Archives – Music Writing Tips #101 – #150

Tip #101 – Weird Third Interval Substitution

Tip #102 – Ending on a “Wrong” Note

Tip #103 – Negative Harmony Reflection Over Tonic

Tip #104 – Negative Harmony Reflection Over Tritone

Tip #105 – Weird Minor Chord Substitution

Tip #106 – Understanding the Manavati Scale

Tip #107 – Dominant Chords Resolving Onto Themselves

Tip #108 – Innate Pulls of Dominant Modulations

Tip #109 – Key Change with Chromaticism

Tip #110 – Understanding the Tanarupi Scale

Tip #111 – Key Change with a Pivot Chord

Tip #112 – Avoid Rewriting with a D.C.

Tip #113 – Avoid Rewriting with a D.S.

Tip #114 – Understanding the Senavati Scale

Tip #115 – Altering the Fifth of a Chord

Tip #116 – Key Change with a Predictable Melody

Tip #117 – Using the Arabic Scale

Tip #118 – Building a Hybrid Scale

Tip #119 – Understanding the Hanumatodi Scale

Tip #120 – Writing and Building Polychords

Tip #121 – Double Meter Mindfulness

Tip #122 – Mindfulness When Using Wind Pads

Tip #123 – Conceptualizing a Thematic Bridge

Tip #124 – Understanding the Dhenuka Scale

Tip #125 – Crossing Voices to Avoid Repetition

Tip #126 – Checklist for a Well-Crafted Introduction

Tip #127 – Cheat-Sheet for Harmonic Lead-Ins

Tip #128 – Rethinking One-Part Density / Unison Lines

Tip #129 – Understanding the Natakapriya Scale

Tip #130 – Pros of Melodic Overlap

Tip #131 – Experimenting with Melodic Coupling

Tip #132 – The 373 or 737 Voice Leading

Tip #133 – Checklist for a Well-Crafted Ending

Tip #134 – Ending with a Cadenza

Tip #135 – Understanding the Kokilapriya Scale

Tip #136 – Plurality in Chord Substitution

Tip #137 – Simplifying Harmony to a Pedal Point

Tip #138 – Using Random Modulations in Length

Tip #139 – Checklist for a Well-Crafted Turnaround

Tip #140 – Cheat-Sheet for Optimum Places of Turnarounds

Tip #141 – Understanding the Rupavati Scale

Tip #142 – Mindfulness of Harmonic Intervals in Two-Part Density

Tip #143 – Evaluating Your Chord Voicings

Tip #144 – Chord Tone for Two-Part Density

Tip #145 – The Seesaw of Acoustic Balance in Counterpoint

Tip #146 – Understanding the Gayakapriya Scale

Tip #147 – Cheat-Sheet on How to Substitute in Extensions into Triads

Tip #148 – Reducing Dominant Chords to Three-Note Harmonies

Tip #149 – Cheat-Sheet for Using Definitive Triads

Tip #150 – Difference Between Open and Closed Fourth Structures