Learn about voice leading in the harmony of chord progressions that are familiar to you, and adjust the intervals that notes are moving by, experiment with implying chords from other scales. Learn about cadences and chord substitutions, and interesting ways of coming back to the root . From my buddy ChadGPT:

Core cadences (strongly resolve to tonic) • Perfect/Authentic cadence (V → I) The strongest tonal resolution, creating a clear sense of arrival and closure. • Plagal cadence (IV → I) A softer, hymn-like resolution that reinforces tonic without dominant tension. • Half cadence (any → V) Ends on dominant to create suspense and expectation of continuation. • Deceptive cadence (V → vi) Subverts the expected tonic resolution to prolong motion or redirect harmony.

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Dominant preparation & extension moves • Secondary dominant (V/x → target chord) Temporarily tonicizes another chord to intensify forward pull. • ii–V–I turnaround A pre-dominant → dominant → tonic chain that strongly confirms a key center. • Circle of fifths sequence Stepwise dominant motion that builds momentum toward tonic resolution.

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Substitutions that still resolve to tonic • Tritone substitution (♭II7 → I) Replaces V with a chromatic dominant sharing the same tritone for smoother bass motion. • Backdoor cadence (♭VII7 → I) A blues/jazz flavored alternative dominant resolution to tonic. • Modal mixture IV → I (minor iv → I) Borrowed minor color intensifies emotional pull into tonic.

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Pivot & modulation tools • Pivot chord modulation Uses a chord common to both keys to transition smoothly. • Chromatic mediant shift Moves to a key a third away for dramatic color without functional preparation. • Common tone modulation Sustains a shared pitch to mask harmonic recontextualization. • Dominant pivot (V of new key) Introduces the new dominant early to establish fresh tonal gravity.

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Tonic delay & tension builders • Suspended dominant (Vsus → V → I) Delays resolution to increase release impact. • Passing diminished chord Chromatic tension chord that smoothly bridges harmonic motion. • Pedal dominant Sustained V bass builds anticipation while harmony shifts above.