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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, an interval is a difference in pitch between two sounds. [1] ... The inversion of a major interval is a minor interval, and vice versa; the inversion ...
4 denotes the second inversion (e.g. I 6 4). Inverted seventh chords are similarly denoted by one or two Arabic numerals describing the most characteristic intervals, namely the interval of a second between the 7th and the root: V 7 is the dominant 7th (e.g. G–B–D–F); V 6 5 is its first inversion (B–D–F–G); V 4
The concept of root has been extended for the description of intervals of two notes: the interval can either be analyzed as formed from stacked thirds (with the inner notes missing): third, fifth, seventh, etc., (i.e., intervals corresponding to odd numerals), and its low note considered as the root; or as an inversion of the same: second ...
In musical set theory or atonal theory, complement is used in both the sense above (in which the perfect fourth is the complement of the perfect fifth, 5+7=12), and in the additive inverse sense of the same melodic interval in the opposite direction – e.g. a falling 5th is the complement of a rising 5th. [citation needed]
Inversion: The notes D–F–E–B can be reversed to B–E–F–D; this form of inversion is called retrograde. The upward intervals can become downward intervals and vice versa; this is the form that is properly called inversion. These two can be combined and the result can be transposed: these are inclusive rather than exclusive processes.
The fourth inversion of a ninth chord is the voicing in which the ninth of the chord is the bass note and the root a minor seventh above it. In the fourth inversion of a G-dominant ninth, the bass is A — the ninth of the chord — with the third, fifth, seventh, and root stacked above it, forming the intervals of a second, a fourth, a sixth, and a seventh above the inverted bass of A ...
However, the defense has been made that theory was not created to fill a vacuum in which existing theories inadequately explained tonal music. Rather, Forte's theory is used to explain atonal music, where the composer has invented a system where the distinction between {0, 4, 7} (called 'major' in tonal theory) and its inversion {0, 3, 7 ...