{"id":2787,"date":"2020-11-03T23:25:43","date_gmt":"2020-11-04T02:25:43","guid":{"rendered":"http:\/\/serie20y20.com.ar\/nestor-crespo\/?post_type=product&p=2787"},"modified":"2026-08-01T15:32:28","modified_gmt":"2026-08-01T18:32:28","slug":"theory-negative-harmony","status":"publish","type":"product","link":"https:\/\/www.serie20y20.com.ar\/nestor-crespo\/product\/theory-negative-harmony\/","title":{"rendered":"THEORY \/ Negative Harmony"},"content":{"rendered":"

Practical and dynamic work methodology for the self-taught student
\nas well as for the teacher in class<\/strong><\/p>\n

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You are buying\u00a0(PDF in colour with 28 pages \u2013 45 MB)\u00a0<\/strong>\u00a0which contains:<\/p>\n

*\u00a0\u00a020 Lessons
\n<\/strong>*\u00a0\u00a04 Exercises & Solutions
\n<\/strong>*\u00a0 43 Audios.<\/strong>\u00a0(Essential complement for the complete study of this book)<\/em>
\n*\u00a0\u00a0Final Summary
\n<\/strong>*\u00a0 Printable Book<\/strong>\u00a0(Without Watermark)<\/em><\/p>\n

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CONTENTS<\/strong><\/p>\n

Each of the lessons, exercises, and solutions<\/strong> are painstakingly described in the index<\/strong>. (see images above)<\/em><\/p>\n

Also included is a Summary Table or Final Synthesis<\/strong> which will allow us to quickly develop the Negative Harmony concept in other tonalities by means of degrees.<\/strong> (Roman numerals)<\/p>\n

The book has 43 essential audios<\/strong> for the complete study of this concept, thus facilitating listening without having to do it on the instrument.<\/p>\n

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OBJECTIVES AND PURPOSES<\/strong><\/p>\n

Ernest Levy in his book “Theory of Harmony” is the one who raises this concept although he does not do so under the name of negative harmony.<\/p>\n

Educators and musicians like Steve Coleman, Bill Harris, and currently Jacob Collier are the ones who develop this concept by posing the chord movement within a progression in a gravitational way.<\/p>\n

The term gravitational is raised because negative harmony is not governed by the tonal functions of tonal music<\/strong>. (Subdominant – Dominant – Tonic)<\/em><\/p>\n

I have developed the present note from the melodic as well as harmonic point of vie<\/strong>w (Triads, Seventh Chords, Scales, etc.)<\/em><\/p>\n

It is presented in colors<\/strong> (blue: original – orange: negative harmony)<\/em> for the purpose of an easy understanding and reading of each one of the concepts that are approached.<\/strong><\/p>\n

Although it is true that it is very difficult to find songs or complete works under this concept<\/strong> by the simple logic that we should know before which would be the original song, we can incorporate it as one more tool in our study of harmony.<\/strong><\/p>\n

I invite you through your subjectivities to include this concept<\/strong> which will allow us to search for new colors or textures in a musical fragment as well as in a chord progression or in a song.<\/p>\n

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For more information please contact to the author:\u00a0nestor.crespo@usa.net<\/a><\/span><\/p>\n

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Related Books<\/strong><\/h2>\n

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