Here’s 2 Simple Ways to Erase Music Theory Confusion Forever

If you’ve ever found music theory overwhelming, you’re not alone. Many songwriters feel frustrated —bogged down by dense terminology and abstract concepts that seem far removed from the creative process.

But what if you could unlock a world of musical understanding with just two simple formulas?

In this article, we’ll seek to do exactly that through explaining two formulas that will give you the foundation you need to write quickly, confidently, and more effectively. This article is a summarised transcript of our video “It All Starts with 2 Simple Formulas!”. Click here to watch the video for more details, explanations and examples.

Formula #1: Tone-Tone-Semitone Tone-Tone-Tone-Semitone

This first formula is one which serves to help you remember the intervals between the notes in a major scale. For example, below are the notes of the C Major scale, and the intervals between said notes:

C [TONE] D [TONE] E [SEMITONE] F [TONE] G [TONE] A [TONE] B [SEMITONE] C

Although this concept sounds simple, it provides many benefits to us as songwriters if we understand it. Here are some reasons this formula is important:

1. It enables us to build major scales starting from any note.
   
2. It allows us to make sense of enharmonic notes, which is what happens when two different note names actually refer to the same note. For example, in the key of F Major, you would call the 4th note Bb instead of A#. This is because A is already the 3rd note of the key, and it wouldn’t make sense for us to reference it again.
   
3. It helps us to understand the value of intervals. For example, the distance between C and E is 2 tones i.e. a Major 3rd. This produces a very stable sound compared to the distance between E and F, which is a semitone i.e. a Minor 2nd.
   
4. Through understanding the value of intervals, we also become able to identify stable and unstable notes within a scale. The 1, 3 and 5 of every key are always the most stable notes. On the other hand, the 2, 4, 6, and 7 are all unstable notes which create a sense of tension when used.

Get our free PDF with graphic illustrations of this formula here:

This concept can even be applied to modes. Below is an image which shows the arrangement of notes in all of the modes, as well as the intervals between them:

We can even split the modes into major and minor sounding ones. The Ionian, Lydian, and Mixolydian modes all have a Major 3, which is what gives them a major sound. On the other hand, the Dorian, Phrygian, Aeolian, and Locrian modes all have a Minor 3, which is what gives them a more minor sound.

To take it further, we can use this formula to help us remember the other modes more easily. For example, the only difference between the Ionian and Lydian is the presence of a #4. This changes the pattern into Tone-Tone-Tone-Semitone Tone-Tone-Semitone. Similarly, the only difference between the Ionian and the Mixolydian is the presence of a b7. This changes the pattern into Tone-Tone-Semitone-Tone-Tone-Semitone-Tone.

Formula #2: The Chord Pattern

In any Major key, the chords are arranged as follows:

I          ii         iii         IV       V         vi        vii^o
Major  Minor  Minor  Major  Major  Minor  Diminished

If we use C Major as an example, the chords would be as follows:

I              ii              iii           IV           V            vi            vii^o
C Major  D Minor  E Minor  F Major  G Major  A Minor  B Diminished

Through understanding this arrangement of chords in a Major key, we’re also able to learn an important part of chord notation known as the number system. The number system involves the process of using Roman numerals to denote the type of chord.

On one hand, Major chords are denoted using capital Roman numerals i.e. the 1, 4, and 5 chords of a key. On the other hand, Minor chords are denoted using small Roman numerals i.e. the 2, 4, and 6 chords of a key. The 7 chord is always diminished, and is denoted using small Roman numerals with a small circle at the upper right corner or the word “dim” at the end of it.

In addition, being able to lay out the chords in a key means that we’ll be able to easily add extensions to them. Again using C Major as an example, below are the chords in the key with extensions included:

I              ii              iii           IV           V      vi            vii^o
C Maj7  D Min7  E Min7  F Maj7  G7  A Min7  B Half-dim

Finally, we can use this chord system to find out the chords in Minor keys as well. In every Major key, the vi chord is referred to as the Relative Minor. So to find out the chords in the Relative Minor, you just have to take the same chords as the Major key, but starting off the sequence with the vi chord instead.

Here is an example using A Minor, which is the relative Minor of C Major:

i              ii^o              III           iv           v            VI            VII
A Minor  B Diminished  C Major  D Minor  E Minor  F Major  G Major

Conclusion: Here’s 2 Simple Ways to Erase Music Theory Confusion Forever

In conclusion, music theory isn’t difficult to understand. Just by comprehending these 2 simple formulas, you’ll be able to unlock loads of concepts which can make your songwriting process easier, and faster.

If you would like more details, explanations and examples, then be sure to check out the video now.

---