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220 | Circle of Fifths - Guitar Lesson
Using the ChordMap to make music
June 15, 2023
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All the best songwriters use the circle of fifths to write good music. Great music, really. Because the circle of fifths guides them in the process of crafting cool chord progressions.

It’s like a map musicians have in their heads — of how chords are related. Which helps them navigate through harmonic space. And the result is magic … at least once you know how it works.

In this video, I explain using Paul Simon’s masterpiece, “Kodachrome” from 1973.

When I say the circle of fifths is like a map, I mean it literally. It’s a ChordMap that shows how all chords are connected in music. And the best songwriters understand this map — whether it’s a conscious knowledge, or simply intuitive. But all the greats get it. Because it’s how music really works.

These images accompany the video, for you to study at your own pace.

If you look at the chords of this song in order of appearance, they seem sort of random at first glance. Using traditional black-and-white diagrams chord diagrams, that is.

But with colors, different connections between chords begin to stand out. Like the fact that some chords are just variations of one another. So all of these harmonies are a little less overwhelming.

Using the circle of fifths adds even further insight — revealing that this song is made up of three progressions. And while one progression is in E Ionian (the Intro and Verse sections), two of the patterns are in A Ionian (the Chorus, Interlude, and Outro sections).

In other words, the song shifts back and forth between two neighboring keys in the circle of fifths. Which is what gives this song its interesting sound.

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An explanation and PDF is in the following post (354b).

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442 | How to Write Chord Progressions

How do people write chord progressions? The process isn't random. Once you can see how chords are connected in the circle of fifths, you can make great music. Here are 6 song examples....

SONG 1 - No Woman, No Cry (Bob Marley)
-- Simple progression with only 4 chords from the key

SONG 2 - Can't Buy Me Love (The Beatles)
-- 12-bar blues in the verse, with movement through minor chords in the chorus

SONG 3 - Hallelujah (Leonard Cohen)
-- Mostly chords from the key, with a secondary dominant (V/vi) added for harmonic variety

SONG 4 - You Really Got a Hold on Me (Smokey Robinson)
-- Mostly diatonic chords, with a secondary dominant (V/V) to set up the dominant chord

SONG 5 - Don't Look Back in Anger (Oasis)
-- More harmonic variety, a secondary dominant (V/vi) along with two borrowed chords from the parallel Aeolian mode (iv, bVII7)

SONG 6 - Californication (Red Hot Chili Peppers)
-- Written in the Aeolian mode, with a wildly divergent bridge that jump cuts into the parallel Ionian ...

Songs_in_the_Key_of_C_(music_theory).pdf
January 18, 2026

I figured out the progressions for four of my favorite songs by Athlete!

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Dear Mike George,

I took your Theory course and wanted to share how deeply grateful I am for the experience. It was the most inspiring and illuminating theory course I have ever taken. You took something I already loved, music, and revealed dimensions of it I never knew existed. Your ideas opened hundreds of doors for me, and I truly cannot thank you enough.

I knew music theory was beautiful, but I had not yet seen the beginning of its true depth and purity. I will never play or think about music the same way again.

I also want to thank you for what your course revealed to me about the nature of God. The transcendent perfection I encountered in music was overwhelming. I simply cannot believe that this masterful system arose from nothing or that we somehow created it ourselves. All creation declares God's beauty, excellence, and perfection. No matter what field I study (or what scope I view it), I find the same underlying design, a reflection of the Creator. Through your course, you have brought...

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429 | Chords with a G Note

This is a "heatmap" of all chords (triads) with a G note. (The staggered stacks of notes in each cell simply illustrate the various inversions of each triad.)

Chord progressions built from these chords tend to sound good -- due to their shared link with the G note.

You can see (and hear) what I mean as you play around with these chords.

For a map of chords that include the C note, see Post #425. Notice that the harmonic positions of each chord are the same -- that is, the same numerals appear (I, IV, bVI, etc.) since the ChordMap is symmetrical across all keys.

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425 | Chords with a C Note

This image helps to get the ideas flowing for songwriting. It shows the various chords (triads) with a C note. Like a heat map, it highlights all the locations across harmonic space that include this pitch.

And what's cool is that, as you play different progressions built from these chords, they tend to sound good. This is due to their shared link with the C note.

You'll see (and hear) what I mean as you play around with these chords.

A song might not be built entirely from these chords alone -- they might simply serve as a springboard for more ideas. Or maybe you can come up with a full tune from these harmonies....

And on a more esoteric note ... it's interesting how this version of the ChordMap resembles the Mayan calendar, yeah? With its colorful symbols and concentric rings, it's structure is strangely similar.

The Aztec sun god, Tonatiuh, sits at the center of the Mayan calendar. Like Apollo, the Greek god of the sun (and music), he plays a central role in the progression of time. Music is the audible convergence of time and space (pitch and rhythm). And it all flows in a cycle.

As they say, everything is connected. :)

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376 | The Rosetta Stone of Music

Music is a language. A language that your ears naturally understand, but that’s also utterly foreign to your eyes … as a mess of confusing dots and lines and squiggles.

It’s frustrating, to say the least. Because it means that you’re already fluent in this language (or at least you can easily hear it), but at the same time you’re not able to speak it (by easily playing and creating it yourself).

And as long as you’re confused by the visual language of music, you’ll struggle with the syntax of song, unable to fully articulate the music that you can hear inside.

So what’s needed is a way to align your hearing with your sight. That is, you need a method to illustrate the patterns of music in such a way that they LOOK as natural and simple as they SOUND.

In other words, you need a “Rosetta Stone” to help bridge the gap between the musical language of your ears and that of your eyes.

And with color, you have the answer — using the special connection between the circle of fifths and the color wheel, along with the natural link between the circle of fifths and the chromatic scale.

By leveraging your familiarity with color to decipher the otherwise cryptic sequence notes, you can finally crack the code of music. This is our musical Rosetta Stone.

 

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