ChrisGibbs

What complete nonsense! Actually have a listen to any of my pieces and then comment. Take for instance my piece "Us Prisoners" which is based on an inversion of the opening to the Radiohead song "No Surprises". The inversion provides an idea which forms the basis for my piece, which essentially is some variations and expansions on the opening theme. Even though the intro to my piece is an almost exact inversion, the rest of the piece is my own work, expanding on the intro into a full piece. What some of you guys clearly don't seem to understand is that this technique primarily provides ideas and inspiration, and in only a very few select cases are the actual inversions left unchanged. In the vast majority of cases, alterations have to be made and the technique as a whole allows loads of room for personal expression. Although you do make a good point: "They have no aurally recognizable relation to the source material either." - exactly, this is the huge advantage of the technique!

Well yeah I only changed one word - "revolutionary" to "interesting", as it seems to have stirred up a lot of negative and sarcastic people into posting...

For sure yeah, anything which can help you get out of writer's block has to be a good thing :) Even if you don't use actual portions directly based on inversions in the final piece, it can still provide some very useful inspiration and ideas. Let me know if you do decide to use it, I'd be interested to hear your results.

Yeah, the physical flipping method (and staying in the same key signature) results in counterpoint-style inversion which was also used extensively by Bach amongst others, and is a good way of generating more ideas in a similar style. The strict harmonic inversion method I'm using is a more powerful general-purpose approach for generating new ideas, since it completely alters the mood and feel of the source melody/chord sequence.

Woah, I wasn't expecting this kind of huge negative response, I'm sorry for sharing a technique which can generate loads of great new source material! :P It's not strictly plagiarism, as the technique allows a huge amount of room for personal expression. Often the inverted melody will provide a guide, but signficant modications have to be made to it in order to fit in with the rest of the piece. This is well illustrated with my "Reflections" pieces, which contain a significant amount of my own work, combined with inversions of Beatles melodies. What's wrong with using other melodies as source material for inversion anyway, or as a guide for a whole set of pieces for that matter? Is Vaughan Williams a plagiarist because he "stole" a theme by Thomas Tallis and the tune "Dives and Lazarus"? Is Bach a plagiarist because he "stole" several tunes for the Goldberg Variations quodlibet? Is Rachmaninoff a plagiarist for "stealing" the Paganini theme? You would have thought that famous classical pieces such as Clair de Lune, The Lark Ascending, La fille aux cheveux de lin, Rachmaninoff's 2nd piano concerto, etc would have surfaced in their inverted form in other pieces since they were written, but I've yet to discover any (inversions of those pieces appear in my works Cambric Clouds and Egyptian Concerto, Part 2 respectively). Again, I'm not claiming that I invented inversion or combining melodies from different sources, but I've yet to see evidence of both techniques ever been done before together (and certainly not on a grand scale). I've had positive comments from over 250,000 people on Facebook, and the real magic is that hardly any of them know (or need to know) how the pieces were composed, it just produces great music. Quit the sarcasm and open your mind to a huge resource of new ideas.

Hi guys, I'd like to share with you an interesting new music composition technique that I've been developing since 2009, called inversion synthesis. The core part of the process involves harmonic inversion (for melodies, chord sequences or both) and is a technique made famous by Rachmaninoff with his on a . This alone remains a huge untapped area of great source material, with the Rachmaninoff example being the only well known inversion.My technique expands on the basic inversion principle to allow inverted melodies from different source pieces to be combined together, even from different genres of music. It results in a very powerful method of creating new ideas. So far I've applied the technique successfully to creating modern piano music, but it should be suitable for composing music in any genre or style. I've written a full guide to the technique in four parts: The technique, part 1 (inversion) The technique, part 2 (synthesis) The technique, part 3 (retrograde inversion) The technique, part 4 (advanced inversion & composition) I welcome your comments and look forward to hearing your results using the technique! Also, to get some idea of how I've applied the technique, have a listen to the opening piece " " from my debut album released in 2009.Chris

Thank you - interesting the comments about it being similar to Moonlight Sonata, I actually wrote another piece called "Us Prisoners" which is inspired by the opening chords in Moonlight Sonata: http://c.ilike.com/d/0000/430/0000430577.mp3?fn=Inner+Version-Us+Prisoners+%28Piano+Sketch%29.mp3

Hi all, I've written a new piece of piano music called Midnight Rain, any feedback would be greatly appreciated :) http://c.ilike.com/d/0000/424/0000424196.mp3?fn=Inner+Version-Midnight+Rain+%28Piano+Sketch%29.mp3