A band named Shiner made an album called BELIEVEYOUME with 10 songs. Brandon wanted to write one music page for each song that shows how the singing notes rub against the guitar chords, in the style of a music teacher online called ixi.
It took a long time and got messy. Brandon tried three different plans and none of them finished all 10. Some of the notes he wrote down were wrong, and each new try just copied the wrong notes again.
The fix was a rule: do not trust your old notes, go check the real song every time. When he did that, he found six mistakes and fixed them, and finally finished all 10 song pages in one day. This page is the story of how that happened.
what we did across the whole run of chats
Shiner · 2025 · 10 tracks · overview built 2026-07-01 · every claim below traces to a live page
BELIEVEYOUME is Shiner's 2025 album, ten tracks. The job was to write an ixi-style analysis sheet for each song: the close read that follows a sung note against the chord stack underneath it and shows what recolors, a flat-6, a contested third, a suspension, a tritone cluster, a song that lives on its own dominant. The finished bar is the reference set at iximusic-analysis-sheets, the established iximusic reference bar in one house format.
The corpus is fixed at the 10 album tracks. Martyr, Christ Sized Shoes, The Situationist, and The Truth About Cows sit outside the scope and never enter any sheet.
One closed set of 10 song sheets in a single format, each with its own distinct thesis, each claim grounded in a real source. For most of the project that set did not exist. The album stayed at one song in the proof format while nine trailed behind on old auto-detector prose.
Across roughly 59 substantive chats over about a month (the framework work shown below runs June 2 to July 1), the deliverable itself kept changing shape. Three separate finish frameworks each restarted with a fresh product definition, and none of them reached ten songs. The book competed with the sheets for the same hours. Two songs stalled on missing stems.
The evidence of the churn is on the record: 60-plus live believeyoume slugs (62 route directories at last count), two separate 10-phase finish plans where v2 literally says it supersedes v1, 13 manuscript backups, 6 key-file backups. The forensic writeup lives at believeyoume-why-unfinished.
| 01 | So Far So | prior grade | D-mixolydian verse, the F♯-to-D-major turn, a B♭ chorus and an Am/E bridge. |
| 02 | The Alligator | rebuilt | One rhythm voicing (G+A+D, no third) over a I-to-♭III bass. The bass alone decides the chord, the voice supplies the third, the cadence places it in the bass. |
| 03 | Broken Satellites | rebuilt | A song that lives on its own dominant, a B♭ surface over an E♭ center, a chromatic ♯4, a parallel-minor flip, and a ♭VII outro that never resolves. |
| 04 | Lazarus | rebuilt | A third-less C5 over a tritone bass walk, the voice falling F-E-D-C, a flat-side refrain, and a "dance Lazarus arise" call over an A♭maj7 glow. |
| 05 | Asleep In The Trunk | rebuilt | A third-less F engine (C-E♭-F). The band leaves the major third out, so the voice supplies it, singing A♮ on the word "for." Six sections, GP plus stems. |
| 06 | Not Too Much | rebuilt | A hidden-root first-inversion intro, a B♭-to-A♭ whole-step rocker, a chromatic C♯ chorus under a held B♭, and an outro on D, a tritone from home. |
| 07 | Endless Summer | rebuilt | A vocal D that recolors as the chords move (3rd, 9th, root), a major/minor third flip via B♭ and B♭m, and a dominant-framed third-less close. |
| 08 | The Mutiny | prior grade | A root clamp into flat-side movement, resolving on a late shared D. |
| 09 | My Mirror Hates Me | rebuilt | An E pedal with a contested third: the voice sings G♯ then G♮, the chorus stacks both at once, and the song walks off to G/D instead of choosing. |
| 10 | Jackie | rebuilt | The closer in A♭ major/Lydian with a rootless hidden tonic, the voice outlining M3/M7/9, a ♯4 brightening, a V chorus, and an A♭↔Cm vamp that cycles with no closing cadence. |
Each sheet renders standard notation plus tablature in the song's verified tuning (most in Drop C; My Mirror Hates Me is in standard tuning), wherever the source carries that part. Eight were rebuilt fresh in the restart, two carry an earlier grade. Capstone index: believeyoume-ixi-v5.
The old passes laundered wrong claims forward. Each pass trusted the previous pass's roster notes, so a bad read got copied instead of checked. Grounding every claim in a primary source surfaced six of them at once.
| Song | The claim that was wrong | What the source said |
|---|---|---|
| Asleep | an A versus A♭ rub | no such rub in the source |
| Broken Satellites | a sung D doing three jobs | overstated, cut to match the Songsterr chart |
| Not Too Much | a held F4 | a held B♭ |
| Endless Summer | the voice supplies the M3 | the third is in the bass |
| Endless Summer | a plagal B♭↔E♭ outro | B♭↔F, not plagal |
| My Mirror | the outro ends on the M3 | it ends on G/D |
| Jackie | an A♭ floor | a rootless A♭ voicing, re-keyed from C |
The audio-truth model also caught the Alligator mis-key: the raw chart auto-named G minor in 5/4, the audio-truth read G major in 4/4 with a I-to-♭III move.
Reusable for any band-book or ixi pass. The failure was always the same shape: the model graded its own homework. The cure was to distrust the homework.
All ten v5 sheets render at their routes, gathered by a capstone index. The long-running roster fraud was caught and cut. The standing rule is frozen: any future "finish believeyoume" request routes straight to the v5 pipeline, one song per pass, reusing vetted facts. Do not start a fourth framework.