<?xml version="1.0" encoding="UTF-8"?><rss xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:content="http://purl.org/rss/1.0/modules/content/" xmlns:atom="http://www.w3.org/2005/Atom" version="2.0"><channel><title><![CDATA[In Theory Music Studio]]></title><description><![CDATA[In Theory Music]]></description><link>https://www.intheorymusic.com/blog</link><generator>RSS for Node</generator><lastBuildDate>Mon, 25 May 2026 02:05:35 GMT</lastBuildDate><atom:link href="https://www.intheorymusic.com/blog-feed.xml" rel="self" type="application/rss+xml"/><item><title><![CDATA[Major and Minor Keys]]></title><description><![CDATA[There are fifteen major keys though there are only 12 chromatic notes. That is because three keys are enharmonic. The keys move from the...]]></description><link>https://www.intheorymusic.com/post/major-and-minor-keys</link><guid isPermaLink="false">65de5b2566f8a292be334d01</guid><category><![CDATA[Scales]]></category><pubDate>Tue, 27 Feb 2024 22:04:18 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/6ea526_2613f452a7d14591a5f15d12ef43a585~mv2.png/v1/fit/w_688,h_680,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>ppittman2010</dc:creator></item><item><title><![CDATA[ii7-V7-I7 and iiø7-V7-i7 Progressions and Autumn Leaves]]></title><description><![CDATA[The ii-V-I and ii°-V-I (minor) progression in jazz is one of the most fundamental and important progressions. This progression suggests 3...]]></description><link>https://www.intheorymusic.com/post/ii7-v7-i7-and-ii%C3%B87-v7-i7-progressions</link><guid isPermaLink="false">65dd6c88e0a810bc6e954373</guid><category><![CDATA[Songs]]></category><category><![CDATA[Chords]]></category><pubDate>Tue, 27 Feb 2024 05:17:24 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/6ea526_6507feb7a59448ec9dd8af36d45a10ec~mv2.png/v1/fit/w_408,h_147,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>ppittman2010</dc:creator></item><item><title><![CDATA[Chord Structure for the Major Scale (Ionian Mode)]]></title><description><![CDATA[Building on the Intervals and Scales post, which can be viewed here. Let’s examine chord structure for the Major scale, specifically triads. Below are the scale degrees and their names for C Ionian.   Notes can be played melodically (horizontal) or harmonically (vertical). 3 or more notes played harmonically together are called a chord. There are a plethora of chords, from triads to thirteenths. Extensions are when you add a 9th, 11th, or 13th above the seventh of the chord. The main type of...]]></description><link>https://www.intheorymusic.com/post/chord-structure-for-the-major-scale-ionian-mode</link><guid isPermaLink="false">65da8e01737858345616b143</guid><category><![CDATA[Chords]]></category><pubDate>Sun, 25 Feb 2024 01:08:58 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/6ea526_aa11ba2777484625bb2acf78b04e2b83~mv2.png/v1/fit/w_747,h_130,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>ppittman2010</dc:creator></item><item><title><![CDATA[What a Difference a Day Made Analysis]]></title><description><![CDATA[We will do a Pitch Class Analysis of What a Difference a Day Made. For an over of Pitch Class Set Theory see my post here. The song was...]]></description><link>https://www.intheorymusic.com/post/what-a-difference-a-day-made-analysis</link><guid isPermaLink="false">65d7c740f6439292bf36b0bd</guid><category><![CDATA[Songs]]></category><category><![CDATA[Set Theory]]></category><pubDate>Thu, 22 Feb 2024 22:17:29 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/6ea526_bf643f3e055c46daa3dcadf54e1eba99~mv2.png/v1/fit/w_332,h_113,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>ppittman2010</dc:creator></item><item><title><![CDATA[Intervals and Scales]]></title><description><![CDATA[Intervals are the building block of music. If we look at the chromatic scale there are 12 possible pitches each a semitone or half-step apart. Lets say the chromatic scale starts on C a semitone or half-step away would be C# or Db. Lets take a look at the scale going up and down. C# and Db are enharmonic equivalent as they have the same pitch but are notated differently. The basis for notation depends on alteration and direction of resolution. There are 5 different qualities of intervals:...]]></description><link>https://www.intheorymusic.com/post/intervals-and-scales</link><guid isPermaLink="false">65d6959fecd11342ceca305f</guid><category><![CDATA[Scales]]></category><pubDate>Thu, 22 Feb 2024 00:42:20 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/6ea526_6531d2b07f2347f0a3f31ca802ddbf1d~mv2.png/v1/fit/w_757,h_87,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>ppittman2010</dc:creator></item><item><title><![CDATA[Autumn Leaves Pitch Class Analysis]]></title><description><![CDATA[We will do a Pitch Class Analysis of Autumn Leaves including the first and second verse and the bridge. For an over of Pitch Class Set Theory see my post here.  Autumn Leaves was a French song composed by Joseph Kosma in 1945. It was adapted to English lyrics by Johnny Mercer. The first verse when you do pitch class analysis (no duplicates) includes the following notes when analyzed in the key of B minor. C#, D, E, F#, G, G#, A, A#, B. The integers when set to C as zero are in ascending order...]]></description><link>https://www.intheorymusic.com/post/autumn-leaves-analysis</link><guid isPermaLink="false">65d6351080ab9c314d703421</guid><category><![CDATA[Set Theory]]></category><category><![CDATA[Songs]]></category><pubDate>Wed, 21 Feb 2024 17:43:36 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/6ea526_d5e7546b465e401594479133bb580b45~mv2.png/v1/fit/w_704,h_128,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>ppittman2010</dc:creator></item><item><title><![CDATA[Pitch Class Set Theory]]></title><description><![CDATA[Pitch class set theory offers a unique analytical approach for examining a specific set of notes. A pitch class set, also known as a pc...]]></description><link>https://www.intheorymusic.com/post/pitch-class-set-theory</link><guid isPermaLink="false">65d5619d42d53c15b871132e</guid><category><![CDATA[Set Theory]]></category><pubDate>Wed, 21 Feb 2024 02:44:53 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/6ea526_aa878d6693e54a8dad5c9305415084d0~mv2.png/v1/fit/w_918,h_138,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>ppittman2010</dc:creator></item><item><title><![CDATA[Chord Inversions]]></title><description><![CDATA[Chord inversions play a crucial role in harmony, adding variety and depth to music by changing the bass note of a chord to something...]]></description><link>https://www.intheorymusic.com/post/chord-inversions</link><guid isPermaLink="false">65d26688af6a7ead52d58a3f</guid><category><![CDATA[Chords]]></category><pubDate>Sun, 18 Feb 2024 20:42:10 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/6ea526_b402359e82ba42b2a1c6ae35b9bded4d~mv2.png/v1/fit/w_294,h_560,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>ppittman2010</dc:creator></item><item><title><![CDATA[Major Musical Modes from Bright to Dark]]></title><description><![CDATA[There are seven major musical modes. If you start on C and work your way through, E, F, G, A, and B, they are respectively Ionian,...]]></description><link>https://www.intheorymusic.com/post/major-musical-modes-from-bright-to-dark</link><guid isPermaLink="false">65d251449478beb0b09cc2a6</guid><category><![CDATA[Scales]]></category><pubDate>Sun, 18 Feb 2024 18:50:29 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/6ea526_0bf1e7ad11624f41ba445745c7ed5580~mv2.png/v1/fit/w_372,h_118,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>ppittman2010</dc:creator></item></channel></rss>