Music , like any other art form , needs to always be fresh and interesting in order to keep the listener engaged . The idea is that the listener , who listens to your music , does not get bored , and maintains interest . For this , you must make music that is interesting to listen to , where there is variety and contrast . Here are four ways to help you achieve that .
1 . Harmony
Harmonic Density : Triads , quadrads , extended chords , added notes , etc . The more notes the harmony carries in each chord , the denser .
Harmonic Function : Tonic / Subdominant / Dominant , Cadential , Modulatory , Wandering , Discursive , etc .
Harmonic Rhythm : Duration of each chord and the relationship between these durations . It can be symmetrical or asymmetrical , fast or slow .
Tonal centers or Tonics : maintain the tonal center , the central note or rest , or vary it .
Diatonic or Chromatic Harmony : if your harmony stays within a scale it is diatonic . If it varies a lot and moves away from the original scale , it is chromatic . Arrangement of Harmony : how you arrange the notes of the chords .
2 . Melody
More mobile or more static melodies : the amount of movement or notes within it . You can stick to a few long notes , or have a series of scales or motifs with eighth notes , which would be more mobile . Diatonic or Chromatic Melodies : if you stick to harmony strictly or use some chromaticisms such as passing notes , borders , approximations , enclosures , etc .
Scope : the distance between the highest and lowest note within a melodic phrase .
Melodic curve : the shape that the melody suggests , the drawing it makes .
Beginning of the phrase , at the rhythmic level : it can be on strong beats , on weak beats , syncopated , etc .
Meter or Time Signature Changes : This is a strong contrast , use with care as it can be difficult to come back . Softer when both bars have the same number of quarter notes / eighth notes , eg between 6 / 8 and 3 / 4 .
Accentuation changes : Softer , when we change the accentuation within the same measure .
4 . Timbre
Same material , different instruments : the same musical material , be it a chord , a melody , a noise , etc ., can be passed from one instrument to another to favor variety and also add unity . For example , when the vocal melody is quoted in a solo , or when the brass plays a line similar to the melody of the chorus , or a contrapuntal imitation , etc . Vary the timbre depending on how you play the instrument : every instrument has infinite sounds / timbres , and they should be explored . They depend on whether you play louder or slower ( dynamics ), if you play closer to the bridge on the strings , if you use a pick or fingers , etc .
Timbral variation with effects : You can also use pedals or effects to vary the timbre of any instrument . Keep in mind that the more complex the sound , the more exhausting it is for the listener . If you have a distortion in the voice , especially when it is very intense , it may work better for you to use it only in some sections .
Remember , making your music interesting isn ’ t just for your listeners . It also helps musicians when they try to infuse some new and interesting ideas into their music . It can help musicians avoid falling into a creative rut and get bored of the music making process over time . New and interesting ideas can be the shot of creative stimuli needed to take your music to the next level .
3 . Rhythm
Density or Rhythmic Texture : how do you fill the measure , if it is more crowded or leaves more empty space , either with long notes or multiple rest periods .
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