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Positive harmony is built on the same underlying concept as negative harmony: the idea of transforming the notes of a melody or chord progression according to a specific algorithm. However, instead of mirroring the notes across a central axis like in negative harmony, positive harmony applies the reverse operation, resulting in a different but equally structured transformation. This approach preserves the logic of the original progression while offering a fresh and contrasting perspective on the harmonic material.

Negative harmony is a fascinating concept that has captured the imagination of both musicians and theorists. Popularized in recent years by artists like Jacob Collier, it’s based on a seemingly simple idea: replacing the notes of a melody or chord progression around a cleverly chosen axis, almost like looking at music in a mirror. Behind this simplicity, however, lies a powerful tool capable of transforming the mood of a piece and opening up fresh creative possibilities.

The plagal cadence is one of the most famous cadences in the history of music, but also one of the most subtle. Often associated with the famous “Amen” of religious hymns, it is nevertheless used in a wide variety of contexts, from jazz to rock, pop to classical music. Its charm comes from its simplicity: it offers a gentle resolution, less abrupt than the perfect cadence, and a sense of rest or harmonic fullness.