I've heard C Db E F G Ab B referred to as double harmonic major. So the negative equivalent of Hungarian minor still relates to a known major scale. Pretty cool!
It is the double harmonic scale. 1 b2 3 4 5 b6 7. Because it has 2 one and a half step intervals. b6-7 has the harmonic major, harmonic minor modal trigger and b2-3 has the phrygian dominant, mixolydian b2 modal trigger making it double harmonic. Some call this the parent scale and some call mode 5 (double harmonic minor) the parent scale. Hungarian minor. Then the dbl harmonic major is mode 4 of hungarian minor Double harmonic minor has the b6-7 harmonic minor modal trigger and b3-#4 Dorian #4 modal trigger. Hungarian minor 1 2 b3 #4 5 b6 7 Interestingly enough there exists other harmonic scales. Neapolitan minor would be harmonic phrygian. Raise the 4th and you have double harmonic phrygian. Locrian natural7 is harmonic locrian which has some interesting modes like Locrian #7 ionian #6 Dorian augmented Phrygian #4 Lydian #3 Mixolydian #2 One step further down is harmonic altered 1 b2 b3 b4 b5 b6 7 Altered nat7 There is also a harmonic lydian Lydian b6 1 2 3 #4 5 b6 7 and Double harmonic lydian 1 b2 3 4 5 b6 7 Ionian b2 is a patent scale Modes are Ionian b2 Lydian augmented #2 #6 Phrygian bb7 Lydian b6 (harmonic lydian) Mixolydian b5 Aeolian b4 Locrian bb3
Fantastic video. You are right, the exotic scales have been misnamed. Your assumption is correct - one is major and the other is minor. I'm trying to work out the relationship between scale inversions and negative harmony (ie intervals of Major is Phrygian backwards, Dorian is itself etc.) Thanks for sharing.
I was also taught that the melodic major scale is called that way, because it follows the logic of the melodic minor one, just flipped around - in the melodic minor you take the first tetrachord of the minor and complete it with the second tetrachord of the major scale, so by using the same pattern, you get the melodic major scale - you take the first tetrachord of the major scale and complete it with the second tetrachord of the minor scale. I was pretty fucking mindblown to find out that you get it by using negative harmony too. I feel like a Tool album cover right now. Also what you call "Hungarian minor" I know as being called "double harmonic minor" or minor bi-harmonic scale. And what it gets inverted into I know as "double harmonic major" or major bi-harmonic scale. I was taught that "harmonic" scales get their name from the augmented second interval, or the so called "hiatus", and hence the name "bi-harmonic", whereas major and minor scales get their names from the major and minor thirds they include. So this is another win for negative harmony. "Hungarian" scales must be something of a nickname to these ones.
I can't wait for the next video about negative harmony in modes. I've noticed some really interesting patterns: I'm sure you're going to cover the fact that Dorian is the negative of Mixolydian, and Phrygian is the negative of Lydian. But the pattern you mentioned here, that Harmonic Minor is the negative of Harmonic Major, carries over between the modes of those two scales! In the same way Harmonic Major (Ionian b6) maps to Harmonic Minor (Aeolian #7), Dorian #4 (which is the 4th mode of Harmonic Minor) maps onto Mixolydian b2 (the 5th mode of Harmonic Major); Phrygian Dominant or Phrygian #3 maps onto Lydian b3 (the "Lydian" mode of Harmonic Major). That sounds a bit nuts if you don't see it on paper, but it basically means that the negative harmony relationships that hold between the modes of the major scale also hold between the modes of Harmonic Minor and Harmonic Major. Furthermore, the negative harmony of the Locrian mode is the major scale one whole step higher. So the negative harmony of C Locrian is D Major. This also happens between the Harmonic Minor and Major mode groups: The negative harmony of Locrian #6 (mode two of the Harmonic Minor) is... drum roll... Harmonic Major up a whole step! And the negative harmony of Locrian b7 is Ionian #5 (mode 3 of Harmonic Minor). Again, it makes more sense if it's all charted out, and I'm sure I'm not using the standard names for these scales. There modes of Melodic Minor interact in fascinating ways as well; there's so much to explore here and I've never seen anyone online talk about these patterns. I think these symmetries point to harmonic principles that we're only starting to discover! Awesome content.
Very interesting, thank you! Looking at the "negative harmony complement" of Neapolitan major, as you call "mixolydian b6/#4": with the flat 6 and sharp 4, maybe this is scale from which we borrow to form augmented 6th chords (+6 Italian and +6 French). Food for thought.
Thanks for another awesome video on negative harmony! You're really developing the subject. I especially enjoyed the 'no change' octatonic (dim) and the flipping of the whole-tone scale. Intriguing. Keep up the good work! I'd very much like to share with you the ideas and implications on harmonics in general sparked off by your videos, but I guess this is hardly the place.
I'm a keyboard player in a church, This gentleman explains theory so simple and good that it doesn't matter what instrument you play, one will understand. Thanks for this video.
I tried with the enigmatic scale and got a subset of the "eight tone Spanish scale" (I am unfamiliar with this scale) which is quite interesting, but I am unsure of the meaning of this.
As far as I know, Scott, you are the first person to apply Negative Harmony to the enigmatic scale. This is all new territory, so it's normal to wonder at the meaning of it. There's lot to be discovered!
Hi Tommaso! The negative harmony version of Hungarian Minor is called Double Harmonic Major (at least how I learned it). Makes sense to me because also because I learned Hungarian Minor as the 4th mode of Double Harmonic Major (another 5th relationship).
th-cam.com/video/_tUqU0gNziE/w-d-xo.html Once it was called the Arabian or the Byzantine scale, from a couple of years now everybody calls it the 'double harmonic'. Scale naming always gets out of hand on the 'net. To me it's just a great-sounding scale :-)
This is very interesting exercise. I used to think of scales as a combination of two tetrachords (4 notes), plated together. There are 6 possible tetrachords. I use 4 of them. Major: tone tone semitone. Minor: tone semitone tone. Phrygian: semitone tone tone. "Harmonic": semitone tone and a half semitone. With these 4 tetrachords we can generate 16 (4X4) scales! Ex: Major + Major = Minor, Major + Minor= Mixolydian, Minor + Minor = Dorian. Etc... Thank you 😊
When I watched these vids the first thing I did was apply it to some of the weirdest scales I know. Other than the ones you pointed out I just wanted to point out the interesting voice movement between the double harmonic minor/2x harmonic major/phrygian major (M7) b6. i.e. C Db E F G Ab B C this translates perfectly to G Ab B C D Eb f# G which is the same scale a fifth apart. Both would work over a C or G drone. I know this isnt anything groundbreaking but I just found it interesting in application, as this generally how you hear this scale used in application.
I made this for myself and thought others might benefit from this more universal info for transposition: All chromatic major/minor chord possibilities should be covered but make sure to remember symmetric property (i.e. if looking for VI remember to read right to left as well) Major and Minor Scales Diatonic Chords I = i ii = bVII iii = bVI IV = v V = iv vi = bIII vii° = ii° Nondiatonic chords bII = vii bii = VII II = bvii biii = VI III = bvi #IV = #iv #iv = #IV
Hungarian minor with a major 3rd is Lydian b6 aka Harmonic Lydian. Can be found in the Ionian b2 scale mode 4. Mixolydian b6/#4 is Lydian minor Neapolitan Major mode 4 Maybe it should be called Melodic Lydian because just like harmonic major and mixolydian b6, Lydian b6 is harmonic lydian. If you lower the 7 to b7 to smooth out the harmony you have melodic lydian. 1 2 3 #4 5 b6 b7 It can also be called Lydian dominant b6. Its called lydian minor because the lower half of the scale is lydian and the upper half is like the minor scale. 1 2 3 #4 5 b6 b7. Personally i think lydian b3 (lydian diminished) should be called lydian minor. 1 2 b3 #4 5 6 7. Or maybe aeolian #4 aka gypsy minor. 1 2 b3 #4 5 b6 b7 I mean mixolydian b3 is dorian Ionian b3 is melodic minor Lydian b3 should be some kind of minor scale. Lydian diminished is the most common name acording to Holdsworth and others.
Can we apply negative harmony to the chromatic scale? lols. Thanks for another wonderful lesson. ^-^ Edit: I like that you answered my immediate thoughts/questions about the diminished and whole tone scales too. That is really interesting that it shows up as the other whole tone scale as well.
The chromatic scale is just all notes present in 12 tone, equal temperament music. So you would just get the same scale, maybe starting a half step up from the original "tonic."
@@ryanfrieden2058 That's not the complete story. Yes, you get the chromatic scale, but the notes have been permuted (re-arranged). If you invert a melody or chord, you will get something different.
Thanks! You may want to have a look at the playlist on Negative Harmony, it will clarify some of the points I gloss over in this video: th-cam.com/play/PLxg569q1AjpOhYd8imqjesV3NOuKE5oRH.html
@@MusicTheoryForGuitar Fantastic, with the extra time on my hands these days taking my instrument more serious is a focus. Your videos are extremely educational. Thanks for all you do!
That's great. If you have time, I also have some free resources for you that can help you: www.musictheoryforguitar.com/guitar-music-theory-free-resources.html
Hello! Thanks for the vid. @Musictheoryforguitar why in the melodic minor you "flip" A with Ab and B with Bb? In the circle on the left, you flip Ab with B and Bb with A... i don't understand this. Can you please explain and make this clear? Thanks for your work
Thanks for the video - really mind opening. But one question: I think the augmented scale is the other 6-tone scale with 3/2-1/2-3/2-1/2-3/2-1/2 steps, isn't it? I tried to find the negative harmonies of this and got in a case the same scale with axis between c-g and db-f# but going another scale when turning the axis between f-c and f#-b. I didn't try all cases.
Hello! I've really been enjoying these videos you made on negative harmony/melody. I actually enjoy most of the videos you make, but this is something I've had interest in recently, so thank you for that. I'm curious, though. When using a negative melodic line that has notes that are technically "out of key," does it still end up working well over diatonic chords? Also, I tried harmonizing a melodic line with it's negative harmony yesterday and they sounded pretty neat together, except for one b9 interval causing some jarring, unresolved tension. Any thoughts on harmonizing a melodic line with it's negative harmony you'd like to share?
One Music Theory nitpick: The scale that is produced at 7:46 is more properly notated as C-D♭-E♭-F♭-G-A-B♭, since a 7-note scale should have exactly one modified A, exactly one modified B, etc. (which means you might get horrible accidentals, such as in the Enigmatic scale).
Second nitpick: At 10:17, you show that the Diminished HW scale inverts to itself. However, this does not mean that melodies and chords will sound the same afterwards; e.g., a C major chord still gets mapped to a C minor chord. Getting a different Whole Tone scale isn't too surprising, since the original scale had so much symmetry. I don't see it here, but the Negative Harmony of the other diminished scale -- WH scale (which King Crimson used for the song "Red" and other compositions at that time) -- is the Diminished WH scale a whole tone higher.
Nitpick 1: that scale is not misspelled: this is how you spell the altered scale. That scale is one exception to the rule of 'one note one letter'. You can confirm with any text on jazz harmony. Nitpick 2: yes, of course.
@@MusicTheoryForGuitar Back to Nitpick #1: In the context of jazz, I'm not surprised, and can concede that you're right, because you're emphasizing that you have both types of third. But for classical music, you'd see F♭ (otherwise you wouldn't have a key signature, and lots of ♭s and ♮s).
The interval sequence of the Harmonic minor modes are the mirror image of the Harmonic major modes interval sequences. So the negative harmony applied is not surprising.
Check the scale that uses whole steps. It is exactly the circle of fifths when you take every second chord as a note. And to no surprise every note in between is the negative harmony.
Pause at 5:17 - according to your circle of 5ths on the left, A becomes Bb & Bb becomes A. On the right, A becomes Ab & B becomes Bb? Did I miss something?
Mixolydian b6 should be called melodic major for the same reason for naming and creating melodic minor. Raised the b7 to 7 from the minor scale to harmonic minor. Harmonic minor had the b6-7 interval gap so they raised the b6 to 6 and created melodic minor. Harmonic major was created by lowering 6 to b6 from the major scale (Ionian - ionian b6) leaving the b6-7 interval gap again. By lowering the 7 to b7 to smooth out the melodic flow you get Mixolydian b6. Melodic Major is a good name. Aeolin dominant is another good name. Phrygian dominant is phrygian raise the b3-3. 1 b2 3 4 5 b6 b7 Aeolian raise the b3-3 is mixolidian b6. If you raise dorians b3 you have mixolydian. Locrian dominant is 1 b2 3 4 b5 b6 b7 You cant raise the altered scale b3 Aeolian Dominant (mix b6) Phrygian Dominant Locrian Dominant
Question to Tommasso: I have extensive music theory understanding.. all modes all scale (schemas) all diatonic, substitutions, chromatic 3rds, negative harmony etc.. I can spell any scale by its name, and spell any chord (to the 13th of any mode/scale... My question, where would I start in your course? I need to apply all I already know about theory to the guitar fret board.. I also know where every note on the fretboard is, that is almost unconscious. I play by the feel and the sound when I improvise.. but if you have a 'methodology' for applying ALL this theory to the guitar, I would be interested in your course.. I have taken courses from Luca T and Tom H. but I don't want to spend that monthly fee on things I already know.. Can you help with that? Byl S. Oregon
Question: I understand how G phyrgian would come up regarding the Cm scale. Just curious how come you don't mention the Cm scale is from the key of Eb? So a song in the key of C when transposed would end up in the key of Eb with Cm being its relative minor. To me, that bit of information broadens my view of harmonic possibilities.
@@MusicTheoryForGuitar Then I don't have any idea what you are doing. Do you have any other videos that go into that? To me it looks like you are just modulating from the key of C to the key of Eb.
Hello, at 7:11 of the vidéo you apply negativ Harmony to the hungarian minor. But , you don't apply the same flip as before. C became C, D became Db etc..and not C to G and D to F etc.. Did i miss something ?
At 4.48 isn´t there a mistake? A becomes Bb not Ab and Bb becomes Ab not Bb... the result is the same but just check...too much information to process...
I think you actually can invert Gypsy Minor: th-cam.com/video/HZKxq6xqauQ/w-d-xo.html. If my method is correct, it works for the bebop scale too. (C Bebop inverts to C Dorian Aeolian). Neapolitan Minor does invert, just not to Neapolitan Major. (one reason being that they're both minor scales). It does, however invert to the Latangi Scale (a Lydian scale with a b6), which is a classical Indian scale. The Hirajoshi scale also doesn't invert to anything Japanese, but it does invert to an Indonesian scale called the Pelog Scale. It's fascinating to me how inversion connects seemingly separate musical traditions!
The hirajoshi scale actually inverts to the ionian pentatonic scale which is very typical of Okinawa. I almost fell off my chair when I first realised this!
You can always invert a scale to it's "negative harmony"-equivalent as long as it has a perfect fifth. The problem is scales which lacks a perfect fifth such as locrian. Because the inversion will end up having no tonic...
I will show what happens to Locrian in the coming video on Negative Harmony and modes... once you put things in the right context everything makes sense.
@@oriyan2 The original scale didn't, either. You can always use the Negative Harmony process; the question is whether you get something meaningful. If you start off with two notes a flatted 5th apart and use the inversion idea, you end up with a transformation (map) where two notes remain the same. If the tonic is C, then the notes that remain fixed are E♭ and A. (D♭ and F swap, D and E swap, etc.) We are definitely in Schillinger's stomping ground now.
am i tripping or am i stupid.. theres been a few times ive seen this guy write out scales and they dont match his diagram. like for example at 4:56. when he writes the C melodic minor scale C-D-Eb-F-G-A-B he writes G-F-E-D-C-Ab-Bb shouldnt it be... G-F-E-D-C-Bb-Ab.. same thing with the Gmajor change... why a Fminor? wouldnt it also be Gminor or does Gminor scale not exist, why a F minor? I understand a B goes to C with no flats/sharps between as well as E to F. im so bothered and dont understand, i understoood everything till these two issues above ^. wouldnt a Gmajor go to a Cminor anyways?
@@MusicTheoryForGuitar Ok good to know, I had someone try to tell me that there is no circle of fifths for harmonic minor. Seems that person was wrong. Although it might be uncommon right?
I don't even have an idea what "circle of 5ths for melodic minor" could mean. The question to ask would be: "so what is the circle of 5ths for the major scale, and how it's different from the one for the natural minor scale". AFAIK, the circle of 5ths is something that exists independently of scales (though scales may be derived from it)
Basically its the Hungarian minor scale, but you rotate it so it starts on the 5th note. It's similar to how the mixolydian scale starts on the 5th note of the major scale.
![Negative MODALITY: How Negative Harmony Transforms Modes [Music Theory]](http://i.ytimg.com/vi/1b4tImOwBI4/mqdefault.jpg)
![Negative MODALITY: How Negative Harmony Transforms Modes [Music Theory]](/img/tr.png)
I'm kinda clumsy with playing instruments but all this stuff is absolute gold to program music on MIDI too
Can't wait for modes and negative harmony 🤯🤯🤯
I've heard C Db E F G Ab B referred to as double harmonic major. So the negative equivalent of Hungarian minor still relates to a known major scale. Pretty cool!
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Isn't the Hungarian minor scale also a mode of the double harmonic major scale?? That'd make sense if they were also somehow linked.
It is the double harmonic scale.
1 b2 3 4 5 b6 7. Because it has 2 one and a half step intervals. b6-7 has the harmonic major, harmonic minor modal trigger and b2-3 has the phrygian dominant, mixolydian b2 modal trigger making it double harmonic.
Some call this the parent scale and some call mode 5 (double harmonic minor) the parent scale. Hungarian minor. Then the dbl harmonic major is mode 4 of hungarian minor
Double harmonic minor has the b6-7 harmonic minor modal trigger and b3-#4 Dorian #4 modal trigger.
Hungarian minor 1 2 b3 #4 5 b6 7
Interestingly enough there exists other harmonic scales.
Neapolitan minor would be harmonic phrygian. Raise the 4th and you have double harmonic phrygian.
Locrian natural7 is harmonic locrian which has some interesting modes like
Locrian #7
ionian #6
Dorian augmented
Phrygian #4
Lydian #3
Mixolydian #2
One step further down is harmonic altered 1 b2 b3 b4 b5 b6 7
Altered nat7
There is also a harmonic lydian
Lydian b6 1 2 3 #4 5 b6 7 and
Double harmonic lydian
1 b2 3 4 5 b6 7
Ionian b2 is a patent scale
Modes are
Ionian b2
Lydian augmented #2 #6
Phrygian bb7
Lydian b6 (harmonic lydian)
Mixolydian b5
Aeolian b4
Locrian bb3
Fantastic video. You are right, the exotic scales have been misnamed. Your assumption is correct - one is major and the other is minor. I'm trying to work out the relationship between scale inversions and negative harmony (ie intervals of Major is Phrygian backwards, Dorian is itself etc.) Thanks for sharing.
The negative harmony of neapolitan major which you showed, is also called "lydian minor". I didn't know this before, so interesting!
I was also taught that the melodic major scale is called that way, because it follows the logic of the melodic minor one, just flipped around - in the melodic minor you take the first tetrachord of the minor and complete it with the second tetrachord of the major scale, so by using the same pattern, you get the melodic major scale - you take the first tetrachord of the major scale and complete it with the second tetrachord of the minor scale. I was pretty fucking mindblown to find out that you get it by using negative harmony too. I feel like a Tool album cover right now.
Also what you call "Hungarian minor" I know as being called "double harmonic minor" or minor bi-harmonic scale. And what it gets inverted into I know as "double harmonic major" or major bi-harmonic scale.
I was taught that "harmonic" scales get their name from the augmented second interval, or the so called "hiatus", and hence the name "bi-harmonic", whereas major and minor scales get their names from the major and minor thirds they include. So this is another win for negative harmony. "Hungarian" scales must be something of a nickname to these ones.
So the 'double harmonic minor' inverts into a 'double harmonic major'? Wow, that's even neater! Thanks!
@@MusicTheoryForGuitar Yes!!!
And also thank you for these videos, they're greatly appreciated! ❤
I can't wait for the next video about negative harmony in modes. I've noticed some really interesting patterns: I'm sure you're going to cover the fact that Dorian is the negative of Mixolydian, and Phrygian is the negative of Lydian. But the pattern you mentioned here, that Harmonic Minor is the negative of Harmonic Major, carries over between the modes of those two scales! In the same way Harmonic Major (Ionian b6) maps to Harmonic Minor (Aeolian #7), Dorian #4 (which is the 4th mode of Harmonic Minor) maps onto Mixolydian b2 (the 5th mode of Harmonic Major); Phrygian Dominant or Phrygian #3 maps onto Lydian b3 (the "Lydian" mode of Harmonic Major). That sounds a bit nuts if you don't see it on paper, but it basically means that the negative harmony relationships that hold between the modes of the major scale also hold between the modes of Harmonic Minor and Harmonic Major.
Furthermore, the negative harmony of the Locrian mode is the major scale one whole step higher. So the negative harmony of C Locrian is D Major. This also happens between the Harmonic Minor and Major mode groups: The negative harmony of Locrian #6 (mode two of the Harmonic Minor) is... drum roll... Harmonic Major up a whole step! And the negative harmony of Locrian b7 is Ionian #5 (mode 3 of Harmonic Minor). Again, it makes more sense if it's all charted out, and I'm sure I'm not using the standard names for these scales.
There modes of Melodic Minor interact in fascinating ways as well; there's so much to explore here and I've never seen anyone online talk about these patterns. I think these symmetries point to harmonic principles that we're only starting to discover! Awesome content.
Seems like the boss skipped replying to your comment because we all know you're "that guy"
Thanks for sharing your immense knowledge again! I learn stuff here that I haven't seen elsewhere.
P.S. I like the new channel icon. It's very cool.
Thanks!
I've always watched your negative harmony videos. Very informative and helpful!
Awesome! Thank you!
thank you so much for sharing!
always learning something new from your channel!
My pleasure!
You know your videos help a lot with all the queries that keep running in mind.
Thank you 😊
Thank you very much for clearing up all the questions I had, great information and videos as always 👍
My pleasure!
Very interesting, thank you! Looking at the "negative harmony complement" of Neapolitan major, as you call "mixolydian b6/#4": with the flat 6 and sharp 4, maybe this is scale from which we borrow to form augmented 6th chords (+6 Italian and +6 French). Food for thought.
THAT's an interesting thought!
Thanks for another awesome video on negative harmony! You're really developing the subject. I especially enjoyed the 'no change' octatonic (dim) and the flipping of the whole-tone scale. Intriguing. Keep up the good work! I'd very much like to share with you the ideas and implications on harmonics in general sparked off by your videos, but I guess this is hardly the place.
I'm a keyboard player in a church, This gentleman explains theory so simple and good that it doesn't matter what instrument you play, one will understand. Thanks for this video.
I am a pianist and, I ABSOLUTELY agree with you
I tried with the enigmatic scale and got a subset of the "eight tone Spanish scale" (I am unfamiliar with this scale) which is quite interesting, but I am unsure of the meaning of this.
As far as I know, Scott, you are the first person to apply Negative Harmony to the enigmatic scale. This is all new territory, so it's normal to wonder at the meaning of it. There's lot to be discovered!
Jesus loves you guys!💖☺️🤗🥰
@@MusicTheoryForGuitar Applying Negative Harmony to a scale appears to be an algorithmic (automated) process. Deciding which chords to use doesn't ...
Hi Tommaso!
The negative harmony version of Hungarian Minor is called Double Harmonic Major (at least how I learned it). Makes sense to me because also because I learned Hungarian Minor as the 4th mode of Double Harmonic Major (another 5th relationship).
th-cam.com/video/_tUqU0gNziE/w-d-xo.html Once it was called the Arabian or the Byzantine scale, from a couple of years now everybody calls it the 'double harmonic'. Scale naming always gets out of hand on the 'net. To me it's just a great-sounding scale :-)
Im gonna have to watch that a couple times
This is very interesting exercise. I used to think of scales as a combination of two tetrachords (4 notes), plated together. There are 6 possible tetrachords. I use 4 of them. Major: tone tone semitone. Minor: tone semitone tone. Phrygian: semitone tone tone. "Harmonic": semitone tone and a half semitone. With these 4 tetrachords we can generate 16 (4X4) scales! Ex: Major + Major = Minor, Major + Minor= Mixolydian, Minor + Minor = Dorian. Etc... Thank you 😊
Cool! You may enjoy this video :). th-cam.com/video/7o8zKMrj9P0/w-d-xo.html
Really great series of videos!
When I watched these vids the first thing I did was apply it to some of the weirdest scales I know. Other than the ones you pointed out I just wanted to point out the interesting voice movement between the double harmonic minor/2x harmonic major/phrygian major (M7) b6. i.e. C Db E F G Ab B C this translates perfectly to G Ab B C D Eb f# G which is the same scale a fifth apart. Both would work over a C or G drone. I know this isnt anything groundbreaking but I just found it interesting in application, as this generally how you hear this scale used in application.
I made this for myself and thought others might benefit from this more universal info for transposition:
All chromatic major/minor chord possibilities should be covered but make sure to remember symmetric property (i.e. if looking for VI remember to read right to left as well)
Major and Minor Scales Diatonic Chords
I = i
ii = bVII
iii = bVI
IV = v
V = iv
vi = bIII
vii° = ii°
Nondiatonic chords
bII = vii
bii = VII
II = bvii
biii = VI
III = bvi
#IV = #iv
#iv = #IV
Thanks for your classes...Great....🙏🙏🙏
Incredibly interesting and helpful ! Thanks.
Hungarian minor with a major 3rd is
Lydian b6 aka Harmonic Lydian.
Can be found in the Ionian b2 scale mode 4.
Mixolydian b6/#4 is
Lydian minor
Neapolitan Major mode 4
Maybe it should be called Melodic Lydian because just like harmonic major and mixolydian b6,
Lydian b6 is harmonic lydian. If you lower the 7 to b7 to smooth out the harmony you have melodic lydian.
1 2 3 #4 5 b6 b7
It can also be called Lydian dominant b6.
Its called lydian minor because the lower half of the scale is lydian and the upper half is like the minor scale.
1 2 3 #4 5 b6 b7.
Personally i think lydian b3 (lydian diminished) should be called lydian minor. 1 2 b3 #4 5 6 7.
Or maybe aeolian #4 aka gypsy minor.
1 2 b3 #4 5 b6 b7
I mean mixolydian b3 is dorian
Ionian b3 is melodic minor
Lydian b3 should be some kind of minor scale. Lydian diminished is the most common name acording to Holdsworth and others.
nice lesson on negative harmony and how it relates to scales:)
@4:47 small error without consequence, but Ab => B an Bb=> A
Very nice stuff... As usual.
I wonder what happens applying negative harmony to pentatonic and blues scales.
Great topic, from what ive read and seen on nh , you are the most complete with rick beato.
I wait next video about nh on modes,
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Great!
Well explain thank you !
Can we apply negative harmony to the chromatic scale?
lols. Thanks for another wonderful lesson. ^-^
Edit: I like that you answered my immediate thoughts/questions about the diminished and whole tone scales too. That is really interesting that it shows up as the other whole tone scale as well.
The chromatic scale is just all notes present in 12 tone, equal temperament music. So you would just get the same scale, maybe starting a half step up from the original "tonic."
@@ryanfrieden2058 That's not the complete story. Yes, you get the chromatic scale, but the notes have been permuted (re-arranged). If you invert a melody or chord, you will get something different.
@@christopherheckman5392 The question was about the scale, not a chromatic melody, so I answered it with that in mind.
Fantastic class, its over my head but I am catching glimpse :-P
Thanks! You may want to have a look at the playlist on Negative Harmony, it will clarify some of the points I gloss over in this video: th-cam.com/play/PLxg569q1AjpOhYd8imqjesV3NOuKE5oRH.html
@@MusicTheoryForGuitar Fantastic, with the extra time on my hands these days taking my instrument more serious is a focus. Your videos are extremely educational. Thanks for all you do!
That's great. If you have time, I also have some free resources for you that can help you: www.musictheoryforguitar.com/guitar-music-theory-free-resources.html
Hello! Thanks for the vid. @Musictheoryforguitar why in the melodic minor you "flip" A with Ab and B with Bb? In the circle on the left, you flip Ab with B and Bb with A... i don't understand this. Can you please explain and make this clear?
Thanks for your work
Thanks for the video - really mind opening.
But one question: I think the augmented scale is the other 6-tone scale with 3/2-1/2-3/2-1/2-3/2-1/2 steps, isn't it?
I tried to find the negative harmonies of this and got in a case the same scale with axis between c-g and db-f# but going another scale when turning the axis between f-c and f#-b. I didn't try all cases.
Hello! I've really been enjoying these videos you made on negative harmony/melody. I actually enjoy most of the videos you make, but this is something I've had interest in recently, so thank you for that. I'm curious, though. When using a negative melodic line that has notes that are technically "out of key," does it still end up working well over diatonic chords? Also, I tried harmonizing a melodic line with it's negative harmony yesterday and they sounded pretty neat together, except for one b9 interval causing some jarring, unresolved tension. Any thoughts on harmonizing a melodic line with it's negative harmony you'd like to share?
You have great videos, I really learn a lot! 😁👍
Happy to hear that!
One Music Theory nitpick: The scale that is produced at 7:46 is more properly notated as C-D♭-E♭-F♭-G-A-B♭, since a 7-note scale should have exactly one modified A, exactly one modified B, etc. (which means you might get horrible accidentals, such as in the Enigmatic scale).
Second nitpick: At 10:17, you show that the Diminished HW scale inverts to itself. However, this does not mean that melodies and chords will sound the same afterwards; e.g., a C major chord still gets mapped to a C minor chord.
Getting a different Whole Tone scale isn't too surprising, since the original scale had so much symmetry.
I don't see it here, but the Negative Harmony of the other diminished scale -- WH scale (which King Crimson used for the song "Red" and other compositions at that time) -- is the Diminished WH scale a whole tone higher.
Nitpick 1: that scale is not misspelled: this is how you spell the altered scale. That scale is one exception to the rule of 'one note one letter'. You can confirm with any text on jazz harmony.
Nitpick 2: yes, of course.
@@MusicTheoryForGuitar Back to Nitpick #1: In the context of jazz, I'm not surprised, and can concede that you're right, because you're emphasizing that you have both types of third. But for classical music, you'd see F♭ (otherwise you wouldn't have a key signature, and lots of ♭s and ♮s).
Do you know of any classical piece that uses the altered scale? I'd be interested in looking at the score.
@@MusicTheoryForGuitar No, and since there doesn't seem to be a name for this scale, or any of its modes, it looks like it'll be hard to find one.
The interval sequence of the Harmonic minor modes are the mirror image of the Harmonic major modes interval sequences.
So the negative harmony applied is not surprising.
Check the scale that uses whole steps. It is exactly the circle of fifths when you take every second chord as a note. And to no surprise every note in between is the negative harmony.
no one:
always no one:
me: i think after this crazy video i can rescribe Echoes with negative armony and see how medieval it goes!!!
Pause at 5:17 - according to your circle of 5ths on the left, A becomes Bb & Bb becomes A. On the right, A becomes Ab & B becomes Bb? Did I miss something?
Circle on the left is correct. On the right I have simply written the notes in the wrong place.
BTW, well spotted, and thanks!
@@MusicTheoryForGuitar All's good - keep well & safe!
Mixolydian b6 should be called melodic major for the same reason for naming and creating melodic minor. Raised the b7 to 7 from the minor scale to harmonic minor.
Harmonic minor had the b6-7 interval gap so they raised the b6 to 6 and created melodic minor.
Harmonic major was created by lowering 6 to b6 from the major scale
(Ionian - ionian b6) leaving the b6-7 interval gap again. By lowering the 7 to b7 to smooth out the melodic flow you get Mixolydian b6. Melodic Major is a good name.
Aeolin dominant is another good name.
Phrygian dominant is phrygian raise the b3-3.
1 b2 3 4 5 b6 b7
Aeolian raise the b3-3 is mixolidian b6.
If you raise dorians b3 you have mixolydian.
Locrian dominant is 1 b2 3 4 b5 b6 b7
You cant raise the altered scale b3
Aeolian Dominant (mix b6)
Phrygian Dominant
Locrian Dominant
Love it. Thanks T
Question to Tommasso: I have extensive music theory understanding.. all modes all scale (schemas) all diatonic, substitutions, chromatic 3rds, negative harmony etc.. I can spell any scale by its name, and spell any chord (to the 13th of any mode/scale...
My question, where would I start in your course? I need to apply all I already know about theory to the guitar fret board.. I also know where every note on the fretboard is, that is almost unconscious. I play by the feel and the sound when I improvise.. but if you have a 'methodology' for applying ALL this theory to the guitar, I would be interested in your course.. I have taken courses from Luca T and Tom H. but I don't want to spend that monthly fee on things I already know..
Can you help with that?
Byl S.
Oregon
Write me at tommaso@musictheoryforguitar.com so we can talk about it. I'd like to ask you a few more questions.
In the sense that “G phrygian is same as C minor” we may assume that C major, B locrian, F lydian (etc) are same :D
I wish I could play guitar as fast as you write!
Like every respectable guitar player online, I speed up my videos ;) (the whiteboard videos, of course)
Superb!!
Thank you!
Question: I understand how G phyrgian would come up regarding the Cm scale. Just curious how come you don't mention the Cm scale is from the key of Eb? So a song in the key of C when transposed would end up in the key of Eb with Cm being its relative minor. To me, that bit of information broadens my view of harmonic possibilities.
Because it's not. The Cm scale is in the key of Cm, not Eb. They have the same alterations in key, but they are different scales and different keys.
@@MusicTheoryForGuitar Then I don't have any idea what you are doing. Do you have any other videos that go into that? To me it looks like you are just modulating from the key of C to the key of Eb.
Hello, at 7:11 of the vidéo you apply negativ Harmony to the hungarian minor. But , you don't apply the same flip as before. C became C, D became Db etc..and not C to G and D to F etc.. Did i miss something ?
grazie
Valeu Mestre!
What about scales other than that? Ex scale dorian,pryhgian,aeolian??
th-cam.com/video/1b4tImOwBI4/w-d-xo.html
At 4.48 isn´t there a mistake? A becomes Bb not Ab and Bb becomes Ab not Bb... the result is the same but just check...too much information to process...
I think you actually can invert Gypsy Minor: th-cam.com/video/HZKxq6xqauQ/w-d-xo.html. If my method is correct, it works for the bebop scale too. (C Bebop inverts to C Dorian Aeolian). Neapolitan Minor does invert, just not to Neapolitan Major. (one reason being that they're both minor scales). It does, however invert to the Latangi Scale (a Lydian scale with a b6), which is a classical Indian scale. The Hirajoshi scale also doesn't invert to anything Japanese, but it does invert to an Indonesian scale called the Pelog Scale. It's fascinating to me how inversion connects seemingly separate musical traditions!
The hirajoshi scale actually inverts to the ionian pentatonic scale which is very typical of Okinawa. I almost fell off my chair when I first realised this!
Wow - I did not notice that!
oriyan2 thanks for the clarification!
At 4:44 doesn’t the A >Bb B>Ab ? Not A>Ab B> Bb
You're correct, my mistake.
Awesome
Is the problem with flipping certain scales where they don't work with negative harmony that they have intervals of more than 2 half steps?
I don't think it's a problem
You can always invert a scale to it's "negative harmony"-equivalent as long as it has a perfect fifth. The problem is scales which lacks a perfect fifth such as locrian. Because the inversion will end up having no tonic...
I will show what happens to Locrian in the coming video on Negative Harmony and modes... once you put things in the right context everything makes sense.
@@oriyan2 The original scale didn't, either. You can always use the Negative Harmony process; the question is whether you get something meaningful.
If you start off with two notes a flatted 5th apart and use the inversion idea, you end up with a transformation (map) where two notes remain the same. If the tonic is C, then the notes that remain fixed are E♭ and A. (D♭ and F swap, D and E swap, etc.) We are definitely in Schillinger's stomping ground now.
CHarm works like a charm ;-=
Haha, good one.
Dude... I read this two days ago, and I only got it now :-) You're a genius.
am i tripping or am i stupid.. theres been a few times ive seen this guy write out scales and they dont match his diagram. like for example at 4:56. when he writes the C melodic minor scale C-D-Eb-F-G-A-B he writes G-F-E-D-C-Ab-Bb shouldnt it be... G-F-E-D-C-Bb-Ab.. same thing with the Gmajor change... why a Fminor? wouldnt it also be Gminor or does Gminor scale not exist, why a F minor? I understand a B goes to C with no flats/sharps between as well as E to F. im so bothered and dont understand, i understoood everything till these two issues above ^. wouldnt a Gmajor go to a Cminor anyways?
T_T no one reads comments?
Why isn't there a circle of fifths for harmonic minor, melodic minor, or exotic 7 note scales? Great video though!
The circle of 5ths is not tied to a specific scale type (major, minor, etc).
@@MusicTheoryForGuitar Ok good to know, I had someone try to tell me that there is no circle of fifths for harmonic minor. Seems that person was wrong. Although it might be uncommon right?
I don't even have an idea what "circle of 5ths for melodic minor" could mean. The question to ask would be: "so what is the circle of 5ths for the major scale, and how it's different from the one for the natural minor scale". AFAIK, the circle of 5ths is something that exists independently of scales (though scales may be derived from it)
Oh Ok, that makes sense! Thanks for clearing that up@@MusicTheoryForGuitar
My pleasure
Someone can explain to me what does "5th mode of the hungarian minor" mean? Thanks!
Basically its the Hungarian minor scale, but you rotate it so it starts on the 5th note. It's similar to how the mixolydian scale starts on the 5th note of the major scale.
@@scottblair8261 right! Thank you
I wonder how this would sound with non Octatonic scales
Where's the modes and negative harmony video
th-cam.com/video/1b4tImOwBI4/w-d-xo.html
are scales invented or discovered?
The philosophers have been struggling with questions like that for thousands of years, and haven't gotten anywhere.
Mybe the word "flipping" is the one that confuse me even more about negetive harmony cause if i flipe c it will be still c😂😂😂
Jesus is CRAZY in love💞🤗☺️🥰
with you guys personally😉😍