Anybody use this method to borrow chords from other keys?
YouTube vids on it are interesting!
And there will soon be a way to generate a playable corresponding list of neg. h. chords from another list in ChordwarePA.
Negative harmony?
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- KVRian
- 503 posts since 24 Nov, 2008
Last edited by trewq on Sun May 10, 2020 7:04 pm, edited 1 time in total.
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- KVRAF
- 11000 posts since 15 Apr, 2019 from Nowhere
I don’t think the concept is that you use it to borrow chords from other keys, I think it’s more of an alternative theory of harmonization that differs from standard Western harmonization. Never really looked into it as I’ve always felt I have more to do to become completely comfortable with standard harmonization in all keys on all the instruments I play.
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- KVRian
- Topic Starter
- 503 posts since 24 Nov, 2008
I was inspired by this:
Simple enough if you know triad intervals in C.
@ Forgotten Yes, its recommended that one should know standard interval theory first - for doing it on pen and paper, not sure about a student using a theory program where it does it for you.
It sounds to me like it has been used a lot in the music biz. ELP for example.
It doesn't seem to cover every possibility though. It's just one more tool/method to have available.
I just uploaded the first beta version to output such a list to accompany a main list (also used as input). (recommend selecting 'Flats' from the 'Display menu first).
https://www.chordwarepa.com/
Any thoughts or questions would be welcome - the challenge is to compare results to the video to find any errors with this feature for any key.
Simple enough if you know triad intervals in C.
@ Forgotten Yes, its recommended that one should know standard interval theory first - for doing it on pen and paper, not sure about a student using a theory program where it does it for you.
It sounds to me like it has been used a lot in the music biz. ELP for example.
It doesn't seem to cover every possibility though. It's just one more tool/method to have available.
I just uploaded the first beta version to output such a list to accompany a main list (also used as input). (recommend selecting 'Flats' from the 'Display menu first).
https://www.chordwarepa.com/
Any thoughts or questions would be welcome - the challenge is to compare results to the video to find any errors with this feature for any key.
Last edited by trewq on Tue May 12, 2020 1:49 pm, edited 1 time in total.
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- KVRian
- 1020 posts since 4 Jun, 2006
Wow. Incredibly helpful for me. I took a few screen dumps of this.
The tunes I hear inside my head are, for the most part, and for want of a better explanation, on the diminished spectrum, and have over the course of my musical journey driven me to learn what I call bebop style chords, though I am sure others have different names for them, 7b5, maj7#11, b9, ø7, o7 etc . . . etc.
Recently, I have been trying to chord substitute, limiting myself to intervals, triads and 7’s [min, maj and dom], to try to still retain the same feel, and in effect, do the reverse of Jazz chord-substitution, as well as to get away from soloing using chromatic zones, or blocks as I think of them.
The most interesting part of this for me was around 8:47 on the video. He has ended up with C, Bb, Dm7b5, C — and that is the sort of stuff I hear in my head — I am currently trying to get back to the place he started from — C, Dm, G7, C.
This concept adds another perspective I can reverse-engineer, and add into the mix.
Cheers.
The tunes I hear inside my head are, for the most part, and for want of a better explanation, on the diminished spectrum, and have over the course of my musical journey driven me to learn what I call bebop style chords, though I am sure others have different names for them, 7b5, maj7#11, b9, ø7, o7 etc . . . etc.
Recently, I have been trying to chord substitute, limiting myself to intervals, triads and 7’s [min, maj and dom], to try to still retain the same feel, and in effect, do the reverse of Jazz chord-substitution, as well as to get away from soloing using chromatic zones, or blocks as I think of them.
The most interesting part of this for me was around 8:47 on the video. He has ended up with C, Bb, Dm7b5, C — and that is the sort of stuff I hear in my head — I am currently trying to get back to the place he started from — C, Dm, G7, C.
This concept adds another perspective I can reverse-engineer, and add into the mix.
Cheers.