Theory Gym

Recent Sessions

• Thu, May 14, 2026 Nathan 2 attended

  We used "Hotel California" by the Eagles as a case study in harmonic minor usage, modal interchange, and cadential function. Covered the role of the raised seventh (G-sharp) in producing a dominant E chord over an A minor tonic, the distinction between functional and notational chord identity (e.g., the flat-six versus an inverted F chord), and how the song's chord progression generates a repeating sense of plagal motion. Also discussed the song's rhythmic feel and its relationship to reggae and the one-drop pattern.

• Thu, May 07, 2026 Cinnamontal 4 attended

  We talked about hearing and singing bVIIs. We identified how they sound when approaching them from different notes within the major scale. And also how to lead into them with chord progressions. A big part of the class was also focused on talking about key signatures and how they function. I shared how key signatures are just guides for a certain scenarios but they aren't the rules of a chord progression we choose. They help inform the progressions.

• Tue, May 05, 2026 Nathan 6 attended

  We used Britney Spears' "Toxic" as the analytical subject for this session, working through its harmonic structure, melodic choices, and production techniques. Covered the song's key center (C minor), its movement between relative major and minor, the use of upper extension chord tones in the melody, and a tritone substitution in the chorus. Also discussed the Bollywood sample at the root of the track's signature string line and how it was chopped, reversed, and pitch-shifted in production.

• Tue, Apr 28, 2026 Nathan 5 attended

  Covered tritone substitution — what it is, when to use it, and how to hear it in a ii-V-I-IV context. Also worked through a question about half-step intervals and when they're problematic versus idiomatic depending on chord function. Spent extended time reviewing a student's original singer-songwriter piece, with feedback focused on piano pedaling technique, rhythmic intentionality, and harmonic ambiguity around an A-flat chord center.