Hello. This is the place to access all ColorMusic resources on music theory for songwriting: https://www.mycolormusic.com/
Most of the content is only available to Supporters here on Locals (I love you).
You can find all the materials directly here on Locals, but mycolormusic.com is easier to navigate. So definitely check it out. This video explains HOW TO NAVIGATE THE LIBRARY. Cheers!
Hey there. I worked on Lesson 19 (Circle of Fifths) all day yesterday. Here's a short update that we filmed last night. Enjoy!
I have a question that is probably going to sound kind of stupid or obvious, but I really don't know the answer. Maybe someone can help me out.
Is there an objective reason why the note C in the circle of fifths is always red. I'm trying to understand why other people who make a circle of fifths using color, have the note C on several other colors that aren't red.
In the Color Music course, C is always red, never changes, which is great for consistency but is that based on a a well reasoned and objective fact? Or can C in fact be placed on any of the 12 colors in the wheel since everything is symmetrical and cyclical and still have the colors make sense in the circle of fifths as we seem them in the course?
I know this was long winded question but I'm genuinely curious about this. I don't understand if/how other people's color wheels can make sense, given their arbitrary placements of the notes on colors.
Adrian
I just got into Lesson 13 and I had to come by and say that what Mike wrote in those pages blew me away. The way he uses the Bible, Apollo, reasoning and logic to get his point across about songwriting being a process was brilliantly done.
I really like way you think Mike. I would love to be able to grab a beer and discuss these kinds of things with you. I keep thinking in every lesson that the way you explain things is very cool and makes everything easier to grasp.
Music is a seemingly miraculous thing but then, all miracles or seemingly miraculous things in the universe have very definite laws that govern their existence and nature.
Great course! Thank you very much and a big hello to the community.
Hello! Join the live stream Saturday, October 12 at 9:00 a.m. (Mountain). We're talking music theory and songwriting.
(Chat Live or post questions on Locals in advance.) This Open Hour is for supporters. THANK YOU!
Here's the link to join:
Hey! Join the live stream Saturday, October 5 at 9:00 a.m. (Mountain). We're talking music theory and songwriting.
(Chat Live or post questions on Locals in advance.) This Open Hour is for supporters. THANK YOU!
Here's the link to join:
Some of the best songs are written in the key of Db (aka, C#). Artists like Donovan, Coldplay, Stevie Wonder, Nirvana, Lenny Kravitz -- and basically everyone -- they all use this key to compose classics. So what are the notes in this key? And what chords do they form for use in songwriting?
To answer these questions, here's a look at the 7 relative modes of Db/C# -- including their chord patterns.
To begin, let's start with the 7 notes of the Db major scale -- Db, Eb, F, Gb, Ab, Bb, C, Db. This pattern sounds nice. And when you play the sequence starting on each respective note, you can create 7 different permutations (or "modes") of Db:
Each pattern has a distinct sound because each mode begins and ends on a different note (or "tonic"). In this example, the tonic of Db Ionian is Db ... while the tonic of Eb Dorian is Eb ... and so on. Going down the line you can hear the differences between each mode.
Of course, each sequence of notes sounds nice. But when you play these same patterns as chords, they sound especially good -- like these chords of Db Ionian (aka, Db major), for example:
These chords basically sound like the Db Ionian mode, but fleshed out as full harmonies. And what's cool is that, just like the individual modes, these same 7 chords can also be arranged into 7 permutations, each with its own unique sound.
To hear what I mean, play though each mode again -- only this time, using the chords in each pattern:
