How to make Pop music with creative constraints

Stuck on a Pop track? Pull a random Pop creative constraint, accept the brief, and ship a sketch. 175 Pop prompts from the ComposerDeck deck.

Pop constraint cards

• Chord Major 7th Create a major triad with an added major 7th interval. This smooth, jazzy sound appears in many genres.
• Chord Dominant 7th Incorporate a major triad with an added minor 7th. This creates tension seeking resolution.
• Chord Sus4 Use a triad with 4th instead of 3rd. Creates an unresolved, open sound waiting to resolve.
• Chord Sus2 Employ a triad with 2nd instead of 3rd. Creates an open, consonant sound without major/minor quality.
• Chord 6/9 Use a major triad with added 6th and 9th. Creates a bright, contemporary sound without 7th tension.
• Chord Add11 (Major Add11) Incorporate a major triad with an added 11th (often ♯11 for Lydian sound, or natural 11). Adds color without 7th/9th complexity.
• Roman Numeral ii - V - I (Major) Compose using the fundamental jazz progression in a major key. Can be elaborated with 7ths and extensions.
• Roman Numeral vi - IV - I - V Create using this popular progression (sometimes called "sensitive female progression"). Begins with relative minor for emotional quality.
• Roman Numeral I - V - vi - IV Compose with the "axis of awesome" four-chord pop progression. Widely used for its balanced emotional journey.
• Roman Numeral I - vi - ii - V Use this common progression found in jazz "rhythm changes" and doo-wop progressions. Often loops or leads back to I.
• Roman Numeral i - VII - VI - V (Natural Minor Descending) Create a minor key descending progression using natural minor scale chords. Creates a gradual release of tension.
• Roman Numeral I - ♭VII - IV - I (Mixolydian Rock) Use this progression common in rock music that implies a Mixolydian modal feel. The ♭VII adds bluesy character.
• Roman Numeral iii - vi - ii - V Implement an extended jazz turnaround, often leading back to I. Creates a sense of harmonic motion and resolution.
• Roman Numeral i - ♭VI - ♭III - ♭VII (Minor Key Borrowed) Create using this common minor key progression with borrowed chords from the parallel major (Aeolian harmony).
• Roman Numeral IV - iv - I (Minor Plagal Cadence) Implement this cadence featuring a major to minor subdominant resolution to tonic. Creates a bittersweet quality.
• Note B♭ (as Dominant 7th or Blue Note) Feature B♭, perhaps as the ♭7 of a C dominant chord, or as a blue note in F major/D minor.
• Note A♭ (as Borrowed ♭VI or Chromatic Color) Use A♭, perhaps as the ♭VI chord from C minor borrowed into C major, or for chromatic color.
• Note B (as Leading Tone) Emphasize B as the leading tone resolving to C, or as part of a G major chord.
• Chord Maj7♯11 (Lydian Chord) Implement a major 7th with an added sharp 11th, implying a Lydian sound. Creates bright, modern color.
• Chord 7sus4 Use a dominant 7th chord with the 3rd replaced by a 4th. Creates an open, ambiguous dominant quality.
• Chord C/G (Slash Chord - Second Inversion) Use a C major triad with G in the bass (second inversion or pedal tone). Creates stability with harmonic interest.
• Chord G/B (Slash Chord - First Inversion) Implement a G major triad with B in the bass (first inversion). Creates smoother voice leading and bass movement.
• Roman Numeral i - ♭VII - ♭VI - V (Andalusian Cadence - Minor) Use this classic descending progression common in Flamenco and rock/pop. Creates a dramatic, falling tension arc.
• Roman Numeral I - ♭III - ♭VII - IV (Modal Interchange Rock) Implement this modal interchange progression common in rock, borrowing from parallel minor. Creates contrast and color.

Keep going

• Advanced chord progressions
• Modal interchange
• Working with creative constraints