This is the second part to the concept introduced the other day about using the idea of negative harmony, but reflecting it over a different way.
In a certain key (major in this case), you will have a tritone distance between the seventh and fourth scale degrees.
By locating the middle focal-point of the tritone (which will be the second scale degree of the major scale), you can use that as a point of reflection for a new kind of negative harmony.
So, as you can see chromatically, the second scale degree fits perfectly in between the raised seventh degree and fourth degree (assuming we are in the C major key):
Using that pitch as the centered point of reflection, we use this pattern as a way to create an alternative negative harmony:
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