Negative Harmony - Lesson #2 (Voice Leading and All The Things You Are) 

I was thinking the same. Are we seeing an uptick in quality community music material on RU-vid? It's amazing

And if June says so, you have to believe it, you two are my magistri vitae right now!

June Lee Hi June, thanks! Keep up your great work! Talk to you soon :)

@seheyt Absolutely! Neely, Beato, Fiorini, Lee and Co. are providing conservatory quality knowledge. This is an exciting time.

None of the stuff I am not

That got an out-loud laugh from me! Thanks! :)

no person im not! all words have to be mirrored😂

best comment ever

+Greg Woodsbie As a self-taught musician fascinated by the concepts (although mildly horrified at the extent of the work before me), the second half of your comment very closely mirrors my own feelings around this.

This depends on what the "tritone substitution" refers to. Because by your definition it means that you substitute the chord with any chord that shares the same tritone, whereas by another definition it means that you substitute the chord by a chord that's a tritone away from the original chord. Both are IMO valid interpretations of the term "tritone substitution". I'm pretty sure people learn about these other substitution chords too, but they just aren't necessarily called "tritone substitutions". I have always understood that the "tritone" in tritone substitution refers to the bass note being a tritone away from the original chord root. But sure, your definition also makes sense - the "tritone" in tritone substitution refers to the tritone that all of these different chords have in common, which is why they work as substitutions for the V7. BTW, I don't think using a Db7 chord sounds bad played over an A in the melody - the melody note would just be the #5. Of course if you play a Db7 chord with an Ab in it over the A, it will sound bad. But for example Db9#5 wouldn't sound bad at all. It's actually basically the same chord as G9#5 with a different bass note. But yes, the bII7 doesn't always sound good.

But that is my whole point , it is a mis-conception that the tritone refers to the relationship of the bass root note to the V chord . The group of flat II chords really come under the heading of the Neapolitan group but those aren't based on the concept of tritone substitution.....as I said before it's one of those things that gets taught wrongly and then that information get taught to someone else and so on and so fourth.... I once bought a book on arranging put out from Berklee music collage which as I'm sure you know has quite the reputation....in the brass & sax voicings there were so many school boy errors such as putting major 7th's next to roots and 13th's next to 5th's it was untrue, from that there must now be quite a substantial amount of people who think that is good brass writing because it was in a book from Berklee..... The most shocking thing about the book was the accompanying CD which had all the examples played, most of them were so out of tune and I just couldn't get my head around that no one on the session had the ears to pick this up and do another take , It just drove home to me that not all lectures (not just in music) are necessarily maestros in their field, indeed the amount of people I've met in life with this or that degree who are incompetent ( again not just music, you only have to watch the people on the apprentice to realise how poor the vast majority of them are despite the various qualifications they have in things like business management etc ) far outnumber the people I would classify at very good at their job …...One of my uncles is a lecturer in land management, he got the job because he was assisting the lecturer he was a student of in the summer break to earn some extra cash , two weeks after my uncle got his results the lecturer got offered a better deal from another university and so left....the dean who was now short of a lecturer for the following year said does the old lecturer have an assistant and does he have his qualifications ….and thus my Uncle Stephen who had only passed his exams a few weeks before and had zero experience in working in land management (For all anyone knows he might have been terrible at it in the real world ) became the teacher of the next generation of students coming out of Reading University all because he has a bit of paper that said he'd passed an exam, I hope you understand my point from this story…..regarding the A melody note it will sound good as a Db7+ but not as a Db7, my point with A example is that not all notes work with the flat II7, yes the Db7 can be adapted to make the A melody note fit but what if that wasn't the case , if the melody for example was a C and not an A then I can't think of a variation of a Db dominant 7th chord against a major 7 that would work well (other than for a horror movie where the effect may be desirable ) but an F9(#11) or similar variant (which has the F-B tritone within it ) would sit well on the ear

I've checked Schillinger out, but I'm not very influenced by his ideas. So many of these ideas are coming from different places, not just the more well known places. Levy (as he mentions in his book, even though he does not use the term 'negative harmony') was far from the first person to promote some version of these ideas.

Hey guys, I saw that you talked about Barry Harris, please can u tell me in wich book he was talking about negative harmony and the concept arroud diminished chords and #/b ???

Well, technically, F Ab Cb D ...

@@christopherheckman7957 Well… actually F Ab Cb Ebb

@@Chuffi31 Yeah. I thought it was a 6th chord.

Villads Bojesen spooky

Hi Eduardo, thank you! Yes, it's a Cm aeolian chord.

Hi! In the negative world there are a Generator (the note from which you start to create the chord) and a Root (a fifht below the Generator); so F# is the Generator of this chord, B is the Root. You could name it -F#m7 in Absolute Conception, while in Telluric Adaptation is B6. I explain this in the PDFs you find in the description of my two videos, I suggest you to read them.

I just had the same doubt

ATTYA is in Ab. F-6 is the negative of G7 in the key of C.

Edson Woiski best answer

Edson Woiski It's not the point. Don't you agree that bars 9-16 is the same movement than 1-8 but in Eb ? What about modulation un negative harmony ? If you had to treat Giant Steps for example, would you consider that it is "only" in B ?

Le Tchouck negative harmony have a lot of probabilities. For example, take the first bar, the axis of Fmin7 playing in Ab major scale, the axis are Gb, Eb, B, and Ab. It can construct two chords, there are B6 or Abmin7. So it's up to you to choose B6 or Abmin7. Besides, the Ab major scale has the axis, it's Eb phrygian. But I guess it must be written on Abmin scale (because if you play Eb phrygian scale, it actually have the same diatonic tones structure with Abmin aeolian scale, so)

He did, that's part of where this comes from. This concept is very old, much older than Bach.

There is a need, because it helps limit the spread of misinformation and misunderstanding. And Marco did it in a very respectful way here, which I think is great.

Lmao!