![]() So for example a G7 tends to resolve to C. Part of the idea though, the way I heard about it, is that the negative chord will have an equivalent role. Each chord is mirrored around its own root note. Minor major 7 => Augmented major 7 a half step up (C-(maj7) to Db+maj7)Īugmented major 7 => Minor major 7 a half step up Minor7 (b5) => Dominant 7 a whole step up (C-7(b5) to D7)ĭiminished 7 => Diminished 7 a minor third up (inverts to itself, essentially) Minor 7 => Minor 7 a whole step up (E-7 to F#-7)ĭominant 7 => Minor 7(b5) a whole step up (G7 to A-7(b5)) Major 7 => Major 7 a half step up (Cmaj7 to Dbmaj7) You can do that with any quality ofĬhord, and they will invert to some interesting things. Is Ab, down a minor third is F down a major third is Db. Intervals, but used it going down instead of up. C major 7 is C up a major third to E up a Progression and spelled down new chords based upon the intervallicĬontent of the first ones. Notice how I got that? I started on the root of the first chord The most useful post in the talkbass forum offers this info:Ĭmaj7 (C E G B) E-7 (E G B D) G7 (G B D F)ĭbmaj7 (Db F Ab C) F#-7 (F# A C# E) A-7(b5) (A C Eb G) I am trying to interpret it in the most basic ways, to get a feel for it. I recently stumbled upon the concept of negative harmony in these threads: ![]()
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