Theory Gym
Weekly. Morning music theory workout. Included with residency.
Start your day at the gym with a morning music theory workout. Scales, chords, intervals, ear training exercises, and guided practice with fellow residents.
Upcoming Sessions
- Mar 31 5pm (PT) | 8pm (ET) | 1am (UK) Nathan
- Apr 02 5am (PT) | 8am (ET) | 1pm (UK) Scott Hampton
Recent Sessions
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We took Marvin Gaye's "How Sweet It Is (To Be Loved by You)" as a case study in how profound musical joy can emerge from radical simplicity — just three chords, the I, IV, and V in C major. The session dug into the harmonic texture underneath that simplicity: plagal cadences nested inside perfect ones, chord inversions described through figured-bass shorthand (6-4 and 6-3), and a piano technique called triad pairs where two chords alternate up and down the scale in shifting inversions. We also touched on how equal temperament creates a kind of constant low-level motion in tuning — and how that connects, philosophically, to the way harmony itself is never truly "still."
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We dug into Al Jarreau's "We're in This Love Together" as a live analysis vehicle, unpacking its deceptively simple harmonic language — predominantly plagal motion, super sus chords, and bass-line-driven pseudo-chord changes. From there we traced a sophisticated turnaround section that flirts with a Giant Steps-style modulation before resolving differently, and closed with a brief but rich look at vocal formant production and how great singers physically shape tone without needing the engineer to fix it.
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We used Nina Simone's "I Wish I Knew How It Would Feel to Be Free" as a masterclass in arrangement, mix balance, and harmonic construction. Explored how a song with minimal formal structure can build enormous intensity through restraint, dynamic layering, and the deliberate elevation of a single voice above the ensemble. Worked through the chord progression in B-flat, covering secondary dominants, the plagal cadence, sus chords, and invertional analysis (6-3 and 6-4 voicings) in relation to the harmonic series.
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Bewitched!!! Vintage TV music is the greatest! We explored suspension chords and their relationship to 2-5-1 progressions, using the Bewitched TV theme as a live listening and analysis example. Covered how a C suspended 4 chord functions similarly to a G minor–to–C motion, and how bass lines can imply either a "in two" or "in four" feel over the same harmonic material. We also touched on how the theme evolved across the show's run — changes in instrumentation, orchestration, and swing feel that reflect both budget and era.
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We used Etta James' "At Last" as a deep-dive vehicle for several interconnected ideas: meter in compound time (12/8), jazz chord substitutions in a blues context, and the tritone substitution. The session moved from listening and production observation into hands-on chord analysis at the wheel, tracing how blue notes and dominant seventh chords create tension and resolution throughout the song. The tritone substitution was introduced as a concept to return to with more dedicated time in a future Theory Gym.
All resident events are included with your Beat Kitchen Residency.
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