P2 Theory through the hands

Warm-up

Ladder: major scale in C, G, F — diatonic triads on each degree, Roman numerals out loud (I, ii, iii, IV, V, vi, vii°)

Study

Hooktheory Theory for Producers I: scales and triads. Open Music Theory as the reference when you want the why.

Hooktheory: Theory for Producers I–II ↗Open Music Theory (OMT2) ↗

Exercises

• Start track #4 with a one-line harmonic intent written before the first note (e.g. “Dorian groove with a i–IV vamp”).
• Rhythm module: program the same kick/snare on the Digitakt three ways — straight, swung, micro-shifted per-track — and A/B them.
• Ear work: decode one progression from a reference track at the Hydrasynth — bass root first, major/minor second, extensions last. Rebuild it in a different key.

Deliverable

Track #4 in motion with its intent on paper. One progression in the ear log.

Warm-up

Ladder: same three keys — triads with eyes on the grid, not the keys. Boring, foundational, two weeks only.

Study

Hooktheory I: chord progressions and the bass line. 12tone or Adam Neely when a concept needs a second angle.

Hooktheory: Theory for Producers I–II ↗12tone ↗Adam Neely ↗

Exercises

• Finish and export track #4 — the harmonic intent honored, the bounce shared.
• Ear work: one more progression decoded and rebuilt in a different key.
• Functional Ear Trainer 5 min on warm-up days if intervals are the bottleneck.

Deliverable

Track #4 exported with written intent. Two progressions logged.

Warm-up

Ladder: C, G, F — every diatonic chord as a 7th (maj7, m7, dom7, m7♭5)

Study

Hooktheory: seventh chords. This is the single biggest sonic unlock for the palette — Disclosure, Bonobo, and Tycho almost never play a plain triad.

Hooktheory: Theory for Producers I–II ↗Open Music Theory (OMT2) ↗

Exercises

• Start track #5: intent first, sevenths mandatory — re-voice any triad pad as 7ths and A/B the difference.
• Ear work: one progression — this time hunt the 7ths specifically.
• Melody craft: write a 2-bar motif, chord tones on strong beats, then vary it (invert, shift rhythm, transpose to the next chord) instead of writing new material.

Deliverable

A loop that stopped sounding like stock the moment the 7ths landed.

Warm-up

Ladder: 7ths in all three keys, smooth between chords

Study

Hooktheory II: continue. One concept per study session, one sentence written down.

Hooktheory: Theory for Producers I–II ↗

Exercises

• Finish and export track #5.
• Ear work: one progression decoded and rebuilt.
• Bassline craft: syncopated bass locked against a four-on-the-floor kick; hats carry the groove.

Deliverable

Track #5 exported. Four progressions in the log.

Warm-up

Ladder: 9ths, add9, sus2/sus4 in C, G, F — the “lush” in the reference palette is close voicings + 9ths, not exotic harmony

Study

Hooktheory II: extensions. 12tone on a track you love that uses them.

Hooktheory: Theory for Producers I–II ↗12tone ↗

Exercises

• Start track #6 with intent — e.g. “maj7/add9 pad bed in Lydian, Tycho-style.”
• Build the pad bed on the Hydrasynth with add9/sus voicings.
• Ear work: one progression, extensions hunted last as always.

Deliverable

A pad bed that shimmers. Intent on paper, five progressions logged.

Warm-up

Ladder: move between chords with minimal finger movement; inversions over root position everywhere

Study

Open Music Theory: voice leading. The point is the hands learning the short path.

Open Music Theory (OMT2) ↗

Exercises

• Re-voice track #6’s progression with inversions so the top note barely moves.
• Finish and export track #6.
• Modular: Euclidean or polymetric percussion from the Befaco as texture over the Digitakt grid.

Deliverable

Track #6 exported. Six progressions — exit bar already met.

Warm-up

Ladder: Dorian and Lydian as flavors of keys you already know

Study

Hooktheory II: modes and modal interchange. The artist map: Dorian → Bonobo; Lydian/maj7 → Tycho; natural minor + borrowed → Disclosure; minor pentatonic over diatonic pads → Emancipator.

Hooktheory: Theory for Producers I–II ↗Adam Neely ↗

Exercises

• Start track #7: pick one lane from the artist map and write the intent in its language.
• Borrow the iv and ♭VII from the parallel minor in a major-key sketch and listen to what they do.
• Ear work: one progression from the lane you picked.

Deliverable

A sketch wearing its mode on its sleeve.

Warm-up

Ladder exit check: ii–V–I and i–IV with 7ths in 3 keys, nothing looked up

Study

No new theory. Re-read the eight harmonic intents; theory completionism is the anti-pattern — the ladder is deliberately finite.

Open Music Theory (OMT2) ↗

Exercises

• Finish and export track #7.
• Exit check: play ii–V–I and i–IV with 7ths in three keys, cold.
• Count the ear log: ≥6 transcriptions, each rebuilt in a second key.

Deliverable

Four Phase 2 exports with written intents. The hands know 3–4 keys.