Music Composition – How To Use Geometrical Inversions To Create Original Melodies (part 1)
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Music Composition – How To Use Geometrical Inversions To Create Original Melodies (part 1)

August 28, 2019

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 so
now I’m going to measure down four notes to find it’s equivalent
in the “d” inversion so measuring down four semitones:
one, two. three, four gives me the note Ab, and I’m just going to
mark in the note Ab, and there we have the “D” inversion completed,
and now having completed the “D” inversion it makes it very
easy to ah, complete the “C” inversion because the “C” inversion
is just the same as “D” only it’s moving in the opposite direction
so now I’ll be able to have Ab, Bb and my C for two beats
and there we have it! That’s the very first steps to creating a
melody using geometrical inversions and we’ve been working
on music composition and I hope you found this useful,
in other videos I’ll take this a lot further and we’ll go
into how do we work out the harmonies because obviously that will
have a very great effect on the emotional response from the
listener. This is Mike Hayes and I hope youhave enjoyed the video.

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  1. Here's an interesting way to overcome 'writer's block' for musicians who want to compose their own original music.

  2. Just to let you know…As simple as this concept is. I came up with 10 different songs or riifs just goffing around and tying it out.LoL
    in mins…Using different notes or beat patterns…It works great because it always resolves….It dosnt matter what notes I use. It's in the rhythm patterns that resolves…Our ear/ brain likes it….

  3. Thanks for the upload; did you end up putting up the second part of this series? I'm interested on the development part of this technique.

  4. Nice to meet someone who has studied the Schillinger System – I am fascinated by stuff like this!

  5. Hey Man!

    I love this video thank-you so much for your help. I have made a mastering 'how to' video if you want to check it out:
    it might help you as well! Have an awesome day.

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