Chord Colors Exercise
Well I want to give I want to move on tio cords real quick and I'm going tio again talk about some things that are probably probably seemingly basic teo to some of you guys but if you actually get good at this it's not it's not that basic and you actually get a lot better so and it is going to give you a quick primer on chords and harmony reason that another reason I want to do this is because a lot of misconception metal about what melody and harmony is lots of times you have people playing harmony parts to to note harmonies and people will think that those air corps so will think that's a melody I really won't understand what's be what it's based off of and what it's built on and if you actually understand what chords air behind everything you can actually build entire sections new sections for songs without having to you come up with an intricate riff every single time so I mean sure a lot of you know that course air three plus notes which make a harmony it doesn't matter if you pla...
y them at the same time or europe edgy ate them uh you can spread them out across multiple instruments and uh besides I wanna change something that I said besides rhythm the probably the single biggest influence on the mood feel of a song because uh they defined the key um a major progression like the first thing I played, the easy key is a completely different mood than a minor with the minor progression and you could have a song all based off of a really good rhythm and one cord and it could be a really good song but what core that is how you use it will basically be the whole game, so I don't think you need to actually learn this too a sci level but if you do, it won't hurt you and at the very very least when you get easy keys this many option go here and learned this it will not hurt your writing one bit. So anyways, some things you can do on ah on the guitar uh in order teo, get quicker with all this um have the keynote back, please, thank you very much, tom. One thing to do is, uh, grab this guitar is don't spend too long on this but just goes just do this, you learn accord, you learn a progression, just learning a few different positions like, uh, I don't understand what people don't do this more often, but if you know that you can play this year or there or there that makes all the difference in the world and the faster you get at going between different inversions or that whatever the quicker you're going to be looked at coming up with court progressions and that's not something that you need to practice to a metronome six hours a day something that you can do in life two minutes I'm going to actually include tabs for a bunch of different chords in every position on the neck and all the different inversion but I definitely think that you should learn how to do this because if you again if you know that you can to this whatever uh house with rising sun then you also know that you can do that super super basic but it will make you way faster um we'll talk about the mood of course this is all super intuitive almost, but one thing that a lot of people I'm noticed don't entirely understand is what a what a cord color is and they get them confused a lot and I think that one thing that you can do in your listening analysis is uh once you know you want to get better at understanding certain type of court color is associate it with something you like uh that already does it it's a very, very simple trick like let's make sure this guitar isn't fall cool um this is a simple ear training trick and this is you can do this with melodies like for instance, if you want to get good at spotting fist pick a song where the where the melody goes root fifth get that in your head and then whenever you hear that sound another song, you'll have the association in your mind you will always be able to spot it, so a lot of people will confuse minor of menton diminish chords, so a thing to do is, uh, just identify them in songs that you like and some of these examples I'm not going to play because we'll get in trouble, but I wrote them down because they're so famous, and you all know them that they illustrate the point. If, ah, if you're not exactly sure that difference between how a minor chord sounds in a diminished chord sounds, just listen to the intro she's so heavy and that's how a minor court sounds, and once you have that in your head, once you've identified that enough songs, you're good, you know what it sounds like, so I would definitely add that to your listening analysis, sit down and figure this stuff out, all right, let's, move on, tio actually doing this in your writing. Um, so one thing that I've done that has helped me out is try teo, try to take you rhythm pattern that you like of some sort and then cycle it through different court colors, and one thing that you'll that you'll pick up from that is you'll realize that you don't need to be you don't even need a chord progression or key changes to change the mood of a song sometimes you just need to change the color major to minor or augmented to major or whatever but this is not something that you'll immediately understand until you try it so again just like the motif exercise just set some constraints like you're gonna go through these four chord colors pick a rhythm and go for it so this was one I came up with so what's going on there basically this has all played in the same exact place on the guitar and all I did was go through basically the sound of playing fifth cords to minor chords to major too dominant seven back to minor to root fifth and again all in the same spot but what you can hear is that every single time that the court color changes the mood changes completely like you listen to the difference between minor in major in the same spot it's radically different just and uh you know you can you can put whatever descriptive word you want on that difference and sound but that's one note difference literally which changes the entire mood I guess you could say from sad teo hopeful or whatever but again literally on ly one note is different in those courts you just need to make tiny tiny changes in order to influence the entire mood of something so again take your motif exercise and this was a whole different motif rhythm motif I came up with said for you guys too much but take your motif exercise once you have one that you like then cycle it through different court colors and picked them in advance say you're going to go like something I just did you're gonna go from fifth to minor to major done in seven minor fists cool there's your exercise now you kind of know how that sound works or say uh everyone talks about uh diminished to major and how those sound back to back so cycle through that cool you're good and ah that is just one step up in complexity where you can make huge changes to your music without getting into any complex theory key changes any of that kind of stuff so one second um another thing you can do is uh get that keynote dudes thank you um arpeggio at your chords now one thing about arpeggios ations that this is not a sweet picking exercise or any of that bullshit that guitar players do says cord colors again it's just our paginated chords are a whole other feel for you a very simple musical device if you learn how to arpeggios your cord colors you can arguably make some very cool things so take the same the same chord color movements and just make on arpeggio exercise out of it and the thing I would do is set constraints like you're going to go through it and one octave on you're not going to go for like some sweep tapping four where you forget what you're doing, you don't know what threats or what sounds a certain way keep it toe one octave through a few different cord colors and then once you have that down as him stuff, so basically what you're going to hear here is basically minor, major augmented uh back to major and then just going up in going up on inversions really simple stuff but sounds kind of cool and you play when you play faster when you get the right court colors back to back now ah, I don't think that that's like the most amazing thing in the world, but like I literally wrote that in about seven minutes um and I know guys that will spend hours and days trying to come up with our paginated guitar lines that do that kind of thing because they don't know what they're doing. It takes too long, but if you just know you're going through some court colors, you're going up inversions and you have that party, your vocabulary down uh, cool little things like that don't need to take forever's play that one more time and there's nothing complicated about that it's the same exact ideas when I went through the slow courts just played in a whole different way
It’s easy for musicians to get so caught up in the latest gear, plugins, and presets, and forget that ultimately, it’s all about the music. Join Eyal Levi and special guests Ryan Clark (Demon Hunter), Todd Jones (Nails, Terror), and John Browne (Monuments) for an in-depth exploration of what it takes to craft great songs.
Eyal will share the tricks of the songwriting trade he’s learned over years of experience as a producer at Audiohammer Studios (The Black Dahlia Murder, August Burns Red, Whitechapel) and guitarist for Century Media/Roadrunner artists Daath. Throughout this two-day course, you’ll learn everything you need to know about the three core components of metal/rock songwriting. You’ll learn about basic song structure and riff-writing; melodies, leads, and vocals; and fine-tuning the arrangement to take your song from good to great. Eyal will be joined by special guests -- from musicians to producers and more -- who will empower you to take your songwriting to new heights.