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In music theory, an inversion is a rearrangement of the top-to-bottom elements in an interval, a chord, a melody, or a group of contrapuntal lines of music. [2] In each of these cases, "inversion" has a distinct but related meaning. The concept of inversion also plays an important role in musical set theory.
In music theory, retrograde inversion is a musical term that literally means "backwards and upside down": "The inverse of the series is sounded in reverse order." [ 1 ] Retrograde reverses the order of the motif 's pitches : what was the first pitch becomes the last, and vice versa. [ 2 ]
Thematic transformation (also known as thematic metamorphosis or thematic development) is a musical technique in which a leitmotif, or theme, is developed by changing the theme by using permutation (transposition or modulation, inversion, and retrograde), augmentation, diminution, and fragmentation.
Inversion (music), a term with various meanings in music theory and musical set theory; Inversions by Iain M. Banks; Inversion, a 2012 third person shooter for Xbox 360, PlayStation 3, and PC; Inversions, the 2014 extended play album by American rock music ensemble The Colourist; Inversions, a 2019 album by Belinda O'Hooley
The third inversion of a seventh chord is the voicing in which the seventh of the chord is the bass note and the root a major second above it. In the third inversion of a G-dominant seventh chord, the bass is F — the seventh of the chord — with the root, third, and fifth stacked above it (the root now shifted an octave higher), forming the intervals of a second, a fourth, and a sixth above ...
In instrumental music, a style of playing that imitates the way the human voice might express the music, with a measured tempo and flexible legato. cantilena a vocal melody or instrumental passage in a smooth, lyrical style canto Chorus; choral; chant cantus mensuratus or cantus figuratus (Lat.) Meaning respectively "measured song" or "figured ...
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Inversional combinatoriality is a relationship between two rows, a principal row and its inversion. The principal row's first half, or six notes, are the inversion's last six notes, though not necessarily in the same order. Thus, the first half of each row is the other's complement. The same conclusion applies to each row's second half as well.