What Is A NEGATIVE Dominant Chord?

[@stuartthorne4872]

Your “circle of thirds” analysis was a revelation. Yet another one saved to my Favourites folder. In fact, I smashed that “like” button so hard I damn near cracked my phone’s screen! 😳😁 Thank you yet again, Tommaso! 🙏🏿🦁🔥

[@commentfreely5443]

supertonic up 1, sub tonic down 1 dominant up 5, sub dominant down 5 mediant up 3, sub mediant down 3 [except up is M3 why is sub down m3?]

[@EclecticSceptic]

I tried this with the other modes (of Ionian). I did it the same way, dividing the circle of fifths in half by drawing a line between the tonic note and its fifth (so between G & D for Mixolydian, F & C for Lydian, etc.) If we call the Negative Harmony transformation 'NH()' for short, you've already showed that NH(Ionian) = Aeolian, and NH(Aeolian) = Ionian. It's also true that NH(Mixolydian) = Dorian and NH(Dorian) = Mixolydian. And also NH(Lydian) = Phrygian and NH(Phrygian) = Lydian. The same transformations of chords occur. 1 to itself, 2 and 7, 3 and 6, 4 and 5. It doesn't work for Locrian because it has a diminished fifth. So if you take B Locrian, NH(Locrian) doesn't even contain B. In brief, this is because when the diminished fifth of Locrian (F) is transformed, it changes by a perfect fifth (Bb) not the tritone required (B). Thus you can't arranged the transformed scale to have tonic B. I find the pairs interesting because they're different to the pairs obtained by mirroring the pattern of steps (e.g. W-W-h-W-W-W-h and h-W-W-W-h-W-W, Ionian and Phrygian). Those pairs are Lydian-Locrian, Ionian-Phrygian, Mixolydian-Aeolian, and Dorian-Dorian. That also corresponds to scale brightness (taking Dorian as 0, how many sharps or flats does a mode have compared with it - e.g. Lydian is +3 and Locrian has -3). These negative harmony pairs would seem to confirm our cultural intuition that Ionian and Aeolian are opposites, whereas the step pattern pairs would suggest otherwise. In truth, it is more complicated surely. (Edit: Just saw you did a whole video about this haha. Good stuff. Although you arranged it so that Aeolian had 0 brightness and didn't talk about step pattern pairs. But otherwise the same)

[@hugofritz8238]

in negative harmony you buy NH(Ionian) = Aeolian by transposing your chromatic inversion by one fifth up (example melody c-e-d-f inverted becomes c-ab-bb-g, transposed up a fifth will give you g-eb-f-d, which is the negative melody). the chromatic inversion of Ionian is Phrygian, so you have to add 4 flats. 3 you do by NH, one by transposing the melody in the opposite direction. The other method does not transpose the melody, therefore Othermethod (Ionian) = phrygian. that is all. One changes the melodic center, the other one changes the harmonic center to achieve the missing fourth fourth that you will not get from going from major to minor.

[@dimi3mi]

I just want to point out: no matter where you reflect, you will always get the same transformation, the only difference is where this new chord or key centre is transposed depending on the place of reflection. EG: using the C-to-G version: CM -> Cm, GM -> Fm (in the C minor key) using the C-to-C version: CM ->Fm, GM -> Bbm (in the F minor key) But in both cases: I -> i, V -> iv In fact, you can flip a chord progression around or in between any notes, but you will always get the same relative negative progression.

[@christopherheckman5392]

More resources for functional harmony (i.e., the Tonic/Dominant/Subdominant classification of chords): (1a) Splitting up triads into the three functions T, D, and S can be taken further. Christopher White's thesis "Some Statistical Properties of Tonality" [available online; google for it] took chord progressions from classical music between 1650 and 1900, and found thirteen functions, and which chords can serve those functions. You get a neat diagram consisting of several circles through the Tonic function and diversions along the way. Even if you just look at the pictures and the tables, you can get a bit out of it. For instance, it gives you a way to write chord progressions that move harmonically. (Write down a series of functions that "follow the arrows" in the diagram, then choose chords for each of those functions from the tables.) (1b) "Chord Context and Harmonic Function in Tonal Music" by Christopher White and Ian Quinn does this for other types of music. It might be a better to read this before (1a). (2) A bit more complicated is "The Tonal Phenomenon" by Jose Antonio Perez Alvarez [also available online], which traces out how harmonic functions work with other scales, and between keys related to each other. To be honest, I don't understand a lot of this paper, but I understand enough of the paper to know that it'll be useful when I do.

[@msolbakken]

I was messing around switching from key of C to Cm on my guitar and all the chords available. This is really useful in expanding harmony in song writing. Keep up the good work and interesting videos!

[@krawfish82]

I've been asking, in various forums and Facebook groups, if a minor iv chord could function as a dominant chord. You're the first person to agree with me. Most other people say "NO! It can't function as a dominant because it doesn't have a leading tone". I feel like the flat 6 of the iv and the root both, really want to resolve down a half step to the 5th & maj 3rd of the tonic. This is why I feel like the minor iv can function as a dominant, in the right context. You have just confirmed my thoughts about this. Thank you for making this video. 👋👋👋

[@michaelgermon8304]

He didn't actually agree with you; he said the dominant chord (G) becomes subdominant when converted with negative harmony (Fm). Check at 6:10. However, I actually agree with your theory. I think it makes much more sense to look at the flat 6 as a leading tone which resolves to the 5th (the most stable/strong note in the key besides the tonic). This works for other chords to like the Ddim chord (which is the negative version of Bdim). Ddim would also be consider dominant if you look at it this way as it also contains the flat 6. In fact, the 'B' note (leading tone) converts directly to the Ab (flat 6) through negative harmony. To me this makes it very clearly a 'minor leading tone' if you will.

[@krawfish82]

@@michaelgermon8304 I couldn't have said it better. I definitely agree with you about the ii⁰. Like the minor iv, the ii⁰ resolves very nicely to the tonic and I would say it could have a dominant function in the right context. That's what my ear hears, at least.

[@asmallguy6124]

ME TOO! i felt it was a too obvious a dominant too and it, redundantly, obviously felt leading to the tonic so I was weirded out that it wasn't a dominant as the majority suggests ... and ever since this theory about negative harmony proved I wasn't a crazy dude

[@wege8409]

I'd say that especially when the iv is preceded by a IV it has a really strong pull to the tonic. It's super interesting that lots of people have slightly varying views on harmonic function. Contraversial view alert: I think V sounds a little sub dominant when preceded by the home chord. Maybe: (S) D G --> Fm S (D)? No disrespect, love your channel.

[@Mayukhguitar]

Thank you so much for this enlightenment.❤❤❤❤❤❤❤❤❤❤❤❤

[@tonyant9755]

your intro is just the best thing on the internet

[@agnato6838]

I follow several music theory channels, still I've never heard about the circle of thirds, thank you.

[@EclecticEssentric]

You can cycle 1s (octaves) to 7ths. 2nds is the normal scale. 1234567. 3rds is basically chord construction. Like C into Em into G into B° - CEG EGB GBD BDF DFA, et cetera. 4ths/5ths is the tuning, and it is the Circle of 5ths/4ths. You can do every 6th or 7th as well. You just don't hear this spoken often.

[@agnato6838]

@@EclecticEssentric Timmy Spencer Well yes, maybe the important difference is that in this case you circle over the 7 scale degrees, while in the circle of fiths(/fourths) you circle over the 12 notes. So these are two different kind of circles.

[@EclecticEssentric]

Yes, somewhat. Interesting point. 1s (octaves) go by scale, 2nds go by scale, 3rds by scale, 4ths/5ths have these 2 hiccups (the perfect 4th of a major scale does not have a perfect 4th, and the 7th has no perfect 5th, both are the same 'break in the pattern' but from opposite directions), 6ths are by scale, 7ths by scale.

[@christopherheckman5392]

@@EclecticEssentric Cycling by 2nds produces chords in "secundal" harmony (i.e., the chords C-D-E, D-E-F, etc.), cycling by 4ths produces "quartal" harmony, and cycling by 5ths produces "quintal" harmony. There's lots of info about these chord systems out there; they became popular about a century ago.

[@theeniwetoksymphonyorchest7580]

Excellent! Big learning point for theorists - theory should explain practice. Big learning point for players - if it sounds good, do it!

[@123jkjk123]

Cool stuff! What I find interesting about negative harmony is how it explains some of the songwriting/improvising tricks that I used long before I ever heard of negative harmony. Just things like reversing notes or flipping things upside down. Also, I think a lot of the negative magic is because of the natural relationship between perfect fourths and fifths. ie. A is the perfect 4th of E, flip it, and E is the perfect 5th of A (which guitar players often use with double stops)

[@bocovibe1]

Bravo! The Beauty of Simplicity...

[@arleybabe]

nice" circle of thirds" analysis & explanation of tonic, subdominant & dominant chords.....yeah negative harmony negative dominant chords are awesome:)

[@SelfPropelledDestiny]

All 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

[@chazmichael7967]

So basically negative harmony is just interval inversion applied to chords?

[@SelfPropelledDestiny]

@@chazmichael7967 Yes! That's pretty much it for harmony. You can do negative melody as well, though I suppose that will draw from the parallel minor notes as well. My example includes all "triads", but seventh chords also follow this principle, just starting on a different note. If instead of a C major triad substituted by a C minor triad, we have a Cmaj7 chord, then it will be substituted by an Abmaj7 (bVI), which also includes a C minor triad within; it's just that the addition of the 7th (B) also gives us a "negative" Ab, which changes the overall chord name. But still much the same concept. Negative Harmony is very nearly just "systematic parallel interchange".

[@sunsetarchitect]

@@chazmichael7967 This is my (selfpropelleddestiny's) music channel. Lessons, tutorials, etc.

[@achokarlos]

I learned subdominant add a bit of tension over a tonic, an dominant chords add a lot of tension over that tonic begging to be resolved on this tonic. This is how tension an resolution works, but also works as cooking recipe, you can change ingredients to satisfy your own taste adding flavours, or even to ruin a dish. What I don´t understand is why is so difficult to find this information wherever I look at, when this concept of chord funcion is so relevant to understan the music motion.

[@FilippoDeVecchi]

Uno dei pochi che spiega bene l'armonia e in modo chiaro!!

[@GabrielVelasco]

Yes! A revelation. Fantastic analysis as usual.

[@JoelYeoh]

_Interesting concept there! Thanks for sharing brother 👍🎵😀_

[@kanvolu]

+10 for telling the haters to shut up

[@axelfernando4079]

Dear Tommaso, I have a doubt if we could use this. What happens if we apply it a minor third above? If we use "negative harmony" of A major, but not starting with the tonal center in A, but in C. For example, if we apply negative harmony to the notes of the key of A major, the notes look like this: A - E B - D C# - C D - B E - A F# - G G# - F But what if I have a melody in the key of C? "Happy Birthday" Notes: G,G,A,G,C,B Chords: C and G I change the notes of the melody with their respective note New melody: F#,F#,E,F#,C#,D Chords: F#m and Bm

[@s.vidhyardhsingh3881]

Really loved this video. I’ve learnt something new!!!! 😁👍🏻 Thanks!! 😊

[@jimrose6614]

Brilliant explanation Tommasso, as with your other videos, refreshing, shining lights in dark corners. My only problem is that my instruments are saxes and flute, and i don’t think they lend themselves to visualising chord and modality in the same way. Still, these descriptions work clearly in their own right and really help me to get to grips with the language of (jazz) music.

[@MusicTheoryForGuitar]

Actually, a few of the pioneers of Negative Harmony were sax players. You can use Negative Harmony to play arpeggio substitutions bebop-style (for instance). In general, Just try playing arpeggios of all this and you will get some interesting lines.

[@Kalparkr]

awesome!

[@EclecticEssentric]

Always awesome! Thank you kind sir.

[@GeneAkimoff]

Great tut, as always, Thanks!

[@scottblair8261]

This reminds me a lot of the concept of retrogressions.

[@AntHenson]

Another great video, thanks!

[@ashwinlepcha8048]

Thank you so much for this knowledge I appreciate

[@CMM5300]

Circle of 3rds! I though I was alone! Mirror harmony and mirror pairs is a very interesting theory. Also there's one more. It's ANY given axis theory. I forget the name.

[@clyderichardson6475]

Thank you!

[@saxofonistacr]

A minor iv on a major tonality does functions a lot like a dominant to me. You can go from m iv to I and it will sound a lot more dominant tonic than sub dominant tonic at least to me.

[@michaldejdar1245]

wow! a circle of thirds!

[@benjaminrodriguez6801]

Interestingly enough, if you take the output of “the other version” 7:31 and add a perfect fifth, it will yield the output of “the version I use.”

[@tmac8892]

My ex was a negative dominant chord.

[@jackdylan2002]

😂

[@MusicTheoryForGuitar]

HAHAHA :)

[@wilsonbenavides9647]

jajajajaja

[@job9650]

@PissedFechtmeister 🤣

[@MusicTheoryForGuitar]

Yes, but is was an authentic resolution, or a deceptive resolution?

[@CarlosMartinez-gr1rp]

Beautiful, bordering mathematics.

[@christopherheckman5392]

As a mathematician/musician, I consider some very "mathematical" pieces (especially 12-tone pieces) to be interesting mathematically but not musical. Negative Harmony seems to be a case where the mathematical beauty matches up to musical beauty.

[@MrMediterrano]

I love your videos and would certainly buy your course if it was made for keyboard players

[@jarthur8428]

Your are the best theorist applicable in KZbin for a didactic perspective. I am a pianist and think that... Imagine a guitar player. I will be sincere. I think your course should be very good as your videos.. but is really expensive, at least in my country. Is there any way to know more details in each video of the course and just pick some advanced ones? Or any one payment that can be done for all the course with a very good discount? Thanks for your answer!

[@MusicTheoryForGuitar]

Thank you :) Please direct all questions about the courses to [e-mail]

[@PohlLongsine]

I feel like the two definitions at the beginning miss another very important meaning of "dominant": it's the chord function that sounds the most far from home. If you think about the function without the traditional assumption that the 5th chord of the harmonized scale has it, you can come to a different conclusion than the one you reached: it's not that the NH transformation maps the dominant V to a subdominant chord, it's that the iv in natural minor _is_ its dominant chord. This matches what my ears are telling me better, and it even provides a more satisfying answer to the question of what's wrong with the v chord in natural minor. Natural minor is not MISSING a leading tone. Rather, it has a leading tone in the form of the ♭6, which leads the ear down to the 5th of the tonic cord. Is it possible that this is a subtlety that music theory has gotten wrong?

[@ashwinlepcha8048]

But what is the negative harmony of Db, D, Eb, E, F or its the same method that using on C major and so on please make a video on that

[@friendofbeaver6636]

Would've been nice to hear some tones. Liked anyhow. Will play around with it.

[@be7th]

How will negative dominant chords sound in Lydian? 8) or Phrygian? 8D And that circle of third will be quite remarkable in other modes %D Neh?

[@MusicTheoryForGuitar]

kzbin.info/www/bejne/Z5OXpXyjhNx1f5Y

[@be7th]

@@MusicTheoryForGuitar AAAAA# Thanks how did I miss it! Thanks :)

[@RazBalmas]

Dose the negative harmony has to be in relation to the circle of fifths? I was tought to transpose the notes by a chromatic scale, and kinda lost it XD Learning alot from this channle keep this is pure gold!!

[@MusicTheoryForGuitar]

You can do it with the circle of 5ths or with the chromatic scale, the final result is the same :)

[@mamo9389]

Thanks you so much for your explanations. I am very new to this topic. So if I put your explanation into my words: The system of negative harmony borrows notes from the parallel minor key but in such a way that the harmonic function is somehow maintained...?

[@MusicTheoryForGuitar]

Yes

[@mamo9389]

@@MusicTheoryForGuitar Thank you!

[@RandyBakkelund]

It would've been nice to hear a musical audio example, but I suppose you did supply us with the chords and knowledge to do so ourselves.

[@christopherheckman5392]

He's done other Negative Harmony videos with sample chord progressions.

[@shipsahoy1793]

I’m not surprised at all by your findings sir, especially when you consider the fact that the major scale is just two identical tetrachords separated by the tri-tone. The theory of music harmony is fascinating, but at the same time, makes a lot of sense when you know how to analyze it. Good work! Every musician should know this stuff by now, but unfortunately they don’t, and I attribute it to laziness and/or distraction.

[@dibblethwaite]

separated by the tritone?

[@phitoman6964]

@@dibblethwaite same question

[@shipsahoy1793]

Hello, the two tetrachords are separated by the b5 tone (or enharmonic #4, depending on context). PS> c’mon guys, there’s technical jargon for musicians, just like there is for other professions !

[@dibblethwaite]

@@shipsahoy1793 Really? They are separated by a perfect 5th in my world.

[@shipsahoy1793]

@@dibblethwaite the two tetrachords are a perfect fifth apart, but sequentially in making the major scale, there is only the semitone between. Don't be a smartass, you know what I meant. 🙂

[@johnjoseph1966]

Negative harmony is a concept that is not concrete BUT your circle of 3rds is an EASY way to get your harmonic info. BUT you should know your triads as well first. Then all you are doing is Harmonic Analysis...but I do see what you doing so that your making a short video. Then all musicians should know in a Major Key I IV V are always Major and ii III IV are minor and the vii is diminished. Should be memorize..then go to the circle of fifths memorize it..then just by your ear and depth of music theory well understood...then you can go and flip the 1st to the 5th and so on...this would make an extremely long video though...have a great day and keep up your good videos!

[@chiju]

I am skeptical on this one. Are you suggesting that when negative harmony is used on the V7 to turn a I-IV-V7 into a I-IV-iv6 the iv6 has subdominant function? (Edited for formatting)

[@chazmichael7967]

6:54 isnt negative harmony just interval inversion then?

[@pablorodriguez5686]

Hello Sir, I'm having a doubt. If I change Cmaj7 to negative it becomes Abmaj7 and It changes its harmonic function. It goes from tonic to subdominant. How do you handle this in a reharm? Do you just stick to the triad?

[@phitoman6964]

ok! as far as I understood the negative of major is just its relative minor but with switched functions? if so then I dont get how it is different from ordinary modulation to a relative minor? and how it is differs by ear. it would be great if you explained it with maybe some examples on guitar. or maybe I just dummie ))

[@MusicTheoryForGuitar]

Playlist will explain the difference: kzbin.info/www/bejne/Z5OXpXyjhNx1f5Y

[@phitoman6964]

@@MusicTheoryForGuitar thanks!

[@kukumuniu5658]

5:27 - But...if I make line between F|C ?? Then c=f,e=d flat,g=b flat and then we get Bb Major chord,not c minor.

[@chonkypixel1006]

Why between F and C?

[@kukumuniu5658]

@@chonkypixel1006 no reason,just 5th

[@kukumuniu5658]

by the way,what can we do with G# in a harmonic minor?

[@chonkypixel1006]

@@kukumuniu5658 OK cool, I was wondering if you were just playing around with different reflection points or if you had a method. I guess... both?

[@kukumuniu5658]

@@chonkypixel1006 I'm at the stage of a mad scientist, seeker, inventor, experimenter ;)

[@alfredorleans4441]

MY BRAIIIIIIIIN 🤯

[@derikwhite5306]

how many sessions are in complete chord mastery?

[@MusicTheoryForGuitar]

For all questions on the courses, write me at [e-mail]

[@Collect-AI]

Where is the link to the Playlist?

[@MusicTheoryForGuitar]

kzbin.info/www/bejne/Z5OXpXyjhNx1f5Y

[@AtomizedSound]

So, if you do it your way, are you just not going to the parallel minor? Instead of C major you do A major and the negative is A minor technically or no?

[@commonpike]

No, in his way, c major becomes c minor. Other chords change to other root notes, like, 5th becomes 4th.

[@dave234545]

I clicked on your Musictheoryforguitar.com link to scope out your complete chord mastery course. It does not allow me to get into your site. I thought you would like to know.

[@MusicTheoryForGuitar]

Thanks. I'm resolving the problem with the hosting company right now. Hopefully the site will be up again shortly.

[@MusicTheoryForGuitar]

Aaaand it's up again :)

[@Yundhadr]

Confusing..maybe because many basic things i dont know yet

[@christopherheckman5392]

Watch his "Back to Basics" series first.

[@gerrardxavier]

Remember to do harmony

[@phitoman6964]

so What Is A NEGATIVE Dominant Chord?=)

[@EclecticEssentric]

Subdominant. Or "previously the subdominant" if you look at it mirrored, into dominant.

[@tiglarful]

333 views in 33 minutes 🤣 nice tutorial 👍🏼

[@brandongarced3195]

First

[@henryzproduction7945]

And yet despite Collier telling Eric Whitacre not to make straight lines, he uses a harmonic system that is created by a straight line. 🤔

[@asmallguy6124]

I feel like ever since negative harmony was discovered... it's exactly just like we just discovered the negative integers from the past centuries... but it's good because at least we have something to be proud as musicians this millennia...

[@dougaldhendrick3497]

I eagerly await the day when YT publishers STOP trying so hard to be trendy, and maybe just ask politely to 'like' video, instead of 'smashing' said virtual button.. along with asking the rhetorical question of 'what's up'.. who bloody answers???

[@MusicTheoryForGuitar]

Where do I ask "what's up"? Maybe this comment was meant for another KZbinr? ;-)

[@dougaldhendrick3497]

@@MusicTheoryForGuitar correct, it seems to be 'the way' to intro any channels nowadays. Kudos for not doing so. No kudos for 'smashing' request though!

[@MusicTheoryForGuitar]

I'm doing what I need to move this humble channel forward. I offer no apologies ;-)

[@dougaldhendrick3497]

@@MusicTheoryForGuitar I get it mate, just wished otherwise.

[@alanloyd7164]

Uhh I'm just gonna keep playing by ear 🤯

[@123jkjk123]

You can still play by ear and know the music theory behind it. I look at all music theory as a source of new ideas (that my ears tell me whether good or not), not a bunch of rules I need to follow to sound good.

[@nextcreat]

I just want to clarify one thing. You say that not all substitutions work well. But you also say that the theory is grounded in terms of tonal functions. Do you really think that the theory can scientifically explain the behavior of functions (which come from the Western European musical tradition), or is it just a tool built on mathematical symmetry and only works for human ears because of coincidences? For example, the substitution of G7 in Fm/D is classically explained as tension from two equally unstable chords for tonic C. But in your videos it's just reflection of a chord in a mathematical way. For example, F and Gm won't work this way. The same goes to Am and Eb chords (or Ab and Em), which are not related in any way in classical theory. Also, the C and Cm are historiacally related as a major and a minor tonic (which originates from the ancient Greek scales and their centuries-old development). But for you, again, it's just a reflection of the chord. Can you consider this pattern as a mathematical basis of the concept of "tension and release"? For me it still looks like a randomly halved circle of halftones, which works only partially. Everything called a "theory" must be confirmed experimentally, otherwise it is a failed theory. But we also don't know why tonal functions exist and why we perceive them like this. Summing it all up, do you really consider that "negative harmony" is related with tonal functions or it is just a pack of random coincidences?

[@MusicTheoryForGuitar]

Explaining things in terms of symmetry IS a scientific explanation - most of Physics is based on that, for instance. Look up Noether's theorem for a starting point. This negative harmony symmetry preserves the tonal functions (established before negative harmony), preserves the stability/mobility of notes (established before negative harmony), and transforms major to minor and vice versa (both modes established way before negative harmony), etc etc. When a symmetry behaves that well and connects so many patterns that previously were unrelated, then my money is on it NOT being a coincidence.

[@nextcreat]

@@MusicTheoryForGuitar the main problem is, if it works, how do I use it correctly? Which chords I can subtitute and which I cannot? It won't work in majority of musical genres, only with some T-S-D progressions. It makes sense to replace C minor with C major in classical music, but doesn't make sense to replace Cmaj7 with Abmaj7 in jazz. Yes, the theory uses symmetry perfectly, but not the music itself. Musicians have developed modal systems for centuries and created many masterpieces without applying such math tricks. The theory isn't bad, it can make interesting sound, but there are no prerequisites for scientific substantiation of the established harmonies with its help. They just won't fit together.

[@MusicTheoryForGuitar]

If you are genuinely curious and want to learn, then watch all the videos in this playlist: kzbin.info/www/bejne/Z5OXpXyjhNx1f5Y Also, it seems like you are trying to held Negative Harmony as a "theory of all harmony", when it is not. Have a look at this video to clarify this point: kzbin.info/www/bejne/eovanqukiLqEfNE

[@laureanoahmad7495]

Strong definition and grear explanation. You know what?? When I disagree with a teacher's definition He gets mad and makes me feel awkard. I just said every single definition MUST be test it on. Talking about 2/4 and 4/4 Tempo at 160bpm sounds equal to my ears and some coward mates as well. But teacher insisted on there is a slight diference. So come on!!!

[@johnjoseph1966]

Harmony function is explained as Classification of chords in a given piece of music.. Oxford Encyclopedia of Music...There is an explanation for Harmonic Function of the V chord..it is long , too long, to write it all out and it has been done in a book or now a PDF and Kindle ebook and is over 400pages long. Your explanation is short and easy how you present it..but the really is no cycle of 3rd but you explained it well. It all comes from chord theory, deep study of music theory on it's own, and the harmonic overtone series and the theoretical UNDERTONE series.... I like how you condensed the harmonic information and stuff. When you wrote the theoretical" Circle of Thirds" you made a mistake..oops ..you didn't write the minor chords in lower case Roman numerals. But still was easy to understand and short..I sure you don't want to make a long, long video where people would lose interest after you have "there attention". Have a great day! Keep on making these great videos : )

[@kirklandraab1999]

He goes so quickly through a lot of material that you have to be an engineer to fully understand him. He should pack less material into each teaching-video.

[@elementsofphysicalreality]

I never understood the purpose of harmonic function. It’s 100% subjective. Not in a million years could you convince me any of these are tonics or dominants. Also, why split the circle in between C and G? That’s subjective. There’s 12 different axis lines you could use to split the circle. I think you did it wrong. I = IV, ii = iii, V = vii and the vi stays the same. You don’t need C to Cm. Major to minor key is also subjective. Aeolian never claimed the title minor. Dorian and Phrygian are just as minor as Aeolian. Therefor making Ionian into Aeolian isn’t any better or more important than any other modulation.

[@christopherheckman5392]

There are other ways to change pitches, but this one seems to be the best one, when you look at what you can do with Negative Harmony.