Starting a composition is a difficult task. Getting your inspirations, thinking creatively, applying your creative thoughts to your music and supplementing your ideas with additional composition are all difficult tasks to accomplish.
For starters, your current state of mind will greatly affect the music you write – whether you feel angry, joyful or sad chances are your musical composition will in some way reflect this mood.
Different times of day and different seasons affect your composing as well as current affairs and any stress’s you might have.
The varieties of factors that can influence your composition periods are immense and hopefully these few pointers will demonstrate some methods of breaking out of the psychological restraints placed on you.
• Colours – If you are looking to compose a piece of music based around a certain mood find a relevant colour that matches for instance orange gives the impression of energy and drive. Eventually you will learn to bias your mood to suit the composition you are aiming for.
• Character – it is well known for actors to really get inside the character they are portraying through their acting. Understanding key emotions and various behaviors help the actors ‘ live ‘ as their proposed character. If you are creating a theme for a character (think darth vaders theme tune) you need to be demonstrating and describing that character through sound. If you follow the same process as an actor would you will eventually unravel hidden details that will help refine your composition, make it more realist and detailed and allow for it to be much more creative and expressive.
• Nature – a lot of creativity and inspiration can be got by observing nature. From birds communicating through a song like speech to the rustle of leaves in a summer breeze. Trying to emulate nature is an excellent way to begin a sound-scope – or incorporating nature into a character theme for example to express an angelic quality, singing like the birds (fast trills on piccolo or glissandos on the violin)
• Memories – another great source to tap into is your memories. A lot of emotion will go into compositions that are personal in some way to yourself. Spend a few minutes reflecting on your past – try to imagine the memory in great detail – sounds, smells, colours the weather – anything that will give you a good image and story to compose about.
These are just a few sources for inspiration – use your imagination – it has never ending possibilities!
With so many possibilities to compose about and now that your creativity is running, the next area to discuss is music theory.
The last thing that you want to happen is to have all these wonderfully creative ideas for your composition but being held back by the lack of musical knowledge.
A rugby player could develop his passing techniques and his scrum techniques but if he doesn’t know the rules of the game he won’t be able to perform during a game.
Although music composition and as a whole is not bound by any rules you still need the knowledge of writing music – in the same way as a poet needs a knowledge of his language to write a poem.
Some of the key areas you should know about and be constantly revising are:
• The Staff, Bar Lines, Clefs, Time Signatures.
• Note Values, Rests, Phrasing, Rhythm
• Articulation, Instrument Specific Techniques (pizz, con sord)
• Key Signatures, Circle of Fifths, Accidentals, Cadences
• Major, Minor, Diminished, Pentatonic, Diatonic Scales
• Modes
• Chords, Extensions, Inversions, Sequences, Arpeggios
• Instrument Ranges, Timbres of Each Instrument, Difficult Areas of an Instrument (The break on clarinet for instance or seventh position for trombones)
Of course it is not absolutely essential you know about all of this but it will mean that your creativity is weakened due to lack of a means to fully communicate.
Use music theory books – go through them and notate comments on the pages, take notes on to blank flash cards to memorize scales and extended chords, use past music theory exam papers to test and analyze your knowledge and then act on your weak areas, purchase a aural perception CD to recognize different cadences and the general sounds achieved from different combinations of notes and chords – there are many ways to learn all of this but find the way that you are comfortable with and stick to it.
Finally the last piece of advice in this article is to keep your composing active.
Aim to compose a short piece of music each day, maybe before you go to bed you can reflect on your day through a composition. Mix it up – compose for different orchestrations and different abilities.
Composing is challenging but by keeping active like this will greatly benefit you and your compositions – and you never know – you may accidentally stumble upon your masterpiece!
Within the musical community, there is a debate about the value of music theory that will probably never end. Is it important to study music theory scales, or is it much better to just dive into the music and experience it viscerally. The proponents of learning the theory regarded it as an essential part of knowing how to play music. You can learn by trial and error, they say, but you would do much better to benefit from the knowledge of other people. Not learning music theory when you play music is like refusing to learn arithmetic when you are studying math.
The other side, however, has just a strong of an argument. They claim that music theory worksheets are stifling. The point of music, they argue, is creativity. You should dive into it and experience it viscerally. Learning the theory of music too early on can stifle the imagination. Although it is alright to learn music theory chords later on, it is much less important than having some experience actually playing music.
I used to be on the latter site, but I have recently switched opinions. You see, I learned music without music theory. I didn’t even know music colors theory, much less the more formal and rigorous stuff. To me, you see, playing music was almost a physical experience. I could feel the sounds and textures around me. I didn’t really need someone telling me what the structures meant. I could tell what they meant with my entire soul.
As I have matured as a musician, however, I have seen the use and the need for music theory. I have even begun to use music theory worksheets, and I hope to understand it pretty thoroughly within the next couple years. You see, the most important thing about theory is that it gives you a good vocabulary to talk about music.
I believe that you can learn to play anything without music theory. What you can not do, however, is to talk to other people about it. If you don’t know the names of the chords, the different scales and progressions, and the rhythmic patterns that define various forms of music, how can you tell other musicians what you want? Learning about music is almost as important as learning language if you really want to collaborate with other people. Without it, it is very difficult to express yourself and ask people for what you want. Why make life difficult?
Think back to the time when your interest in playing guitar was born. Remember the time when you got your first guitar and actually started playing it. For most of us, even when we were totally beginners, clueless about how to play anything, it somehow didn’t matter because we were just so excited about beginning our musical/guitar journey. I can remember the exact day I bought my first guitar (January 31, 1986). I was extremely excited about owning a guitar and banging around on it making all kinds of terrible noises at first.
That feeling most of us felt at the beginning of our guitar days is what I call “Fire” or “Inner Fire”. It is something like the first weeks and months of a new romantic relationship – very new and exciting and the desire to maintain that passion feeling is strong. But over time (weeks, months or years), that passion to play music weakens. Of course you still have at least some interest in playing and becoming a better musician, otherwise you wouldn’t be reading this.
What I hope to do here is help you to get back your fire (or if you still have it, I want to help you to never lose it). The most important thing you must do is recognize what the factors were that caused you to feel less motivated and excited about playing music. Over time, some players begin to feel inadequate in their ability to reach their goals. A more common factor for some is not really having clearly defined goals or a good strategy to reach them. Its important to remember long term goals are LONG term. As long as you work to move forward, you are progressing. If progress is slow, understand this is normal. Of course there are things you can do to dramatically speed this process up such as practice more, practice more efficiently and work with a really good teacher that can show you how to do improve faster.) Other people become too focused on getting better and lose sight of why they started playing (to play and/or create music they love!). Keep reminding yourself of why you wanted to be a musician in the first place. Besides simply thinking about your early playing experiences, go back to your roots and listen to the same CDs (or cassettes or LPs (if you are old enough to have any of those). Listening to my earliest influences always reminds me of my early music days and I just can’t help to feel that eager beginner feeling again.
I’ve mentioned some of these next few points before in a previous article, but it’s worth mentioning again here.
Find out what truly inspires you to want to play music, write music, jam with your friends, etc. Whatever it is for you, go there and marinate in that inspiration. Get your mind in that place and focus on it. Many classical composers (and other serious artists) go to artist colonies for weeks or months at a time. For them being in a beautiful environment with serious artists of all kinds is extremely inspiring and a great place to write music, practice, reflect among other things. Personally, I like to travel to Europe in the summer and do most of my serious composing there. There is a house I stay in overlooking a valley with large trees and beautiful sunsets. It is very inspiring and I always do my best creating there. Your inspiration may be musical (listening to some great players, bands or songs. It may be going to concerts. It may be a set of things that are totally nonmusical (like a special location or being around special people, etc.). You must find whatever it is and go there, you might be surprised at how fast you feel that burning desire to really play more, write more, to be more.
NEVER EVER compare yourself to other musicians! If you sit around and think about how much better of a player you are compared to your friends, this will probably only lead you to contentment and will steal away your drive and fire to improve. If you think about how much your friend (or any other musician) is better musically compared to you, this often leads to feelings of dissolution about your progress and your goals, which also can lead to a lack of motivation and fire.
When you began playing guitar, how good would you have to be in order to be happy with your playing? And where are you now? When I was starting out, I thought if I could play Iron Maiden or Metallica songs, I would be happy for rest of my musical life! Of course the time came when I could play all those songs, but I didn’t feel as happy as I thought I would when I first made my goal. That is because, before I even reached that goal, I had already set new goals. These new goals were good for my progress, but I made the mistake of never really appreciating and enjoying the success of reaching my earlier goals. I robbed myself of the pleasure of feeling happy about my hard work paying off. Of course by now I have learned that lesson and do thoroughly enjoy each new goal that is reached. It is my hope you will learn that lesson now and not after several more years of playing guitar.
