The Music Interval Theory Podcast

https://www.skool.com/circle-of-interval-magicians/about I teach you interval-based composition in 30 days (or less)! From the basics to advanced concepts, I'll guide you step by step. Start your free 7-day trial today, and after that, it's less than one coffee per week! If you're new here, my name is Frank, and I'm the co-founder of the Music Interval Theory Academy (MITA), which I've been running since 2015. I teach composers how to stop guessing and start creating music with real intention, using intervals as the foundation instead of chords. How I got here... ** 1993: Heard the Jurassic Park score in the theater and was blown away. ** 2000: Started to compose and learned traditional theory. Quickly, I hit the same wall most composers hit: the music I wrote was technically correct but forgettable. ** 2005 onwards: Started scoring professionally for animation, film, documentaries, and video games (Disney, Mattel, theme parks, and many others). Built a library of 700+ tracks for production and sync. ** 2015: Everything changed. A workshop with Thomas Chase Jones (TC) flipped the way I think about music. It was all about intervals, and composition got cleaner, faster, and more original. That shift became a system. The system became MITA. ** Since then: hundreds of composers have gone through the Academy. My business partner TC has credits on approximately 1,800 TV shows (Scooby-Doo, Batman, Dexter's Lab, Tom and Jerry — look him up). Together, we teach what most music schools don't. On this channel, I share the exact methods I use to help composers find their voice, work faster, and stop feeling stuck. If you've ever felt like your music sounds too generic, or like you understand theory but still can't quite control what you're creating, you're in the right place. Never stop composing, Frank

https://www.skool.com/circle-of-interval-magicians/about I teach you interval-based composition in 30 days (or less)! From the basics to advanced concepts, I'll guide you step by step. Start your free 7-day trial today, and after that, it's less than one coffee per week! If you're new here, my name is Frank, and I'm the co-founder of the Music Interval Theory Academy (MITA), which I've been running since 2015. I teach composers how to stop guessing and start creating music with real intention, using intervals as the foundation instead of chords. How I got here... ** 1993: Heard the Jurassic Park score in the theater and was blown away. ** 2000: Started to compose and learned traditional theory. Quickly, I hit the same wall most composers hit: the music I wrote was technically correct but forgettable. ** 2005 onwards: Started scoring professionally for animation, film, documentaries, and video games (Disney, Mattel, theme parks, and many others). Built a library of 700+ tracks for production and sync. ** 2015: Everything changed. A workshop with Thomas Chase Jones (TC) flipped the way I think about music. It was all about intervals, and composition got cleaner, faster, and more original. That shift became a system. The system became MITA. ** Since then: hundreds of composers have gone through the Academy. My business partner TC has credits on approximately 1,800 TV shows (Scooby-Doo, Batman, Dexter's Lab, Tom and Jerry — look him up). Together, we teach what most music schools don't. On this channel, I share the exact methods I use to help composers find their voice, work faster, and stop feeling stuck. If you've ever felt like your music sounds too generic, or like you understand theory but still can't quite control what you're creating, you're in the right place. Never stop composing, Frank

https://www.skool.com/circle-of-interval-magicians/about I teach you interval-based composition in 30 days (or less)! From the basics to advanced concepts, I'll guide you step by step. Start your free 7-day trial today, and after that, it's less than one coffee per week! If you're new here, my name is Frank, and I'm the co-founder of the Music Interval Theory Academy (MITA), which I've been running since 2015. I teach composers how to stop guessing and start creating music with real intention, using intervals as the foundation instead of chords. How I got here... ** 1993: Heard the Jurassic Park score in the theater and was blown away. ** 2000: Started to compose and learned traditional theory. Quickly, I hit the same wall most composers hit: the music I wrote was technically correct but forgettable. ** 2005 onwards: Started scoring professionally for animation, film, documentaries, and video games (Disney, Mattel, theme parks, and many others). Built a library of 700+ tracks for production and sync. ** 2015: Everything changed. A workshop with Thomas Chase Jones (TC) flipped the way I think about music. It was all about intervals, and composition got cleaner, faster, and more original. That shift became a system. The system became MITA. ** Since then: hundreds of composers have gone through the Academy. My business partner TC has credits on approximately 1,800 TV shows (Scooby-Doo, Batman, Dexter's Lab, Tom and Jerry — look him up). Together, we teach what most music schools don't. On this channel, I share the exact methods I use to help composers find their voice, work faster, and stop feeling stuck. If you've ever felt like your music sounds too generic, or like you understand theory but still can't quite control what you're creating, you're in the right place. Never stop composing, Frank

https://www.skool.com/circle-of-interval-magicians/about I teach you interval-based composition in 30 days (or less)! From the basics to advanced concepts, I'll guide you step by step. Start your free 7-day trial today, and after that, it's less than one coffee per week! If you're new here, my name is Frank, and I'm the co-founder of the Music Interval Theory Academy (MITA), which I've been running since 2015. I teach composers how to stop guessing and start creating music with real intention, using intervals as the foundation instead of chords. How I got here... ** 1993: Heard the Jurassic Park score in the theater and was blown away. ** 2000: Started to compose and learned traditional theory. Quickly, I hit the same wall most composers hit: the music I wrote was technically correct but forgettable. ** 2005 onwards: Started scoring professionally for animation, film, documentaries, and video games (Disney, Mattel, theme parks, and many others). Built a library of 700+ tracks for production and sync. ** 2015: Everything changed. A workshop with Thomas Chase Jones (TC) flipped the way I think about music. It was all about intervals, and composition got cleaner, faster, and more original. That shift became a system. The system became MITA. ** Since then: hundreds of composers have gone through the Academy. My business partner TC has credits on approximately 1,800 TV shows (Scooby-Doo, Batman, Dexter's Lab, Tom and Jerry — look him up). Together, we teach what most music schools don't. On this channel, I share the exact methods I use to help composers find their voice, work faster, and stop feeling stuck. If you've ever felt like your music sounds too generic, or like you understand theory but still can't quite control what you're creating, you're in the right place. Never stop composing, Frank

https://www.skool.com/circle-of-interval-magicians/about I teach you interval-based composition in 30 days (or less)! From the basics to advanced concepts, I'll guide you step by step. Start your free 7-day trial today, and after that, it's less than one coffee per week! If you're new here, my name is Frank, and I'm the co-founder of the Music Interval Theory Academy (MITA), which I've been running since 2015. I teach composers how to stop guessing and start creating music with real intention, using intervals as the foundation instead of chords. How I got here... ** 1993: Heard the Jurassic Park score in the theater and was blown away. ** 2000: Started to compose and learned traditional theory. Quickly, I hit the same wall most composers hit: the music I wrote was technically correct but forgettable. ** 2005 onwards: Started scoring professionally for animation, film, documentaries, and video games (Disney, Mattel, theme parks, and many others). Built a library of 700+ tracks for production and sync. ** 2015: Everything changed. A workshop with Thomas Chase Jones (TC) flipped the way I think about music. It was all about intervals, and composition got cleaner, faster, and more original. That shift became a system. The system became MITA. ** Since then: hundreds of composers have gone through the Academy. My business partner TC has credits on approximately 1,800 TV shows (Scooby-Doo, Batman, Dexter's Lab, Tom and Jerry — look him up). Together, we teach what most music schools don't. On this channel, I share the exact methods I use to help composers find their voice, work faster, and stop feeling stuck. If you've ever felt like your music sounds too generic, or like you understand theory but still can't quite control what you're creating, you're in the right place. Never stop composing, Frank

https://www.skool.com/circle-of-interval-magicians/about I teach you interval-based composition in 30 days (or less)! From the basics to advanced concepts, I'll guide you step by step. Start your free 7-day trial today, and after that, it's less than one coffee per week! If you're new here, my name is Frank, and I'm the co-founder of the Music Interval Theory Academy (MITA), which I've been running since 2015. I teach composers how to stop guessing and start creating music with real intention, using intervals as the foundation instead of chords. How I got here... ** 1993: Heard the Jurassic Park score in the theater and was blown away. ** 2000: Started to compose and learned traditional theory. Quickly, I hit the same wall most composers hit: the music I wrote was technically correct but forgettable. ** 2005 onwards: Started scoring professionally for animation, film, documentaries, and video games (Disney, Mattel, theme parks, and many others). Built a library of 700+ tracks for production and sync. ** 2015: Everything changed. A workshop with Thomas Chase Jones (TC) flipped the way I think about music. It was all about intervals, and composition got cleaner, faster, and more original. That shift became a system. The system became MITA. ** Since then: hundreds of composers have gone through the Academy. My business partner TC has credits on approximately 1,800 TV shows (Scooby-Doo, Batman, Dexter's Lab, Tom and Jerry — look him up). Together, we teach what most music schools don't. On this channel, I share the exact methods I use to help composers find their voice, work faster, and stop feeling stuck. If you've ever felt like your music sounds too generic, or like you understand theory but still can't quite control what you're creating, you're in the right place. Never stop composing, Frank

https://www.skool.com/circle-of-interval-magicians/about I teach you interval-based composition in 30 days (or less)! From the basics to advanced concepts, I'll guide you step by step. Start your free 7-day trial today, and after that, it's less than one coffee per week! If you're new here, my name is Frank, and I'm the co-founder of the Music Interval Theory Academy (MITA), which I've been running since 2015. I teach composers how to stop guessing and start creating music with real intention, using intervals as the foundation instead of chords. How I got here... ** 1993: Heard the Jurassic Park score in the theater and was blown away. ** 2000: Started to compose and learned traditional theory. Quickly, I hit the same wall most composers hit: the music I wrote was technically correct but forgettable. ** 2005 onwards: Started scoring professionally for animation, film, documentaries, and video games (Disney, Mattel, theme parks, and many others). Built a library of 700+ tracks for production and sync. ** 2015: Everything changed. A workshop with Thomas Chase Jones (TC) flipped the way I think about music. It was all about intervals, and composition got cleaner, faster, and more original. That shift became a system. The system became MITA. ** Since then: hundreds of composers have gone through the Academy. My business partner TC has credits on approximately 1,800 TV shows (Scooby-Doo, Batman, Dexter's Lab, Tom and Jerry — look him up). Together, we teach what most music schools don't. On this channel, I share the exact methods I use to help composers find their voice, work faster, and stop feeling stuck. If you've ever felt like your music sounds too generic, or like you understand theory but still can't quite control what you're creating, you're in the right place. Never stop composing, Frank

https://www.skool.com/circle-of-interval-magicians/about I teach you interval-based composition in 30 days (or less)! From the basics to advanced concepts, I'll guide you step by step. Start your free 7-day trial today, and after that, it's less than one coffee per week! If you're new here, my name is Frank, and I'm the co-founder of the Music Interval Theory Academy (MITA), which I've been running since 2015. I teach composers how to stop guessing and start creating music with real intention, using intervals as the foundation instead of chords. How I got here... ** 1993: Heard the Jurassic Park score in the theater and was blown away. ** 2000: Started to compose and learned traditional theory. Quickly, I hit the same wall most composers hit: the music I wrote was technically correct but forgettable. ** 2005 onwards: Started scoring professionally for animation, film, documentaries, and video games (Disney, Mattel, theme parks, and many others). Built a library of 700+ tracks for production and sync. ** 2015: Everything changed. A workshop with Thomas Chase Jones (TC) flipped the way I think about music. It was all about intervals, and composition got cleaner, faster, and more original. That shift became a system. The system became MITA. ** Since then: hundreds of composers have gone through the Academy. My business partner TC has credits on approximately 1,800 TV shows (Scooby-Doo, Batman, Dexter's Lab, Tom and Jerry — look him up). Together, we teach what most music schools don't. On this channel, I share the exact methods I use to help composers find their voice, work faster, and stop feeling stuck. If you've ever felt like your music sounds too generic, or like you understand theory but still can't quite control what you're creating, you're in the right place. Never stop composing, Frank

https://www.skool.com/circle-of-interval-magicians/about I teach you interval-based composition in 30 days (or less)! From the basics to advanced concepts, I'll guide you step by step. Start your free 7-day trial today, and after that, it's less than one coffee per week! If you're new here, my name is Frank, and I'm the co-founder of the Music Interval Theory Academy (MITA), which I've been running since 2015. I teach composers how to stop guessing and start creating music with real intention, using intervals as the foundation instead of chords. How I got here... ** 1993: Heard the Jurassic Park score in the theater and was blown away. ** 2000: Started to compose and learned traditional theory. Quickly, I hit the same wall most composers hit: the music I wrote was technically correct but forgettable. ** 2005 onwards: Started scoring professionally for animation, film, documentaries, and video games (Disney, Mattel, theme parks, and many others). Built a library of 700+ tracks for production and sync. ** 2015: Everything changed. A workshop with Thomas Chase Jones (TC) flipped the way I think about music. It was all about intervals, and composition got cleaner, faster, and more original. That shift became a system. The system became MITA. ** Since then: hundreds of composers have gone through the Academy. My business partner TC has credits on approximately 1,800 TV shows (Scooby-Doo, Batman, Dexter's Lab, Tom and Jerry — look him up). Together, we teach what most music schools don't. On this channel, I share the exact methods I use to help composers find their voice, work faster, and stop feeling stuck. If you've ever felt like your music sounds too generic, or like you understand theory but still can't quite control what you're creating, you're in the right place. Never stop composing, Frank

https://www.skool.com/circle-of-interval-magicians/about I teach you interval-based composition in 30 days (or less)! From the basics to advanced concepts, I'll guide you step by step. Start your free 7-day trial today, and after that, it's less than one coffee per week! If you're new here, my name is Frank, and I'm the co-founder of the Music Interval Theory Academy (MITA), which I've been running since 2015. I teach composers how to stop guessing and start creating music with real intention, using intervals as the foundation instead of chords. How I got here... ** 1993: Heard the Jurassic Park score in the theater and was blown away. ** 2000: Started to compose and learned traditional theory. Quickly, I hit the same wall most composers hit: the music I wrote was technically correct but forgettable. ** 2005 onwards: Started scoring professionally for animation, film, documentaries, and video games (Disney, Mattel, theme parks, and many others). Built a library of 700+ tracks for production and sync. ** 2015: Everything changed. A workshop with Thomas Chase Jones (TC) flipped the way I think about music. It was all about intervals, and composition got cleaner, faster, and more original. That shift became a system. The system became MITA. ** Since then: hundreds of composers have gone through the Academy. My business partner TC has credits on approximately 1,800 TV shows (Scooby-Doo, Batman, Dexter's Lab, Tom and Jerry — look him up). Together, we teach what most music schools don't. On this channel, I share the exact methods I use to help composers find their voice, work faster, and stop feeling stuck. If you've ever felt like your music sounds too generic, or like you understand theory but still can't quite control what you're creating, you're in the right place. Never stop composing, Frank

https://www.skool.com/circle-of-interval-magicians/about I teach you interval-based composition in 30 days (or less)! From the basics to advanced concepts, I'll guide you step by step. Start your free 7-day trial today, and after that, it's less than one coffee per week! If you're new here, my name is Frank, and I'm the co-founder of the Music Interval Theory Academy (MITA), which I've been running since 2015. I teach composers how to stop guessing and start creating music with real intention, using intervals as the foundation instead of chords. How I got here... ** 1993: Heard the Jurassic Park score in the theater and was blown away. ** 2000: Started to compose and learned traditional theory. Quickly, I hit the same wall most composers hit: the music I wrote was technically correct but forgettable. ** 2005 onwards: Started scoring professionally for animation, film, documentaries, and video games (Disney, Mattel, theme parks, and many others). Built a library of 700+ tracks for production and sync. ** 2015: Everything changed. A workshop with Thomas Chase Jones (TC) flipped the way I think about music. It was all about intervals, and composition got cleaner, faster, and more original. That shift became a system. The system became MITA. ** Since then: hundreds of composers have gone through the Academy. My business partner TC has credits on approximately 1,800 TV shows (Scooby-Doo, Batman, Dexter's Lab, Tom and Jerry — look him up). Together, we teach what most music schools don't. On this channel, I share the exact methods I use to help composers find their voice, work faster, and stop feeling stuck. If you've ever felt like your music sounds too generic, or like you understand theory but still can't quite control what you're creating, you're in the right place. Never stop composing, Frank

https://www.skool.com/circle-of-interval-magicians/about I teach you interval-based composition in 30 days (or less)! From the basics to advanced concepts, I'll guide you step by step. Start your free 7-day trial today, and after that, it's less than one coffee per week! If you're new here, my name is Frank, and I'm the co-founder of the Music Interval Theory Academy (MITA), which I've been running since 2015. I teach composers how to stop guessing and start creating music with real intention, using intervals as the foundation instead of chords. How I got here... ** 1993: Heard the Jurassic Park score in the theater and was blown away. ** 2000: Started to compose and learned traditional theory. Quickly, I hit the same wall most composers hit: the music I wrote was technically correct but forgettable. ** 2005 onwards: Started scoring professionally for animation, film, documentaries, and video games (Disney, Mattel, theme parks, and many others). Built a library of 700+ tracks for production and sync. ** 2015: Everything changed. A workshop with Thomas Chase Jones (TC) flipped the way I think about music. It was all about intervals, and composition got cleaner, faster, and more original. That shift became a system. The system became MITA. ** Since then: hundreds of composers have gone through the Academy. My business partner TC has credits on approximately 1,800 TV shows (Scooby-Doo, Batman, Dexter's Lab, Tom and Jerry — look him up). Together, we teach what most music schools don't. On this channel, I share the exact methods I use to help composers find their voice, work faster, and stop feeling stuck. If you've ever felt like your music sounds too generic, or like you understand theory but still can't quite control what you're creating, you're in the right place. Never stop composing, Frank

https://www.skool.com/circle-of-interval-magicians/about I teach you interval-based composition in 30 days (or less)! From the basics to advanced concepts, I'll guide you step by step. Start your free 7-day trial today, and after that, it's less than one coffee per week! If you're new here, my name is Frank, and I'm the co-founder of the Music Interval Theory Academy (MITA), which I've been running since 2015. I teach composers how to stop guessing and start creating music with real intention, using intervals as the foundation instead of chords. How I got here... ** 1993: Heard the Jurassic Park score in the theater and was blown away. ** 2000: Started to compose and learned traditional theory. Quickly, I hit the same wall most composers hit: the music I wrote was technically correct but forgettable. ** 2005 onwards: Started scoring professionally for animation, film, documentaries, and video games (Disney, Mattel, theme parks, and many others). Built a library of 700+ tracks for production and sync. ** 2015: Everything changed. A workshop with Thomas Chase Jones (TC) flipped the way I think about music. It was all about intervals, and composition got cleaner, faster, and more original. That shift became a system. The system became MITA. ** Since then: hundreds of composers have gone through the Academy. My business partner TC has credits on approximately 1,800 TV shows (Scooby-Doo, Batman, Dexter's Lab, Tom and Jerry — look him up). Together, we teach what most music schools don't. On this channel, I share the exact methods I use to help composers find their voice, work faster, and stop feeling stuck. If you've ever felt like your music sounds too generic, or like you understand theory but still can't quite control what you're creating, you're in the right place. Never stop composing, Frank

https://www.skool.com/circle-of-interval-magicians/about I teach you interval-based composition in 30 days (or less)! From the basics to advanced concepts, I'll guide you step by step. Start your free 7-day trial today, and after that, it's less than one coffee per week! If you're new here, my name is Frank, and I'm the co-founder of the Music Interval Theory Academy (MITA), which I've been running since 2015. I teach composers how to stop guessing and start creating music with real intention, using intervals as the foundation instead of chords. How I got here... ** 1993: Heard the Jurassic Park score in the theater and was blown away. ** 2000: Started to compose and learned traditional theory. Quickly, I hit the same wall most composers hit: the music I wrote was technically correct but forgettable. ** 2005 onwards: Started scoring professionally for animation, film, documentaries, and video games (Disney, Mattel, theme parks, and many others). Built a library of 700+ tracks for production and sync. ** 2015: Everything changed. A workshop with Thomas Chase Jones (TC) flipped the way I think about music. It was all about intervals, and composition got cleaner, faster, and more original. That shift became a system. The system became MITA. ** Since then: hundreds of composers have gone through the Academy. My business partner TC has credits on approximately 1,800 TV shows (Scooby-Doo, Batman, Dexter's Lab, Tom and Jerry — look him up). Together, we teach what most music schools don't. On this channel, I share the exact methods I use to help composers find their voice, work faster, and stop feeling stuck. If you've ever felt like your music sounds too generic, or like you understand theory but still can't quite control what you're creating, you're in the right place. Never stop composing, Frank

https://www.skool.com/circle-of-interval-magicians/about Learn Interval Magic and write music that truly stands out and is unique. Start your free 7-day trial today, and after that, it's less than one coffee per week! If you're new here, my name is Frank, and I'm the co-founder of the Music Interval Theory Academy (MITA), which I've been running since 2015. I teach composers how to stop guessing and start creating music with real intention, using intervals as the foundation instead of chords. How I got here... ** 1993: Heard the Jurassic Park score in the theater and was blown away. ** 2000: Started to compose and learned traditional theory. Quickly, I hit the same wall most composers hit: the music I wrote was technically correct but forgettable. ** 2005 onwards: Started scoring professionally for animation, film, documentaries, and video games (Disney, Mattel, theme parks, and many others). Built a library of 700+ tracks for production and sync. ** 2015: Everything changed. A workshop with Thomas Chase Jones (TC) flipped the way I think about music. It was all about intervals, and composition got cleaner, faster, and more original. That shift became a system. The system became MITA. ** Since then: hundreds of composers have gone through the Academy. My business partner TC has credits on approximately 1,800 TV shows (Scooby-Doo, Batman, Dexter's Lab, Tom and Jerry — look him up). Together, we teach what most music schools don't. On this channel, I share the exact methods I use to help composers find their voice, work faster, and stop feeling stuck. If you've ever felt like your music sounds too generic, or like you understand theory but still can't quite control what you're creating, you're in the right place. Never stop composing, Frank

Start here: Free Flipbook — Five Spells Every Composer Needs: https://musicintervaltheory.academy/spells/ Or join the community: Circle of Interval Magicians — $18/month: https://www.skool.com/circle-of-interval-magicians/about/ If you're new here, my name is Frank Herrlinger. I'm the co-founder of the Music Interval Theory Academy (MITA), which I've been running since 2015. I teach composers how to stop guessing and start creating music with real intention, using intervals as the foundation instead of chords. How I got here... ** 1993: Heard the Jurassic Park score in the theater and was blown away. ** 2000: Started to compose and learned traditional theory. Quickly, I hit the same wall most composers hit: the music I wrote was technically correct but forgettable. ** 2005 onwards: Started scoring professionally for animation, film, documentaries, and video games (Disney, Mattel, theme parks, and many others). Built a library of 700+ tracks for production and sync. ** 2015: Everything changed. A workshop with Thomas Chase Jones (TC) flipped the way I think about music. It was all about intervals, and composition got cleaner, faster, and more original. That shift became a system. The system became MITA. ** Since then: hundreds of composers have gone through the Academy. My business partner TC has credits on approximately 1,800 TV shows (Scooby-Doo, Batman, Dexter's Lab, Tom and Jerry — look him up). Together, we teach what most music schools don't. On this channel, I share the exact methods I use to help composers find their voice, work faster, and stop feeling stuck. If you've ever felt like your music sounds too generic, or like you understand theory but still can't quite control what you're creating, you're in the right place. Never stop composing, Frank

https://www.skool.com/circle-of-interval-magicians/about There is a reason some composers always seem to know what to play next, and it is not what most people think. This episode gets into the quiet habit that builds real musical confidence from the inside out.

https://www.skool.com/circle-of-interval-magicians/about When something sounds wrong in your orchestration, the instinct is to reach for the controls. But what if the real problem is somewhere you have not looked yet?

https://musicintervaltheory.academy/interval/interval-quiz.html Most composers never question the system they learned in. This video does. Diatonic and intervallic thinking each have their own advantages, and knowing the difference can change how you compose. Watch to find out which approach fits where you are right now. Take the free 4-minute quiz in the link above to find out where you are in your compositional journey.

https://musicintervaltheory.academy/spells/ Grab it! - It's free, and one of the best resources for composers available.

https://www.skool.com/circle-of-interval-magicians/about There's a question that trips up almost every composer trained in functional harmony. The answer most theory books give is complicated. Intervals make it simple.

https://www.skool.com/circle-of-interval-magicians/about Most composers don't have a creativity problem. They have a completion problem. Frank talks about why that folder full of almost-finished pieces might be the thing quietly holding you back.

https://www.skool.com/circle-of-interval-magicians/about You want richer harmony but every attempt starts sounding like jazz. Frank shares why color has nothing to do with genre, and what one small borrowed sound can do for your music.

https://www.skool.com/circle-of-interval-magicians/about There is a moment most composers know well: the melody feels right, but the harmony just won't cooperate. Frank shares what happened when he stopped thinking in chords and started thinking in lines instead.

https://www.skool.com/circle-of-interval-magicians/about In this episode, Frank explores why adding more complex chords doesn’t always improve your music. Instead of focusing on chord labels, he invites you to think in terms of musical energy—shaped by elements like density, register, rhythm, and orchestration. By aligning harmony with the energy a moment truly needs, your compositions can feel more intentional, clear, and expressive.

https://www.skool.com/circle-of-interval-magicians/about In this episode, Frank explores the idea that “wrong” chords are often just incomplete musical moments. By adding context, adjusting harmony, and staying curious a little longer, composers can transform uncertainty into expressive and original harmonic choices. The episode encourages a shift from judgment to exploration in the creative process.

https://www.skool.com/circle-of-interval-magicians/about In this episode, Frank explores how early self-judgment can quietly shut down your creative flow. By allowing your first ideas to be rough and unfinished, you create space for momentum, connection, and playful exploration. The focus shifts from proving something to simply building something, helping you reconnect with a more natural and enjoyable composing process.

https://www.skool.com/circle-of-interval-magicians/about In this episode, I explore why trying to “improve” a good melody can sometimes weaken it. I talk about the strength of diatonic, whistleable melodies and how they create trust and clarity for the listener. Instead of forcing complexity too early, I suggest using simple melodies as a foundation and adding tension with intention, not insecurity.

https://www.skool.com/circle-of-interval-magicians/about In this episode, I explore why choosing chords can feel random when there’s no clear story behind your music. I share how defining a simple “story container” — like a scene, emotion, or memory — can guide your harmonic decisions and bring clarity to your composition. When the intention is clear, harmony becomes purposeful instead of accidental.

https://www.skool.com/circle-of-interval-magicians/about In this episode, I explore the hidden limitations of composing in isolation and how it can slow down your creative growth. I share why getting feedback and being part of a community can accelerate your progress, help you spot patterns faster, and make better creative decisions. The key idea is simple: growth doesn’t just come from doing more, but from seeing more.

https://www.skool.com/circle-of-interval-magicians/about In this episode, Frank explores why interval theory often feels difficult and how the real challenge may lie in unclear fundamentals rather than complex concepts. He shares how becoming comfortable with treble and bass clef transforms intervals from abstract calculations into visual, intuitive tools. The episode highlights how small improvements in note recognition can remove creative friction and make composing feel more natural and enjoyable.

https://www.skool.com/circle-of-interval-magicians/about In this episode, I explore how relying on proven formulas can lead to familiar results, and why that’s not necessarily a problem. The real shift happens when you expand those foundations with your own perspective. This episode focuses on how originality comes from shaping what already works into something that feels personal and authentic.

https://www.skool.com/circle-of-interval-magicians/about In this episode, I explore how placing unconventional interval ideas inside familiar structures can make them feel natural and expressive. The focus is on balancing complexity and simplicity so your music remains engaging while still being clear and meaningful to the listener.

https://www.skool.com/circle-of-interval-magicians/about In this episode, I explore what to do when you discover unusual note combinations that don’t seem to fit traditional harmony. Instead of trying to force them into familiar structures, I share how context, storytelling, and musical direction can transform any sound into something intentional and meaningful. The focus is on shifting your mindset from “is this correct?” to “how can I make this belong?”

https://www.skool.com/circle-of-interval-magicians/about Professional musicians can perform extremely complex music, but what often matters more than complexity is clarity of structure. When musical lines are built from recognizable patterns, performers can process them quickly and play them with confidence. Random intervals without internal logic are much harder to read and less enjoyable to perform. In this episode, we explore how patterns, shapes, and structural thinking can make complex music both playable and musically satisfying.

https://www.skool.com/circle-of-interval-magicians/about Complex interval structures can look beautiful on paper, but choral writing requires a special sensitivity to how singers actually experience pitch. Unlike instruments, singers generate pitch internally and rely heavily on familiar tonal patterns as reference points. In this episode, we explore why staying closer to recognizable scales and melodic shapes can help maintain stable intonation, especially with choirs that are unfamiliar with non-traditional tonal language. Singable writing isn’t about simplifying the music—it’s about creating music that can truly succeed in performance.

https://www.skool.com/circle-of-interval-magicians/about Many musicians instinctively hear the major second as more dissonant than the minor third. But when we look at the overtone series—the natural harmonic structure inside every sound—we discover a surprising perspective: relationships corresponding to the major second appear earlier than those connected to the minor third. This episode explores how our perception of consonance and dissonance is shaped not only by acoustics, but also by musical habits and cultural listening patterns. By exploring harmony through the overtone series, composers can begin hearing intervals in a more flexible and creative way.

https://www.skool.com/circle-of-interval-magicians/about In this episode, Frank explores why many composers struggle to apply intervallic thinking in their music and how a simple shift in perspective can solve the problem. Instead of forcing interval techniques into an existing tonal system, composers can look for areas where both systems naturally overlap. Using a C major triad as an example, Frank demonstrates how scaling interval structures can create fresh harmonic colors while staying connected to familiar tonal foundations.

The Circle of Interval Magicians: https://www.skool.com/circle-of-interval-magicians/about In this episode, Frank explores an often overlooked aspect of film scoring: timing. Many directors prefer the actor’s performance to land the emotional moment first, with the music entering just after to support the impact. But there are also situations where the score needs to guide the scene by arriving slightly earlier. Understanding when to lead and when to step back is an essential storytelling skill for composers working with film, animation, and other visual media.

Circle of Interval Magicians: https://www.skool.com/circle-of-interval-magicians/about In this episode, Frank explores how pedal tones can do more than create tension. A sustained note can gently reset the listener’s ear, allowing bold harmonic transitions to feel natural and fresh. By holding a single tone long enough, the listener’s memory of the previous harmony begins to fade, creating space for new musical ideas to arrive smoothly. This technique can be especially powerful in storytelling music, helping guide the audience through harmonic changes without confusion.

https://www.skool.com/circle-of-interval-magicians/about/ In this episode, Frank explores why repetition itself is not the enemy in composition—flat repetition is. He shares how layering simple polyrhythms like three against two can transform a static loop into a living, breathing groove. Drawing inspiration from composers like Philip Glass and John Adams, he explains how patterns in conversation create motion, tension, and energy without adding more harmony or density. A practical and inspiring look at how shifting relationships, not adding content, can unlock new life in your music.

https://www.skool.com/circle-of-interval-magicians/about In this episode, Frank shares his approach to starting a composition not with notes or chords, but with energy. He walks through his creative chain from story to feeling, from feeling to tempo, from tempo to texture, and only then to harmony and palette. You will explore how emotional temperature shapes musical decisions, how contrasting registers create tension, and how Interval Magic can help you think in terms of energy instead of just scales. A practical and inspiring perspective for composers who want their music to feel inevitable rather than constructed.

Download the free guide “5 Spells Every Composer Needs” here: https://musicintervaltheory.academy/spells/ In this episode, Frank explores how simple observation can unlock powerful musical ideas. By watching everyday movements—like birds hopping or leaves shifting in the wind—composers can discover natural rhythm, contour, and character. These real-life gestures translate directly into intervals, orchestration choices, and storytelling in music. Instead of forcing clever ideas, we can let authentic movement guide our composition process and bring our patterns to life.

Explore the Circle of Interval Magicians: https://www.skool.com/circle-of-interval-magicians/about/ In this episode, Frank explores the double-edged nature of pattern education. While learning common musical patterns is essential, relying on them without reshaping leads to generic results. Composers are encouraged to mutate patterns through changes in rhythm, orchestration, articulation, harmony, and emotional intent. Patterns are public property—but personal creative decisions transform them into original music.

Download the free guide “5 Spells Every Composer Needs” and learn interval-based composition techniques that create motion and emotional growth: https://musicintervaltheory.academy/spells/ In this episode, Frank explores how music can feel alive even when harmony remains static. Using examples like Bolero, he explains how motion comes from shaping intensity through dynamics, register shifts, density, and interval tension. Instead of adding more chords to fix boredom, composers can design the energy arc and let emotional growth unfold within a single harmonic space.

Download the free guide “5 Spells Every Composer Needs” and start using interval-based techniques that create flow and motion in your music: https://musicintervaltheory.academy/spells/ In this episode, Frank explores why leaving patterns exposed can make music feel mechanical and predictable. He shares practical techniques to hide loops, blur transitions, and create seamless motion between sections. You’ll learn how to stretch ideas across bar lines, use fills and countermelodies as camouflage, write transitions backward, and dissolve the grid so listeners feel story instead of structure.

Download the free guide “5 Spells Every Composer Needs” and learn interval-based techniques you can use immediately in your compositions: https://musicintervaltheory.academy/spells/ In this episode, Frank explains why many composers feel slow: they try to generate and refine at the same time. By separating the creative phase (draft one) from the development phase (draft two), composers can work faster, think more clearly, and reduce creative friction. The key is to write the simple core idea first and shape it later. Speed in composing is not about talent—it’s about process.

Explore the Circle of Interval Magicians and dive deeper into interval-based composition techniques: https://www.skool.com/circle-of-interval-magicians/about In this episode, Frank challenges the common advice of “just modulate” when composers feel stuck inside a scale. True freedom doesn’t come from changing scales but from changing perspective. By using equal interval structures and moving them chromatically, composers can step outside traditional scale boundaries while maintaining clarity and coherence. Thinking in interval relationships rather than scale containers opens the door to greater creative control and expressive freedom.

Download the free guide “5 Spells Every Composer Needs” and start using interval-based composition techniques in your own music: https://musicintervaltheory.academy/spells/ In this episode, Frank explores the overlooked concept of interval resolution and explains why single intervals—not just chords—are the true carriers of musical energy. By focusing on how intervals like the minor second resolve and move, composers can create tension, release, and forward motion without relying on heavy harmonic changes. Thinking horizontally instead of vertically opens up new expressive possibilities and leads to more alive, breathing music.

Download the free guide “5 Spells Every Composer Needs.” Spells are interval-based composition techniques that work like magic. In this guide, Frank explains 5 of his most-used spells with examples so you can implement them in your own music. https://musicintervaltheory.academy/spells/ In this episode of The Music Interval Theory Podcast, Frank shares some hard-earned wisdom about mistakes, decision-making, and the hidden costs of creativity. Drawing from over two decades of experience, he talks about how knowing which mistakes are reversible—and which ones aren’t—can shape not only your music, but your whole career. Learn how to navigate tough calls, take smart risks, and keep moving forward in your musical journey.