can ı use neg har on a minor scale ? ıf my song were a minor ? thank you

It really screws with your head if you get that mixed up, because the root of the “positive” chord doesn’t correspond with the root of the corresponding “negative” chord, it corresponds with the FIFTH of the corresponding chord.

Hey, I'm sorry, could you explain it again? I didn't understand

@@kozhikkaalan I think they're just re-stating that going up a 5th is the same as going down a 4th, up a 3rd down a 6th etc. In negative harmony you map 1 chords to 1 chords, 2 chords to 7 chords, 3 chords to 6 chords, 4 chords to 5 chords, and so on. The commenter above is just rephrasing this as saying that if you have a 2 chord instead of mapping it to a 7 chord you just map it to the '-2' chord. This is the exact same thing, since going up a 7th is the same thing as going down a 2nd. Whatever you find easier to understand and remember. I think calling it 'negative chord theory' makes it sound more complicated than it is. If you add 7 semitones to 0, this note will be the same as if you subtract 5 semitones from 12.

Thats some nice way man, thx

yeah, but you have to keep in mind that you are in Eb tone, not in C tone

Danke schoen!

Yes I agree that the hype around Negative Harmony is exaggerated. For the record, I think "Inverted Harmony" would be a much better term for it.

Some MIDI programs can invert notes automatically. It's still not exactly the same and it requires some manual adjustments, but it's close enough to make it usable. In the video I did everything manually to make clear what I'm doing.

Tommaso... .

counting the half steps seems to be the fastest way and memorizing the reverse half steps if u will

Right I just spent quite a while working this out. For basic triads, it's easy once you know the diatonic chords of the key/mode. If you know the diatonic chords of the modes, then you just need to remember that these chords are swapped: 1 & 1, 2 & 7, 3 & 6, 4 & 5. So if you are in C Ionian, if you apply negative harmony transformation to the IV chord (F) you'll get the v chord (5 chord of Aeolian, Gm). If you transform the vii_o chord (Bdim) you'll get the ii_o chord (2 chord of Aeolian, Ddim). If you transform the tonic I (C) you'll get i (1 chord of Aeolian, Cm). It's easy to remember which chords swap, because the numbers are complementary (if you go up a 2nd, it's the same as going down a 7th, up a 3rd then it's down a 6th, up a 4th then down a 5th, and if you go 'up' a 1st you are just staying on the same note). This is most of what you need to know. If you want to transform seventh chords, it's a bit more complicated. You can do this 2/3 ways. The first way is you just transform the triad as before, and then work out the seventh 'manually'. For example, Am7 = ACEG is vi_7. Transform vi (Am) to bIII (Eb). Now you can just figure out how to transform the G by referring to the chart - the answer is C. So the result is Eb-G-B + C, which is Cm7. If you want to avoid the 'manual' part, do this. You can see that we transformed A-C-E-G to Eb-G-B-C. That's Am7 to Eb6. So if we just apply our familiar formulas, seventh chords become sixth chords. If you know (or can quickly work out) what the diatonic sixth chords are, then this is a quick method. If we want to find a seventh chord, not a sixth chord, we need to rearrange the notes to make that happen (which we can always do). I think the previous two ways are by far the easiest, but I'll offer the following for completeness. If you want to just transform straight from a seventh chord to another seventh chord, here's how. I just transformed all 7 diatonic chords of Ionian and got the following results: I(M7) to bVI(M7), ii(7) to V(7), iii(7) to iv(7), IV(M7) to bIII(M7), V(7) to ii(m7b5), vi(7) to i(7), vii(m7b5) to bVII(7). This probably won't look clear here so write it on a piece of paper. Remember that Aeolian is the 6th mode of the Ionian scale, and the tonic seventh chord of Aeolian here appears at the 6th scale degree of Ionian. However, while the Ionian seventh chords proceed 'forwards', the Aeolian seventh chords go in reverse order. So, there's a pattern, but it's not quick unless you memorise this paragraph. Just to be clear, the fact that Aeolian is the 6th mode is just a mnemonic here, I don't think it has structural relevance (for instance, for ninth chords, this does not hold). If you want to memorise this method, you need to remember that Aeolian is the 6th mode, the tonic is shifted by 5 (to the 6th position) and the diatonic seventh chords of Aeolian run backwards - then you can draw a little picture of which seventh chords go to which and use that when composing. Don't even ask me about ninth chords, etc. I think the 'transform the triad and then any added tones' method is the most versatile.

I think this one should work fine and be pretty easy if you can remember that in the major key first, fourth and fifth chords are major, second, third and sixth are minor and seventh is diminished and you know the degrees for every major natural scale (if you don't, look Brian Kelly videos on the circle of fifths as it can be mostly remembered using the word BEAD and neighbour keys on the circle give you the notes for the one key in the middle with the correct degree). Keep in mind the degree of the chord on the original key in major (for example Fmaj is 4 in C major usually written as IV) go to the parallel key in minor (C minor) and think to its relative major scale (Eb major). Subtract from 7 the original degree (7-4=3 and since the third is a minor you get that the chord you're looking for is the third minor chord of the Eb major scale so Gmin). In practical terms, you could not even know the notes of each key if you can visualize the natural (or even just pentatonic) scale pattern on the guitar neck and its seven main chords patterns (which are actually the CAGED system for major, minor and diminished triads shifted by some frets and placed in a particular position respect the natural or pentatonic scale pattern underneath). Raise the scale pattern by 3 frets to go to the minor parallel key and play the 7 minus original degree chord which is major if the result is 1,4 or 5 minor if is 2,3 or 6 and diminished if it's 0. Just a basic example: Think of one of the pentatonic pattern box for C major string E fret 5 and fret 8 string A fret 5 and fret 7 string D fret 5 and fret 7 string G fret 5 and fret 7 string B fret 5 and fret 8 string e fret 5 fret 8. They are all notes taken from the C natural major diatonic scale and it's usually called the basic A minor pentatonic pattern since A is the relative minor of C, or also called "Aeolian" box even if modes and box patterns are a very different thing. Over that pattern (eventually adding 4th and 7th degrees not present in the major pentatonic scale) you can play the V chord of the C major scale which is a Gmaj triad on string G fret 7 string B fret 8 string e fret 7 or the ii chord of the C major scale which is a Dmin triad on string D fret 7 string G fret 7 string B fret 6. Both triads are so played with an "open chord" fingers positioning as they are that shape shifted from the open position along the neck: "Dmaj open chord" shape for the Gmaj chord which is V and "Amin open chord" shape for Dmin which is ii, and you can do that for any ii and V chord on the "Aeolian" box pattern of the pentatonic scale. You can do the same for I, iii, IV, vi and vii° too with other open chord fingers positioning above any box, overlaying to the box the CAGED system of each one. Now if for example you want the negative harmonic equivalent of Gmaj since it is the V chord, subtract the V degree from seven so 7-5=2, you play the ii with the "open Amin chord" shape just three frets higher (string D fret 10 string G fret 10 string B fret 9) without even realizing it's actually a Fmin chord. You could also move the pentatonic box 3 frets higher (string E fret 8 and fret 11 string A fret 8 and fret 10 string D fret 8 and fret 10 string G fret 8 and fret 10 string B fret 8 and fret 11 string e fret 8 fret 11), subtract the V degree from seven so 7-5=2 and then play the ii with the "open Amin chord" shape over the shifted pentatonic box as the third minor chord triad fingering position is the same relative to the scale box.

Sure, you can. It's a bit harder to pull it off successfully, though, since you will now have chords that are part of the major key in a minor key framework, and this may sound weird at first. But you can definitely do it, and it's been done before.

The axis changes with the key. It's always the axis that transforms the 1st note pf the scale into the 5th note. It's the only axis that transform stable notes into stable notes, and active into active.

In addition to Eb-E, you could also use A-Bb. There are always 2 axes.

If you try transposing some existing songs, you'll soon find that many of them were written by transposing other songs... ;-)

@@MusicTheoryForGuitar I don't doubt this in the least.

I would use both Negative and Regular harmony as tools to help me compose. Once I have a melodic idea, I try both tools and see what kind of variations they give me. This sparks more inspiration, etc.

In this video I am using Logic Pro

Thanks. Logic pro X.

Good question! My answer is here: kzfaq.info/get/bejne/gcCqpM1519LZl40.html

When you feel like it. Music Theory doesn't dictates what you do, I gives you options to work with. These things are like tools and you're the one who decides what's good for you.

If you want to change a chord to a more minor key tonality (not necessarily a minor tonality if you borrow major chords, but the parallel minor tonality as a whole) but want to maintain the same tension/release and harmonic functions as what you had before, you might want to consider what the negative harmony counterpart might sound like It’s like major->minor (or even minor->major) modal mixture, except it only points to a specific case for each chord that preserves those key aspects of the original chord progression (and/or melodic tension as well) for a certain effect But, yes, Finch Glass here above me is totally right in what they say as well^^ I just thought I’d give a bit of a more direct answer to add something to this conversation that may help you think about it more practically

I agree that Negative Harmony is just an inversion. It's in fact the particular inversion that respect the stable/active hierarchy, and so it allows to invert harmonies and not only melodies. I am not aware of inverted harmonies before the 20th century, and if you have some sources on that I would love to see them. I made these videos precisely because Negative Harmony was explained as something mystical and mysterious when it's in fact just an inversion. I have always been a strong proponent of using music theory as an educational tool to EXPERIENCE sounds that otherwise we would not think of using - until they become second nature. Music theory should be the first step in learning to trust our own ears. I can hear negative harmonies (hearing inverted melodies is easy to learn, and from there there is but a little step to hear harmonies) and I hope I might inspire some people to do the same. So let me state it here clearly and unambiguously: TRUST YOUR EARS. Definitely use music theory to educate your ears, but TRUST THEM.

@@MusicTheoryForGuitar "It's in fact the particular inversion that respect the stable/active hierarchy, and so it allows to invert harmonies and not only melodies", that's the big difference between modal exchange, the melodic inversions in the baroque, and the negative harmony. That's the point, and it is new to the musical theory of the western music: The harmonic inversion.

Jaime: I agree. As I said, I am not aware of harmonic inversions before the 20th century. The harmonic inversion is, as far as I can tell, precisely the innovation that Negative Harmony brings to music theory.

@@MusicTheoryForGuitar in the baroque period, the invertible counterpoint alla 12 produces the same invertion, but it remains in the same mode, the negative harmony, brings something new to the table, but it is related to de baroque in the invertions, and to the romantic period, in the modal exchange.

Just found the answer in the comments section. Thanks! Still think we could all benefit from a software tutorial. 😊

Both ways work. I initially thought that the chromatic ay was more intuitive, but it seems most people find the cycle of 5th way more intuitive. They are exactly the same of course ;)

Logic Pro X

I don't know if it would make sense for you to take the course, but we can talk about it. Write me here: www.musictheoryforguitar.com/contacttheauthor.html so we can see if this course would work for you or not (if not, I'll be the first one to tell you to not take it).

The courses (not books) are available only in electronic format. More info here: www.musictheoryforguitar.com/guitar-theory-lessons.html or write me at: www.musictheoryforguitar.com/contacttheauthor.html

Thank you! Logic Pro X

Thanks! Logic pro X.

Any key. The axis is always between maj3 and min3.

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