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
Recent Sessions
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Worked through interval ear training using the Beat Kitchen chord quiz tool, focusing on how to hear and identify intervals within a chord context. Covered the characteristic sounds of major and minor thirds, fourths, fifths, tritones, major and minor sixths, and major sevenths. Introduced the concept of interval inversion and how it affects perceived quality.
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We worked through the chord progressions in Matthew Wilder's "Ain't Nothing Gonna Break My Stride," using it as a case study in a song that sounds simpler than it is — specifically focusing on the Eb minor 6 chord in the verse, how it functions as both a minor 6 chord and a half-diminished chord depending on context, and how the song navigates two distinct key centers (Bb and F) across its verse and chorus. We also dug into interval analysis of a four-note chord, identifying all six possible intervals within it and connecting that to ear training in the chord recognition app.
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We introduced Interval Bingo — a browser-based ear training game played in multiplayer and solo modes — and worked through identifying intervals within dyads and triads by listening, singing, and reasoning from known chord shapes. The session focused on the practical skill of isolating individual voices inside a chord: hearing the top note first, finding the bottom, and using chord quality (major, minor) to infer the intervals in between.
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We used Michael Jackson's "Rock With You" (written by Rod Temperton, produced by Quincy Jones) as a vehicle for analyzing chord voicing, bass function, and cadence types. Covered the difference between perfect and plagal cadences, and introduced the "super sus" chord — a slash chord that stacks a IV chord in the right hand over a V bass note, combining both cadential motions simultaneously. Demonstrated how this voicing technique appears throughout soul, gospel, and R&B, and how it can be practiced as a movable shape across the keyboard.
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We worked on extracting chord progressions from electronic tracks purely by ear — no instruments allowed during the listening phase. The exercise focused on using the voice as an analytical tool: singing bass notes, tracing scale direction, identifying the tonic, and then doing a final instrument check to confirm. We worked through three tracks, identified their key centers and progressions, and connected the process to harmonic series concepts to explain why certain note relationships are so easy to hear.
All resident events are included with your Beat Kitchen Residency.
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