SWARSHALA — INTERVAL INVERSION WORKSHEET
Original learning aid, 3 October 2026
Guide: https://swarshala.com/blog/invert-music-intervals-within-an-octave

Scope: written ascending simple intervals. Middle C = C4.
Move ONLY the lower pitch up an octave; preserve letter and accidental.
Write the result low to high. Check number and quality separately.
ASCII: # = sharp; b after a letter = flat.

Date: _____________

PAIR       ORIGINAL NAME      NEW LOW/HIGH PAIR     NEW INTERVAL
1 C4-D4    _________________  __________________   _________________
2 E4-G4    _________________  __________________   _________________
3 D4-A4    _________________  __________________   _________________
4 B3-F4    _________________  __________________   _________________

For each, count letters inclusively and check original number + new = 9.
Optional semitone check: the original and new spans add to 12.

5. A learner moves F4-A4 to F5-A5 and calls it an inversion.
   What happened? _________________________________________________
   Correct move and new interval: _________________________________

6. Check D4-F#4 -> F#4-D5. Number pair: _____ + _____ = _____
   Quality pair: __________________ / _____________________________
   New span in semitones: __________________________________________

7. Check C4-F#4 -> F#4-C5. Explain why the interval names differ even
   though both span six semitones: _________________________________

My error was: moved both / wrong octave / changed spelling / wrong count
              / wrong quality / other: _____________________________

---------------- ANSWER KEY: CHECK AFTER YOUR ATTEMPT ----------------
1. Major second -> D4-C5, minor seventh. 2+7=9; 2+10=12 semitones.
2. Minor third -> G4-E5, major sixth. 3+6=9; 3+9=12 semitones.
3. Perfect fifth -> A4-D5, perfect fourth. 5+4=9; 7+5=12 semitones.
4. Diminished fifth -> F4-B4, augmented fourth. 5+4=9; 6+6=12 semitones.
5. Both pitches moved: an octave transposition, still a major third.
   Keep A4 fixed, raise F4 to F5: A4-F5, minor sixth.
6. 3+6=9. Major third / minor sixth. New span: eight semitones.
7. C-D-E-F has four letters, so C-F# is an augmented fourth.
   F-G-A-B-C has five, so F#-C is a diminished fifth.

Perfect remains perfect; major/minor exchange; augmented/diminished exchange.
Chord inversion concerns a chord member in the bass. Melodic inversion
reverses interval direction in a melody. Those are separate tasks.
Source principles: Open Music Theory, Intervals; Music Theory for the
21st-Century Classroom, Inversion of Intervals Explained. Links in guide.
AI-assisted publishing-desk material; no independent expert review claimed.