Revision and Craft
Making the draft better.
Constraint Composition
- The idea
- Composing within strict limits forces inventive choices.
- Try this
- Write sixteen bars using only five pitches and two note values.
- Example
- Pitches C, D, E, G, A; quarter and half notes only.
Revising a Single Variable
- The idea
- Changing a single element shows clearly what it contributes.
- Try this
- Rewrite a passage, changing only its harmonic rhythm.
- Example
- A chord per bar becomes two chords per bar. Melody and bass rhythm stay the same.
Reduction Test
- The idea
- A reduction strips a score to its essential lines to check the structure.
- Try this
- Reduce an orchestral sketch to melody, bass and chord symbols.
- Example
- A score of three staves becomes a lead sheet: tune, bass line and symbols such as C, Am, F, G7.
Singability Test
- The idea
- Singing every line exposes awkward phrasing.
- Try this
- Sing each instrumental line to find awkward spots.
- Example
- A line that leaps a ninth with no breath point is a place to revise.
Playability Check
- The idea
- A playability check confirms each part fits its instrument and player.
- Try this
- Check range, breath, bowing, hand span and a realistic tempo for each part.
- Example
- A flute line resting only on its lowest notes under loud brass will not be heard. Move it up or thin the brass.
Countermelody Check
- The idea
- Hearing a countermelody alone shows whether it has its own direction.
- Try this
- Mute the lead melody and listen to the countermelody alone.
- Example
- If it only repeats one note or wanders, give it a clear rise and fall.
Notation Clarity
- The idea
- Clear notation spells notes by their harmonic function and marks every change.
- Try this
- Correct unclear enharmonic spellings and mark every tempo change.
- Example
- In E major, write D♯, not E♭, as the leading tone. Mark rit. and a tempo where they happen.
Blind Listening
- The idea
- A listener with no explanation shows what the music communicates on its own.
- Try this
- Play the draft for a listener without explaining your story.
- Example
- Ask what they heard and then compare it with your intention.
Peer Rehearsal
- The idea
- Reading a draft with players shows where the notation is unclear.
- Try this
- Rehearse with players and note where entrances or rhythms go wrong.
- Example
- If two players miss the same entrance, add a cue or simplify the rhythm.
Version Comparison
- The idea
- Comparing versions side by side shows whether a revision helped.
- Try this
- Keep two exports and identify one clear improvement in the revision.
- Example
- Version 2 arrives at the climax two bars later and sounds more convincing.
Other chapters: Motif and Melody · Rhythm and Meter · Harmony and Tonal Motion · Counterpoint and Voice Leading · Texture and Instrumentation · Form and Architecture · Expression and Narrative · Jazz and Contemporary · Electronic and Acoustic Design
Not every technique suits every style. Adapt it to your instrument and your music.
Open the Composer's Handbook →