EAR-TRAINING-GYM:Bass - the importance of the right notes, different rhythms, and the different timbres that you can get from the instrument - and how they all can influence how it works with the song.
OFFICE HOURS:Dewi had an issue with creating AI stems in Logic and we were able to troubleshoot the issue with the file format. Talked with Alee about video editing in DaVinci
PRODUCTION-GYM:David Bowie - Space oddity: Production, songwriting, and recording. We compared three different versions. The original and Demo from the late 60's, and the remade version from 1979.
OFFICE HOURS:Worked through a one-on-one FL Studio session focused on chord voicings, register, and arrangement fundamentals. We diagnosed why the student's chords were sitting too low and muddy in the mix, corrected it through manual note transposition and chord inversion principles, and then built out a basic bass layer to fill the harmonic space we opened up. Along the way we covered the four core arrangement zones — rhythm, harmony, bass, and lead — and talked through how they function together in a beat.
OFFICE HOURS:Went through a mix of Alee's and talked about arrangement, distribution of frequencies and lumping in mixes
THEORY-GYM: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.
PRODUCTION-GYM:Breakdown of "Time Moves Slow" by BADBADNOTGOOD, production style, tempo push/pull, song structure, drum texture and keyboard sound
OFFICE HOURS:We talked about picking monitors and acoustic treatment
THEORY-GYM: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.
