Why choose between writing a song in 4/4 or 3/4 when you can do both at once? Let's experiment with polymeter!

The interplay of light and shadow will help us create interest and surprise in our songs. Today we’ll look at one of the simplest ways to create contrast.

Let's explore the power of the iii chord to shift the mood of our song. We’ll use this as an opportunity to explore the idea of musical questions and answers.

We're going to add another to our arsenal of shadow chords, the ii, and look at how it can be used to create a kind of magnetic tunnel back home.

Composition by subtraction is an idea explored by Brian Eno: sculpt your song out of a mass of tracks, eliminating one track at a time.

In today’s exercise, we’re going to get courageous and explore a whole new environment: the shadowy, mysterious world of the vi (or relative minor) chord.

We can think of the I, IV, and V together as our immediate neighborhood. But changing to IV can feel like starting out on a longer journey.

The most common way to return home musically is to use chords that pull toward the I. And the chord with the strongest magnetic pull home is the V (or dominant) chord.

Let's look at a technique for discovering rhythmic and melodic counterpoint that you might never have written otherwise: invisible layering.