Bb 138 negative harmonies deadline may 15th


#1

New bb…

For this battle compose an entire track using negative harmony…

at least one element has to be a negative harmony present throughout your track.

What are negative harmonies…

Its explained here…

Have funsies. :slight_smile:


#2

Damn, i thought @brogner was back for a minute there


#3

this one might be a little steep


#4

Clarified the rules good luck. :slight_smile:


#5

Too steep for me too, I don’t know jazz theory but otherwise I’d give it a go


#6

Example…

F A C negative harmony F# A C#

Or

F A C negative harmony E G#C#…

Or

E A C negative harmony is F# A C#

Or

C E G negative harmony F# A C#

Etc…or something…


#7

No subs ok…then…


#8

Yazz theory might be a tough sell, it’s kind of a niche territory that most of us probably don’t know too much about. I thought it was a cool idea for sure but it’s not in my wheelhouse either so I can’t really contribute.

Deeper concepts tend to be like that though :heart:. There will be other BB’s and challenges, I hope


#9

All I determined from OP was the experimental ‘negative harmony’ aspect was the musical movement in the exact chromatically opposite direction of the initial control melody. I ran a couple of scales this way on the piano determining the main correlation. eg right hand [C5 D5 E5 F5 G5 A5 B5 C5] mirroring w/ left hand moving diatonic’ly downward as mirrored would be [E4 D4 C4 B3 A3 G3 F3 E3]. This series of notes is also mapped to the C major scale as was my controlled right hand. Moving to an F major (1 flat) scale results in the mirror being mapped to a G major (1 sharp). a Bb scale (2 blat) mirrors to D major (2 sharp). You can deduce where this goes.

Anyway I grabbed the abandoned project from BB104 and attempted this mirror to it. Since it was in G#/Ab naturally the absolute mirror on the piano wouldn’t play out very well if they were right over top of each other so I chromatically moved the mirror back in tune (settled on something sounding like F minor). It’s no masterpiece but I believe this conveys my understanding of the negative harmony described by OP.

I did read nothing about ‘in between the keys’ and quite frankly using tones in between pitches defined by
55/2 * 2^(x/12) (domain x from 0 to 127)
Is for use only when sliding between notes or for non-tonal based sounds (percussion, ambience).

For future endeavors relating to less-understood concepts like this, perhaps an audible example should be in order. Perhaps do not consider me an example because I still am not sure I know what I am doing.

What you will hear is the 2 melody verses (control), the mirror of the control (experiment) and then a final overlap of the 2 as seen in the image.


#10

That is partly correct…

The purpose of negative harmony is to create tonal tension between chords as the melody progresses.

This can be achieved by using both normal traditional chord sequences in conjunction with abnormal chord sequences.

Think of it as using a different chordal relationship other than a circle of fifths.

Negative harmonies contrasts normal chords with chord inversions.

So you could still do circle of fifths the negative harmony way…

Like A, E, B, F#

The negative harmony circle of fifths would be…

A, inverse of the E chord, B, inverse of F#…or however you want to arrange it…

Etc…