In music theory, there are two basic symbol sets:  letters and numbers.

While the letters specify each individual note, the numbers highlight the general intervals between the notes.

A helpful way to understand this distinction is to think of all the notes in a key as a family, where the letter name of each pitch is like the name of each person while the scale degrees are like the titles used to describe the different members of the group.

To understand music theory, it helps to know M.C. Escher — the Dutch graphic artist (1898-1972). He was an engineer, mathematician, illusionist, and philosopher as much as an “artist.”

His evolution was fascinating, exemplified by these two self-portraits made six years apart. On the left is “Self Portrait” from November 1929 (age 31), while on the right is “Hand With Reflecting Sphere” from from January 1935 (age 36). Clearly the man’s mind was expanding as time advanced.

And this expansion arose from his studies of symmetry, dimension, and patterns … patterns that are eerily reminiscent of those we see in music.

For example, notice how his self-referential “Drawing Hands” (January 1948) represents the fundamental structure of the circle of fifths. It’s radial symmetry echoes the strange framework of music, where time (or the concept of a beginning and end) becomes abstract.

Join us for the sixth session of the theory course live. Today, where we're talking about the visible relationships between notes and intervals. These are fundamental concepts that every songwriter MUST know.

⏰ Time: THURSDAY, May 15 at 6:00 p.m. (UTC-6)

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