3 ms·
This is the concept of 'Invertible Counterpoint'. Which is the extreme discipline of writing harmonies whos roles can be reversed and still sound good. i.e th
by stevehiehn 10y ago
This is the concept of 'Invertible Counterpoint'. Which is the extreme discipline of writing harmonies whos roles can be reversed and still sound good. i.e the bassline becomes the melody vice versa.
http://www.music.ucsb.edu/faculty/rothfarb/courses/103/invertible-cpt.html http://www.music.ucsb.edu/faculty/rothfarb/courses/103/inver...
- pierrec 10y agoA bit late, but this is not an application of invertible counterpoint. It's closer to melodic inversion (which is also mentioned in the article you linked). Here's an example comparing the two: Source: | Invertible CP: | MIDI flip: | . . | ... | .... | Voice A: . . . | Voice A: | Voice B: | . . | .... | ... | | | | ... | . . | . . | Voice B: | Voice B: . . . | Voice A: . . . | .... | . . | . . | What we see is that invertible CP keeps each voice in its register and switches the melodies by means of simple transposition. Conversely, MIDI flipping forces low-register voices to play in a high register (and vice versa), and heavily transforms the melodies by flipping them (that's the melodic inversion). And overall, invertible CP is rather easy to apply in a composition (I do it all the time!)
- stevehiehn 10y agoInteresting! Thanks for explaining it :)