Music Composition – How To To Create Contrasting Chordal Textures (part 2) – Music Composition For more creative ways to
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Music Composition – How To Use Geometrical Inversions To Create Contrasting
Chordal Textures (part 2)

Hello this is Mike Hayes and I’d like to welcome you to our video
on music composition;

On this video we’ll look at some of the creative ways we can
approach the subject of writing music, the main focus of this
video will be about geometrical inversions.

So before we get right into the actual writing of the music I’d
just like to explain the concept of geometrical inversions when
we’re doing music composition. geometrical inversions is a
thematic development tool. it’s a way of presenting the one
musical idea four different ways; as you experiment with the
techniques and the concepts that I’ll present in this video
you’ll find that certain inversions of your melody will be more
expressive or have a more interesting character.

To show you how this works I’m just going to ask you to image
that this line represents the pitch element of my melody and
underneath here I’ll mark in the rhythmic pattern, so this is the
original presentation of my melody, it’s just going to be a one
bar melody at the moment; so we’ll call this section “A”, this is
the original presentation of our theme.

The “B” inversion of this melody would be to play the
exact same thing only backwards, like this, this would be the
pitch element and the rhythmic element would be presented like
this … so this is the “B” inversion.

The “C” inversion of the melody would be the same as the original
only this time it would not only be backwards but it would be
upside down; like this. here is the rhythm I’m marking in, so
this would be inversion “C”; it’s essentially like we’re looking
in a puddle of water and we’re seeing a reflection, the “C”
inversion is a reflection of the “B” inversion. And finally, the
“D” inversion of our melody would be exactly the same as our
original melody in the “A” position only this time it would be
upside down, so this is how it would look … and just marking in
our rhythms again, and as you can see the “D” inversion is a
reflection of the original theme, the “A” section.

O. K, now what I’ve done I’ve transferred our original sketch
over on to music paper so my first theme is just a very scale-
like theme, I’m starting on a C note, D and then E that’s the
pitch element and if you’ll recall we had this rhythmic pattern
of 2+1+1.

Now, to write in the “B” inversion it’s just simply going to be
the exact same original theme only backwards. So we’ll start by
writing in a one beat E, followed by a one beat D and then
finishing on a two beat C. O. K I think it’s pretty easy to see
what I’ve done there but it will give you a different melody. Our
next project is to show you how we can workout how to get an
exact reflection of our original theme when we invert the melody
in the “C” position and the “D” position. Now, to find our exact
reflection in the melody for our inversion “C” and inversion “D”

I’m going to begin by marking in our axis point the C, and I’m
actually going to work on the “D” inversion firstly it’s just a
little bit easier to show you that first.

So, the note C will remain exactly the same for the “d”
inversion, however, what I’m wanting to do now is measure how far
away is the second note in our melody from the note C and if I go
down to the keyboard here I can see it’s a distance of two
semitones, so to find the mirror image of the melody in the “A”
section what i do I measure down two semitones from C and that
would give me the note Bb; there’s my C

And now I’m going to mark in the note Bb, the next note in my
original melody is a distance of one, two, three, four semitones
from the keynote C .

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