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Photo credit: Haley Hays
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Music theory is the system of rules, concepts, and structures that explain how musical elements like notes, scales, chords, rhythm, melody, harmony, and form function together.
You Don’t Need Music Theory To:
Examples:
But Music Theory Helps You To:
Learn faster and explore more advanced styles (jazz, classical, progressive rock, etc.)Understand why chords and progressions sound good. Create more interesting solos and riffs. Communicate better with other musicians. Transpose songs into new keys. Improvise confidently.
Music theory isn’t just for rock and roll artists. It’s the invisible framework that supports nearly every song we hear—regardless of genre. From pop to metal, soul to country, music theory provides the tools that help artists create harmony, tension, emotion, and unforgettable hooks.
Let’s explore how it works across genres—and how country music uniquely blends simplicity with smart, theory-based decisions. Country music is often known for its storytelling and accessible melodies, but behind the scenes, it leans heavily on music theory fundamentals:
Bri Bagwell, a modern country artist with a strong grasp of music theory, structures her songs with intentional modulations and dynamic key choices that shape mood and progression. For example, her seamless blend of major and minor tonalities can evoke hope and heartbreak within a single verse.
Country music often walks a tightrope between tradition and reinvention, Bri Bagwell charges forward with fearless authenticity. A powerhouse vocalist, award-winning songwriter, and relentless touring artist, Bri has become a defining voice of the Texas music scene—and she’s done it all on her own terms. From honky-tonk stages to major festivals, Bri’s journey is one of grit, grace, and a refusal to be boxed in. With her latest work capturing the raw edges of love, loss, and liberation, she invites listeners not just to hear her story, but to feel it.
In this exclusive interview, Bri opens-up about the moments that shaped her, the songs that saved her, and why she’s never been more confident, more creative, or more unstoppable.
Whether it's a banjo tune in D major or a synth line in Lydian mode, music theory gives artists the tools to make intentional creative choices. In country, it supports the narrative; in jazz, it fuels improvisation; in pop, it drives the hook. Understanding theory doesn’t stifle creativity—it unlocks it. As Bri Bagwell has demonstrated in her career, when an artist truly understands the language of music, they can bend it, break it, or honor it—all while telling a story that sticks.
About Bri Bagwell
Bri Bagwell is a fearless voice in modern country music, known for her fierce independence, sharp songwriting, and commanding stage presence. Born and raised in Las Cruces, New Mexico, Bri built her career from the ground up, becoming a powerhouse on the Texas country scene. With a string of #1 singles on the Texas Regional Radio Report and multiple Female Vocalist of the Year awards under her belt, she’s carved out a path all her own—blending traditional country with rock influences and unapologetic lyrics that reflect her truth.
A road warrior with a magnetic presence, Bri has toured relentlessly across the U.S., sharing stages with legends like Willie Nelson, Miranda Lambert, and Kacey Musgraves. Her 2022 album Corazón y Cabeza showcases her bilingual roots and musical evolution, earning critical praise for its authenticity and grit.
Whether she’s performing at a sold-out venue, writing in Nashville, or inspiring the next generation of artists, Bri Bagwell remains a true original fueled by heart, hustle, and a whole lot of soul.
INTERVIEW WITH BRI BAGWELL AND GUITAR THRILLS MAGAZINE
Guitar Thrills: How has your knowledge of music theory influenced the way you write your songs? Do you think theory gives you an edge creatively?
Bri: From a very young age, I had curiosity about how notes fit together and what notes belong in what key. Choir in middle school taught me the meaning of sharps, flats, scales, and keys because we learned to sightread for competitions. I was able to sit down at a keyboard and immediately understand why each scale is the way it is, because of how far apart each note is. This happens way easier for me on a piano (I know this is a guitar magazine, and I apologize), but it just clicked in my brain! My mom thought it was special that I could sit down and play a piece of (easy to medium) sheet music, and I thought it was just like doing math problems. I was also good at math, too, which I’m just now correlating, ha!
When it comes to playing guitar, I can easily transpose to different keys and play chords that I’m highly comfortable with and use a capo. Tsk tsk you may say, but as a lead singer, I like to be comfortable in my strumming so I can sing, joke, run around, etc without thinking too uch. For example, I have a few songs live that are in Eb, and understanding how I can play that on different instruments definitely gives me an advantage (because I’m comfortable playing in Eb on a piano, but not a guitar without a capo). Between the two instruments, I can play in any key, which I think is very important as a songwriter.
Guitar Thrills: Country music often relies on simple chord progressions—do you ever intentionally push beyond the basics using theory to create something more complex or unique?
Bri: My producer Rachel Loy is really great about adding interesting chords and song structures that push the boundaries a little. I remember writing a song called “Cowboy Cold,” where Rachel ended up putting different chords underneath my chorus melody. She said, “these are the chords you meant to put, you just didn’t know it.” The chords I originally had did work, but hers were way cooler. After that lesson, I’m constantly experimenting with putting different chords under a melody, or a different root note with my left hand, etc.
Guitar Thrills: When you sit down to write, are you thinking in terms of keys, modes, or chord functions—or do you write by ear first and apply theory later?
Bri: I usually try to let the melody and lyrics fall out naturally without overthinking things. A lot of time, melodies appear out of the blue in my head, and there’s even been a few times I had to bring in outside help to determine what chords belonged with that melody! This happens a lot when I write songs that are heavily influenced by Spanish words and melodies… those songs aren’t your typical 1-4-5. I try to write as much as possible without worrying about perfection, and then my producer and I go back and heavily edit before recording. We always try to make the melody and chord structure at least 10% cooler or more interesting.
Guitar Thrills: Can you give an example of a song where you made a theory-based choice—like a key change, modulation, or a particular chord voicing—that had a big emotional impact?
Bri: I remember listening to a lot of 80’s/90’s country one night (well, every night) and hearing the 4 to the 4m quite frequently. It’s a song called “Ring a Bell” where I intentionally wrote it into the chorus because I don’t remember having a song that was 4 to 4m! And I love it. It’s fun to hear something that perks your ears up, and be able to apply it to your own music.
Guitar Thrills: How do you balance the emotional rawness of country music with the intellectual side of theory-based songwriting?
Bri: There are only so many notes to use, and that can be daunting thinking “it’s all been done before.” However, nobody has written about MY life and MY exact feelings and ideas. I try to be as authentic to myself, my experiences, and my emotions as I possibly can, and that’s what has really worked for me. I think that coupled with the fact that I don’t ever want to come across as a lazy songwriter has resulted in some really neat stuff. The minute I feel that I’m ripping something off (unintentionally) or being sluggish with a melody or chords, I scratch it or enlist outside help to make it better and unique. I am surrounded by people that are better than me at music theory; my partner majored in upright jazz bass and my producer is one of the top session players and performers in the country music world. Sometimes simplicity wins, and sometimes theory can provide a tiny improvement that really elevates a song… A lot of times the listener doesn’t even know why! That’s the coolest thing (to me) about theory.
Performance & Arrangement
Guitar Thrills: How has theory helped you communicate better with your band during rehearsals or in the studio?
Bri: My cousin Blue Mortenson who played with the likes of Kenny Chesney, explained the Nashville number system to me when I was about 15. It took him 3 minutes, and I was amazed at how easy it is. I think people are intimidated by it, but it’s really very simple. When we go in the studio, that’s what the studio musicians use, and it’s so nice to be able to say, “let’s try a 2m there instead.” When you can understand the lingo and communicate in the studio and at band rehearsals (my band uses it too), you earn a bit of respect from the people you’re working with.
Guitar Thrills: When you're building an arrangement, how much thought do you put into harmony, rhythm changes, or dynamic movement from a theory perspective?
Bri: I think a lot of it I do automatically after all of these years. I shorten phrases – I’m not sure the best way to say it – but I’ll do a half measure that turns the beat around. I did it in my song “Trenches” just because it sounded natural and cool; I probably heard that happen rhythmically elsewhere and it stuck with me. When I saw the charts in the studio, I remember thinking, “oh yea! I did do that purposefully.” I don’t think of it as trying to intentionally be “cool” or “weird” when I write, but things that sound a little different are often pleasing to my ears after writing for so long.
Guitar Thrills: Do you ever build vocal harmonies based on intervals or theory-driven voicings, or do you trust your ear and adjust as you go?
Bri: I call myself a campfire harmony singer (meaning I sound good at harmonies around a campfire, but don’t necessarily want to do it in the studio). I have been recording in Nashville for a long time, my boyfriend is a top-notch harmony singer, and I am friends with some of the most incredible studio harmony singers on the planet. When I hear them doing very unique harmonies and really fun parts, I am always blown away by that. I don’t write with harmonies in mind, but sometimes we will adjust chords to make cool harmony parts. I love the “oooohs” section on “If You Were a Cowboy” which is E, Bm, A, E which creates unique options for harmonies, for example.
Education, Influence & Perspective
Guitar Thrills: Were you formally trained in theory, or did you pick it up through performance and songwriting over time?
Bri: I wasn’t formally trained in theory beyond middle and high school choir. I’m so thankful for those teachers, though, because that lit a fire in me. I really wish I had formal training, though. I probably do a lot of technical things wrong, but I think that is inspiring to other artists. I hope they know that you don’t have to have formal training to get a decent grasp on what is happening in theory.
Guitar Thrills: Do you think music theory is underutilized or misunderstood in country music, and how would you encourage younger artists to embrace it?
Bri: I think access to it is the issue. I’d love to take a music theory class, but I wouldn’t know how or where to go. I tried to get into some music classes at The University of Texas when I was in college, and I had to audition with two classical pieces. I couldn’t really do that with no training (can I play Faith Hill “It Matters to Me” instead??), and so I was denied entry when I ended up having a really long career in music. If those types of programs exist for songwriters, I would be thrilled to know they’re teaching something that has previously seemed a little bit inaccessible for us songwriters that aren’t lucky enough to attend a school like Belmont or weren’t more formally trained from a young age.
Guitar Thrills: Have you ever used theory to overcome writer’s block or to experiment with new sounds or song styles within the country genre?
Bri: Obviously I play way better in the key of C on a piano, and I don’t necessarily love it on guitar. Whenever I get writer’s block or feel stuck, I just switch instruments. Even a ukulele can shake things up in the mind enough to get something flowing. I write different rhythms on a piano as well. I think having both instruments in my arsenal has led to the wide range of types of songs that I write.
Guitar Thrills: If you could teach one concept from music theory to every aspiring songwriter, what would it be—and why?
Bri: I really believe that the basics seem intimidating when they shouldn’t be (I’m talking Nashville number system). I can’t tell you how many songwriters I have spelled it to, or how many artists have asked me to explain (most of the time in secret) why and how a capo changes the key the way it does. If you memorize the keys on a keyboard, you’ll understand why there’s no B# - if guitar is more of a mystery to you, I really encourage you to try it all out on a piano. It seems to be the lightbulb moment for the people I explain it to! Also, surround yourself with people who really get it. It’s okay to not know all the crazy names of scales and exactly what they mean and do… you can’t do it all! Some people *my boyfriend, cough* really nerd out on that and enjoy helping other people add in theory tools and explaining why they work. I apparently often write and sing some scale (I can’t remember the name) that sounds very bluesy over my country chords. That is from my influences; I may not know the name of the scale, but I think we can and should continue to learn without judgment. The world needs both theory and songwriters who rely solely on intuition. I’m somewhere in the middle. And! Don’t forget about that 4 to 4m!
Why Guitar Theory Matters
It allows you to communicate with other musicians, improvise confidently, and craft solos, riffs, or progressions that evoke specific emotions. Whether you're writing a country ballad, jamming in a blues trio, or navigating a rock arrangement, guitar theory bridges instinct with knowledge. It doesn't limit creativity—it fuels it by giving structure to your ideas and unlocking the full expressive potential of the instrument.
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