kind sir!
  • @krudler406
    thanks Rob, you're the Best!🔥🔥🔥
  • @TheChillennial
    Amazing video. Great explination. Love the ease of understanding with the circle of fifth visuals and templates. Thank a million. 🤘🤘
  • @frannyp46
    Seen a few NH videos but this is gold. Thanks for your time and effort.
  • @tracerammo
    ...or Oppenheimer. 😂😂😂 Great video, man! Always appreciate these throughout presentations. Thank you!
  • @ericandriot2053
    Hi Rob, thanks for your clear explanation on that tricky notions & concepts. If I'm not wrong, I think there is a mistake on your screen at 16:12 / 21:53 when mentioning Bm7b5 as a possible chord in negative harmony for G7 chord. It should be more Dm7b5, what do you think? Thanks again for your work.
  • @johnmac8084
    What happens if you play the negative & positive versions simultaneously? Do you just get silence, or an epic explosion that puts Oppenheimer to shame? 😅
  • @Pedro_MVS_Lima
    Hi Rob, so if I understood correctly, the key of Gb major (6 flats) would be darker than the key of F# (6 sharps)? Thank you for a very interesting and challenging video. Kind regards. Edit: I located your earlier video and understood better what you mean, it would not exactly be related to the number of sharps or flats of the signature or to the scales, but to the feeling you get on a modulation and on how the keys relate to one another in that situation.
  • @davidwallace3933
    @QJamTracks, is it still considered negative harmony if every note is reflected over another axis, say through C so C maps to C, B maps to Db, Bb maps to D, etc?
  • @TheAuthenticOne
    If I'm not mistaken, then at 17:40 (and 19:30) there is a small typo in the final table: not "bVII-6" but just "bVII6" No matter what, the video is top-notch, as always. Thank you! =) :elbowcough:
  • @nicolasforfant484
    And now we guess that "Traids" is the negative harmonic writing of "Triads" 😉
  • @liquidvideotube
    This was taught in basic composition. How is it all the sudden so cool? weird.