In my previous post, Generating Ideas for Music Composition, I wrote out some suggestions for approaching what may be a daunting task – writing a piece of music. Once writers “complete” a composition, often times they rehearse what they wrote to hear it and make revisions. I use the term “complete” very loosely. Often times a composition is never done since the composer can always come up with a new take on a previous tune as they grow musically. I often think of what else I can do to my original works and arrangements. Usually they fall into the categories of:

1.) Dynamics – Use crescendos, decrescendos and other dynamics markings to build and release tension and distinguish between different sections and phrases.

2.) Articulation – Many ignore this important facet (especially non-horn players). Words such as staccato, legato, marcato and accent come to mind. Articulation is the equivalent to using punctuation when writing sentences. So, end your phrases as you would completing a sentence.

3.) Voiceleading – Strive for clarity among voices and parts. Make sure you move each voice with intent. Each note counts.

4.) Reharmonization and Chord Substitution – Many times composers can find a different substitution for a chord progression or melody note. i.e: instead of D9 (spelled d, f #, c, e) with the e in the melody, try Ab7(#5) (d’s tritone substitution, spelled ab, gb, c, e). That is just one of many examples. Deceptive cadences have their usages, too.

5.) Playability – Just because it sounds or looks cool doesn’t mean each instrument can actually play it with ease or at all. Some notes will lay better in different ranges. A transposition chart will help alongside hanging out with other instrumentalists.

6.) Readability – Make sure to make your charts as easy to read as possible. Write your note heads clearly and do not obscure important rhythmic beats in a measure – i.e: beat 3. Also, make use of double bar lines to mark ends of sections and use the appropriate number of bars per line to show sections and phrases – i.e: 3 or 4 bars per line. Additionally, write your chord symbols with as less clutter as possible – i.e: Cmin9 works better than Cmin7no5,add9. If you must be specific, spell out the voicing using notation or put the upper extensions in parentheses – C7(#9). Also, some people use CM to denote major and Cm to denote minor. Writing out Maj or min works better because sometimes capital M’s can look like lowercased m’s. Additionally, invest in programs such as Finale or Sibelius and learn these programs inside and out (although there is something to be said for the composer using only paper and pencil). Lastly, study published songbooks to see how the typesetting looks.