• EAR-TRAINING-GYM: We worked through "I Can't Go for That" by Hall & Oates, using it as a vehicle for ear training and harmonic analysis — identifying chord extensions, cadence types, bass-line behavior, and groove mechanics. Covered how to hear stacked thirds as extended chord structures, how to distinguish perfect from plagal cadences by ear, and how modal interchange and line clichés function in a soul/R&B context. Also spent time on the rhythm section: hi-hat patterns, syncopation in the bass line, kick placement, and the relationship between where the bass plays and where it stops.
• THEORY-GYM: Covered syncopation as a rhythmic concept — how accenting off-beats and weak beats creates forward motion and rhythmic tension. Traced the concept from Western classical meter through Caribbean clave, reggae, jazz swing, stride piano, and popular music, with listening examples throughout. Introduced passing chords as the planned topic for next session.
• WEEKLY-BEAT-CHALLENGE: We reviewed two beat submissions this morning, discussing miking techniques, sound design approaches, and the use of texture and modulation in cinematic composition. Conversation expanded into the use of body-sound psychoacoustics as a compositional tool, Lissajous/vectorscope visualization, and the use of samples as modulation sources in synthesis. The session also touched on sync licensing trends and the Beat Challenge portal.
• WEEKLY-BEAT-CHALLENGE: Reviewed chord progressions submitted by members this evening, working through the harmonic analysis of a C–Am–Bb–F progression and unpacking how stacked voicings (a power chord in one hand against a full chord in the other) create unexpected color. Also heard a new improv guitar piece from Marc and a rhythmic sketch from Jon working in shifting meters (3, compound 8, 10, and 11). Much of the session was informal, with instrument discussion and member catch-up alongside the music listening.
• EAR-TRAINING-GYM: We ran an interval and chord identification exercise using a Portal-based multiplayer bingo game, working through a series of chords and asking students to name the intervals present. Discussion covered close voicings, chord inversions, the relationship between intervals and their inversions, and how a minor 6 chord is constructed. We also worked through the use of melodic reference songs as a tool for interval recognition.
• WEEKLY-BEAT-CHALLENGE: We reviewed work in progress from participants, with extended focus on a microtonal beat built on a noble number scale — exploring how non-rational tuning systems interact with blues harmony and functional chord progressions. The session also included a hands-on look at Bitwig's Grid modular environment, examining how polyphonic patches are constructed from sine waves and how waveforms can be sculpted by manipulating partials. A significant portion of the conversation covered Nathan's ongoing development work on a harmonic synthesizer that uses weather data as a noise source, including the mathematics of scaling that data across frequency ranges and the potential use of Perlin noise as a smoothing carrier.
• OFFICE HOURS: mixing vocals, listening to a student song and giving feedback, editing mouth sounds and plosives, sidechaining and all the different ways you can use it
• THEORY-GYM: Covered chord extensions and color tones through the lens of polychords — stacking two independent triads or chords to produce richer four- and five-note harmonies. Demonstrated how upper extensions (9, 11, 13, flat 9, sharp 9, sharp 11) can be understood as embedded triads within a single chord, and worked through voicing, inversion, and omission strategies for making those combinations usable. Used "Strawberry Fields Forever" as an analysis example to show how melody-first writing can drive harmonic choices rather than the reverse.
• THEORY-GYM: We worked through a chord-by-chord analysis of a student-submitted song, using it as a vehicle for ear training at the harmonic level. The focus was on identifying borrowed chords, slash chords, and functional voice leading — and on developing the habit of listening from a 10,000-foot functional view before zooming in to specific voicings. We also connected recurring chord progressions to named "tropes" drawn from well-known songs, framing harmonic pattern recognition as a transferable, buildable skill.
• EAR-TRAINING-GYM: Worked through learning a song by ear — specifically the chorus of a student-submitted track — identifying chord quality (major vs. minor), chord voicing, bass motion, and passing tones by listening alone. Also discussed live arrangement and band management: how to balance working with available musicians against the ideal production a song calls for, and how to leverage each player's strengths rather than forcing a predetermined arrangement.

Show more… Learn more about Residency

• 
  Weekly Beat Challenge: Nathan
  Aug. 31,
• 
  Office Hours: Cato Zane
  Aug. 31,
• 
  Theory Gym: Nathan
  Aug. 31,
• 
  Production Gym: Kallie
  Sep. 01,
• 
  Office Hours: Jam
  Sep. 01,
• 
  Instrument Gym: Nathan
  Sep. 01,

Learn more about Residency

• Sep 01, 2026 Comprehensive Program
• Sep 1, 2026 DAW Core Skills
• Sep 2, 2026 Songwriting Incubator
• Sep 9, 2026 Production Incubator
• Sep 21, 2026 Beat Building Jam
• Oct 6, 2026 Hardware & Recording Primer
• Oct 21, 2026 Mixing: Effects, Synths & Tools
• Nov 10, 2026 Mixing: Effects, Synths & Tools

See All Courses