Tip #1 – Using Repetition in a Unique Way
Tip #2 – Getting to a Musical Destination with a Sequence
Tip #3 – Adding Some “Boom” to Your Accompaniment
Tip #4 – Crafting Melody with Chord Inversions
Tip #5 – Finding the Right Chords for your Phrygian-Dominant Scale
Tip #6 – Incorporating Melodic Alternation Interplay for Variety
Tip #8 – Finding That Melodic Pair with Contrary Motion
Tip #10 – Grouping & Reordering Figures in a Melody
Tip #13 – Workshopping the Fill
Tip #14 – Softening an Ending with a Shifted Cadence
Tip #15 – Colors in a Delayed Cadence
Tip #16 – Suppress an Ending with an Elided Cadence Maneuver
Tip #17 – Ways To Milk The End
Tip #20 – Coming Home to your Newly Renovated Tonic
Tip #21 – Substitute Dominant!
Tip #23 – Finding a Good Modal/Synthetic Cadence
Tip #24 – Getting the Best Out of Bitonal Cadences
Tip #25 – Escape Chord Movement
Tip #26 – Three Ways to Develop your Parallel Period
Tip #27 – Growing a Musical Seed with Forms of Repetition
Tip #28 – Stringing Similar Phrases into a Phrase Group
Tip #29 – Building a Double Period
Tip #30 – Multiply with a Period Group
Tip #31 – Melody and Counterpoint Help with Augmentation
Tip #32 – Melody and Counterpoint Help with Diminution
Tip #33 – Using Skills to Build a Mensuration Canon
Tip #34 – Finding Creative Counterpoint in Reflection Treatment
Tip #35 – Incorporating Double Canons into Works
Tip #36 – Two Different Kinds of Grounds
Tip #37 – Dominant Bebop Scale Uses
Tip #38 – Minor Bebop Scale Uses
Tip #39 – Dorian Bebop Scale Uses
Tip #40 – Major Bebop Scale Uses
Tip #41 – Melodic Minor Bebop Scale Uses
Tip #42 – Harmonic Minor Bebop Scale Uses
Tip #43 – Half-Diminished Bebop Scale Uses
Tip #44 – Phrygian Bebop Scale Uses
Tip #45 – Locrian Bebop Scale Uses
Tip #46 – Adding the Minor Blues Scale
Tip #47 – Working the Major Blues Scale and Replacements
Tip #48 – Using the Mock Blues Scale