# Correspondences



## millionrainbows (Jun 23, 2012)

As you can see, A is a subset of E
, E contains all of A, as well as other notes. Inversion, in serial theory, revolves around an axis of symmetry, and is not dependent on note-identity as in tonal harmonic inversion. Serial inversion will yield the same interval-distance. The side chart shows the corresponding equivalences: C# with C, D with C, E with A, F# with G, G with F#, and G# with F. Respectively, these correspondences create these intervals: m2, M2, 4th, m2, m2, and m3. These equivalences are intervals, and will result in the ear hearing the "equivalent interval." In other words, these correspondences are the shared harmonic intervals. Remember, in serial thinking, note-identities are not important, but intervallic distance is. Tonal note-identities are in relation to a key note (G is always a V in key of C, regardless if it's a fourth down or a fifth up). In serial thinking, there is no "key" reference, so interval distance becomes the equivalence
, a C-G and a D-A are both fifths ( or "7" distance), and are therefore equivalent, in that they will produce the same harmonic effect to the ear. In Webern, you can hear this, where he goes into an area containing one or two intervals, and the effect to the ear is of a "harmonic area" characterized by that interval. Several "open fifths" will produce a different effect than a series of major seconds.


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