So, give me your undivided attention and in the next few minutes you’ll have a new perspective to the inversion of intervals.<\/p>\n
A Short Note On The Octave<\/h2>\n
The term octave <\/em>is associated with the number “eight.” Therefore, whenever you come across the term octave, your mind should be occupied with the number eight.<\/p>\n “But There’s More To The Octave Than Eight”<\/em><\/p>\n The reason why “number eight” is important in music theory is because all the notes that have the same letter name on the keyboard are octaves apart from each other.<\/p>\n All the C’s on the keyboard: From this C: It’s also important to note that the reason why the major scale starts out and ends on the same note is because of the octave equivalence between notes.<\/p>\n The C major scale: C (starts from this C): “Here Are Octave Examples On The Keyboard…”<\/em><\/p>\n C octave: Before I show you the relationship between the octave and the inversion of intervals, which is our goal in this lesson, permit me to briefly share with you on the concept of inversion.<\/p>\n This basic information will prepare your mind before we delve into an advanced perspective to the inversion of intervals.<\/p>\n An interval consists of two notes — strictly two. So the following are intervals:<\/p>\n C-D: Each of the intervals consist of a lower note and an upper note. In the case of “C-D”: “So, What Is Inversion?”<\/em><\/p>\n An interval is said to be inverted when the order or position of the notes of an interval are changed in such a way that the lower note becomes the upper note and the upper note becomes the lower note.<\/p>\n The inversion of “C-D”: The two other interval examples given are “E-Bb” and “A-E”:<\/p>\n E-Bb: When inverted, “E-Bb” becomes “Bb-E”:<\/p>\n E-Bb: …while “A-E” becomes “E-A”:<\/p>\n A-E: That, ladies and gentlemen, is inversion. \ud83d\ude09<\/p>\n It will interest you to know that the inversion of intervals and the concept of the octave are related.<\/p>\n Let’s explore these theories:<\/p>\n …because they form the basis of this relationship.<\/p>\n Relationship #1 – “Only intervals that are within the compass of the octave can be inverted.”<\/em><\/p>\n An interval may be categorized as simple or compound, and the octave is the reference that is used to determine if an interval is simple or compound.<\/p>\n Simple intervals are within the compass of an octave, while compound intervals are bigger than an octave.<\/em><\/p><\/blockquote>\n Simple intervals (which are within the compass of an octave) belong to the category of intervals that can be inverted.<\/p>\n Take a look at “C-D” in simple and compound forms:<\/p>\n C-D (simple): “C-D” in its simple form can be inverted:<\/p>\n C-D: …but its compound form cannot be inverted.<\/p>\n Relationship #2 – “Adding a given interval and its inversion together produces an octave.”<\/em><\/p>\n Also, when “C-D” and “D-C” are summed up:<\/p>\n C-D: …we’ll have “C-D-C”: D-F#: …and when both intervals are added together, we have “D-F#-D”: In the inversion of intervals, it’s important to keep the following changes in mind:<\/p>\n Change of Size<\/p>\n Change of Quality<\/p><\/blockquote>\n …and we’ll be focusing on both changes in this segment.<\/p>\n In an octave (let’s use C-C):<\/p>\n If you take a second interval (C-D) away: So, for each interval taken away from the octave, the remaining interval is the inversion of the interval taken away from the octave.<\/p>\n If you take a minor interval away from any given octave, you’ll be left with a major interval:<\/p>\n If C-Db (a minor interval):<\/p>\n …is taken away from the C octave:<\/p>\n …the interval we’re left with (which is Db-C):<\/p>\n …is a major interval.<\/p><\/blockquote>\n Taking a major interval away from any given octave, would leave you with a minor interval:<\/p>\n For example, when C-D (a major interval): If you take a diminished interval away from any given octave, you’ll be left with an augmented interval:<\/p>\n If C-Gb (a diminished interval): Taking an augmented interval away from any given octave, would leave you with a diminished interval:<\/p>\n For example, when C-D# (an augmented interval): …what we have left (D#-C): I hope this helps.<\/p>\n Please note that perfect intervals remain don’t change their quality when inverted.<\/p>\n For example, taking a perfect fourth (C-F): Thank you for your time and see you in another lesson.<\/p>\n","protected":false},"excerpt":{"rendered":" There are advanced theoretical concepts on the octave and the inversion of intervals and we’ve covered them in this lesson.<\/p>\n","protected":false},"author":9,"featured_media":22290,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[416,350,9],"tags":[17,2826,2825,2827],"class_list":["post-19332","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-experienced-players","category-music-etc","category-piano","tag-basic-songs","tag-the-inversion-of-intervals","tag-the-octave","tag-the-octave-and-inversion-of-intervals","post-wrapper","thrv_wrapper"],"yoast_head":"\n
\n
\n…are octaves apart from each other:<\/p>\n
\n
\n…to that C:
\n
\n…is an octave.<\/p><\/blockquote>\n
\n
\n…starts on C and ends on C:<\/p>\n
\n
\nC (ends on this C):
\n<\/p><\/blockquote>\n
\n
\nDb octave:
\n
\nD octave:
\n
\nEb octave:
\n
\nE octave:
\n
\nF octave:
\n
\nGb octave:
\n
\nV
\nG octave:
\n
\nAb octave:
\n
\nA octave:
\n
\nBb octave:
\n
\nB octave:
\n<\/p>\n
The Inversion Of Intervals — Explained<\/em><\/h2>\n
“Here’s A Basic Explanation On The Concept Of Inversion”<\/em><\/h3>\n
\n
\nE-Bb:
\n
\nA-E:
\n<\/p><\/blockquote>\n
\n
\n…C is the lower note, while D is the upper note.<\/p>\n
\n
\n…produces “D-C”:
\n
\n…and you can clearly see a change of the order or position of the notes.<\/p>\n
\n
\nA-E:
\n<\/p><\/blockquote>\n
\n
\nBb-E:
\n<\/p><\/blockquote>\n
\n
\nE-A:
\n<\/p><\/blockquote>\n
The Relationship Between The Octave And The Inversion Of Intervals<\/h3>\n
\n
\n
\nC-D (compound):
\n<\/p><\/blockquote>\n
\n
\n…to D-C:
\n<\/p><\/blockquote>\n
\n
\nD-C:
\n<\/p><\/blockquote>\n
\n
\n…which spans an interval of a eighth or octave (from C to C):
\n
\nThe inversion of “D-F#” produces “F#-D:<\/p>\n
\n
\nF#-D:
\n<\/p><\/blockquote>\n
\n
\n…which spans an interval of a eighth or octave (from D to D):
\n
\nSubmission: <\/strong>This is true for every other simple interval.<\/p>\nA Breakdown Of The Concept Of Inversion Using The Octave<\/h2>\n
The Change Of Size — Explained<\/em><\/h3>\n
\n
\n…you’ll have a seventh interval (D-C) remaining:
\n
\nIf you take a third interval (C-E) away:
\n
\n…you’ll have a sixth interval (E-C) remaining:
\n
\nIf you take a fourth interval (C-F) away:
\n
\n…you’ll have a fifth interval (F-C) remaining:
\n
\nIf you take a fifth interval (C-G) away:
\n
\n…you’ll have a fourth interval (G-C) remaining:
\n
\nIf you take a sixth interval (C-A) away:
\n
\n…you’ll have a third interval (A-C) remaining:
\n
\nIf you take a seventh interval (C-B) away:
\n
\n…you’ll have a second interval (B-C) remaining:
\n<\/p><\/blockquote>\n
The Change Of Quality — Explained<\/em><\/h3>\n
\n
\n…is taken away from the C octave:
\n
\n…what we have left (D-C):
\n
\n…is a minor interval.<\/p><\/blockquote>\n
\n
\n…is taken away from the C octave:
\n
\n…the interval we’re left with (which is Gb-C):
\n
\n…is an augmented interval.<\/p><\/blockquote>\n
\n
\n…is taken away from the C octave:
\n<\/p>\n
\n
\n…is a diminished interval.<\/p><\/blockquote>\nFinal Words<\/h2>\n
\n
\n…away from the C octave:
\n
\n…leaves us with yet another perfect interval — “F-C” (a perfect fifth interval):
\n<\/p><\/blockquote>\n