Stuck!!!!!
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Henri Devill
New member
I watch a movie to get ideas.But I've been thru those dry spells, its hard to write your way out of them...so I just try to put myself in different "heads"so to speak.Try writing in the 3rd person narrative,or use things like...Got your Letter...metophores like lets see.........a car as a woman...Queen did a song like that called I'm In Love With MY Car.
Good Luck
Don
Good Luck
Don
Last edited:
Cyrokk
Farce of Nature
if your instrument is guitar you could try some alternate tunings.. Drop D is the tuning of choice these days, but there are other conventions. For example, Kim Thayil of Soundgarden, pretty much the king of alt tunings, did an entire song with all the strings at the same pitch.. You can bang out some pretty interesting riffs by playing guitar as you normally would but with a weird tuning..
Are you familiar with the circle of fifths? Essentially, you take a piece of paper, draw a circle, stick the letter "C" at the 12:00 position of the circle and place the corresponding fifth at every hour of the clock, for example "G" at 1:00, "D" at 2:00 etc. The sequence will look like: C,G,D,A,E,B,F#,C#,G#,Eb (D#),Bb,F..
Looking at the circle, try different chords as to their relation on the "clock". Try, say, 12:00 to 6:00 to 3:00, which would give you a I,#IV,VI progression.. maybe a little dissonant for your taste, but you get the idea..
Another thing you might want to try is playing accents within a time signature to give the impression that there are multiple time signatures playing consecutively.. For example, take a 4/4 time signature and count it in eighth notes, giving you 8/8.. playing a groove in 6/8 over an 8/8 time signature will leave you with two extra beats.. (which would come out as 1-2-3-4-5-6 1-2 1-2-3-4-5-6 1-2)
I'm currently writing a song in 7/4, which is the same as 14/8.. The main riff of the song starts with a 9/8 groove with 5 beats left over, yielding a really cool 9/8 + 5/8 feel that in reality is just a 7/4 time signature!
Hope this helps,
Cy
Are you familiar with the circle of fifths? Essentially, you take a piece of paper, draw a circle, stick the letter "C" at the 12:00 position of the circle and place the corresponding fifth at every hour of the clock, for example "G" at 1:00, "D" at 2:00 etc. The sequence will look like: C,G,D,A,E,B,F#,C#,G#,Eb (D#),Bb,F..
Looking at the circle, try different chords as to their relation on the "clock". Try, say, 12:00 to 6:00 to 3:00, which would give you a I,#IV,VI progression.. maybe a little dissonant for your taste, but you get the idea..
Another thing you might want to try is playing accents within a time signature to give the impression that there are multiple time signatures playing consecutively.. For example, take a 4/4 time signature and count it in eighth notes, giving you 8/8.. playing a groove in 6/8 over an 8/8 time signature will leave you with two extra beats.. (which would come out as 1-2-3-4-5-6 1-2 1-2-3-4-5-6 1-2)
I'm currently writing a song in 7/4, which is the same as 14/8.. The main riff of the song starts with a 9/8 groove with 5 beats left over, yielding a really cool 9/8 + 5/8 feel that in reality is just a 7/4 time signature!
Hope this helps,
Cy
Clear your mind.
I never sit down to write a song. I grab my electric, plug it in, get a sweet sweet tone and play. If I want to write a song, I can't (or the result will be shit). I usually have my 4 track on stand-by if I happen to hit on a sound/riff/idea. The if I like it I develope it on my D16, work it into the basisi, foundation of a song.
If I have some lyrics first, I'll pick up my acoustic usually. Look for interesting chord voicings, alt. tunings etc; but all the time I am not under any pressure to write, because then I can't.
It is probably an idea to develop exercises. By getting away from the guitar you are inspiring yourself more-so than when your sat with it. Your seeing things, hearing things, re-freshing your memory for when you do indeed sit back down with it.
It can be the hardest thing to walk away from the guitar for a while if your under pressure to write or all you can think about is playing it (sad world isnt it?).
On to some exercises. One thing to do is to learn more songs. Though you may be straying away from writing your own stuff you are learning more about other songs. Dissect a solo, figure out different chord voicings for playing a song, stick a capo on anywhere on the guitar etc. A very good idea is alt. tunings. Go into open D, G and put your fingers anywhere on the fretboard, oblivious to what you are actaully playing-if it sounds good it is good.
Something that can also work is to get a book or poem or think of a simple story. Play with that in mind.over it as you read. Even better, garb the newspaper, open it anywhere and do the same with any story you read. It may sound stupid but it really makes you think. You change tempo, see that minor chords work better over sad stuff (obvious but still, those bright major chords don't sound right) etc.
So what I'm saying is really don't think about it; easier said than done. You really have to inspired by inspiration; and if you can work that out-well done. Write a song about it. Write a song about wasting your time reading this thread (but speek metaphorically (sp) about it), write about...............oh no writers block.
I never sit down to write a song. I grab my electric, plug it in, get a sweet sweet tone and play. If I want to write a song, I can't (or the result will be shit). I usually have my 4 track on stand-by if I happen to hit on a sound/riff/idea. The if I like it I develope it on my D16, work it into the basisi, foundation of a song.
If I have some lyrics first, I'll pick up my acoustic usually. Look for interesting chord voicings, alt. tunings etc; but all the time I am not under any pressure to write, because then I can't.
It is probably an idea to develop exercises. By getting away from the guitar you are inspiring yourself more-so than when your sat with it. Your seeing things, hearing things, re-freshing your memory for when you do indeed sit back down with it.
It can be the hardest thing to walk away from the guitar for a while if your under pressure to write or all you can think about is playing it (sad world isnt it?).
On to some exercises. One thing to do is to learn more songs. Though you may be straying away from writing your own stuff you are learning more about other songs. Dissect a solo, figure out different chord voicings for playing a song, stick a capo on anywhere on the guitar etc. A very good idea is alt. tunings. Go into open D, G and put your fingers anywhere on the fretboard, oblivious to what you are actaully playing-if it sounds good it is good.
Something that can also work is to get a book or poem or think of a simple story. Play with that in mind.over it as you read. Even better, garb the newspaper, open it anywhere and do the same with any story you read. It may sound stupid but it really makes you think. You change tempo, see that minor chords work better over sad stuff (obvious but still, those bright major chords don't sound right) etc.
So what I'm saying is really don't think about it; easier said than done. You really have to inspired by inspiration; and if you can work that out-well done. Write a song about it. Write a song about wasting your time reading this thread (but speek metaphorically (sp) about it), write about...............oh no writers block.
mark_guinn
New member
I find I get some really good ideas as I'm going to sleep and especially when I'm driving. I think it must be because the logical part of the brain is either shutting down or occupied, giving the creative part free reign. Put a notebook by your bed or in the car, though, because as frustrating as it is to have no ideas, it can be worse (maybe) to have a great one and forget it.
Thank you guys. You all have great ideas! But not to long after I posted that thread I came up with a melody. I think by just giving up and voicing my frustration to people I know who understand helped to break my block. It's just since I learned music theory I have a hard time feeling satisfied with my songs unless I write the guitar or piano progressions to the melody. It's frustrating knowing that when your in any key and you get to the 5 or 7 chord the only thing that sounds nice is going back to 1. And I write pop music (Fastball, Weezer, Superchunk, type stuff) so 4/4 and 3/4 are about as creative as I get. As far as alternate tuning goes for me it would just make voice leading harder since I wouldn't be familer with the notes that way. I do agree with the not thinking philosophy. That's how I come up with melodies. Cuz for me it's got to start with the melody then if it makes me feel that certain way I write the chord progression.
Thank you all for your info.
Adam
Thank you all for your info.
Adam
Treeline
New member
Sometimes its good to try something really absurd. First, it tends to be funny. That lightens you up and breaks the anxiety loop, and so forth. The other thing that might help is to experiment with music that is completely different from what you're used to. Go see a solo violin concert. Do other stuff that's out of character; make some lemonade from scratch. Stuff like that. It breaks up the linearity of your thinking, and gets you out of the rut.
I was fooling around, thinking about blues riffs and got onto that stuff about who can and who cannot sing the blues. For instance, it's been said that you can't sing the blues if you drive a Volvo. You're just not entitled to do it, and so forth. So I got thinking about what someone like Steve Martin might do with that, and came up with the lyrics to Valley Blues:
I went out for a drive
In my two tone 733i.
Well, I went out for a drive, yes I did
In my two tone 733i.
My wife, she said "Oh, Darlin' at this speed
You just can't see the countryside."
Well, we motored through Miami
The sun, it was really hot.
That's right- we motored through Miami
The sun shine down oh so hot.
When we lost that two tone Bimmer, yes we did
In the Neiman - Marcus parking lot.
We hit that keychain finder
For to make our car commence to sing.
Yes, we hit that keychain finder
For to make that car commence to sing.
We looked all around; just couldn't hear a thing.
Well, I could see the lights were flashing,
But the horn, it would not blow.
Yeah, the lights, they were a-flashin'
But the horn, it would not blow.
Damn, it's a warranty job -
Gonna get it done before the show.
Red light a showin' - there's a sweet thing
In an LT 454. That's right.
The red light, it is shinin'
On that sweetheart in the Corvette LT 454.
Well, she smoked me at the green light;
And I ain't gonna do that any more.
Nothing like a frivolous exercise to get the juices going again...
I was fooling around, thinking about blues riffs and got onto that stuff about who can and who cannot sing the blues. For instance, it's been said that you can't sing the blues if you drive a Volvo. You're just not entitled to do it, and so forth. So I got thinking about what someone like Steve Martin might do with that, and came up with the lyrics to Valley Blues:
I went out for a drive
In my two tone 733i.
Well, I went out for a drive, yes I did
In my two tone 733i.
My wife, she said "Oh, Darlin' at this speed
You just can't see the countryside."
Well, we motored through Miami
The sun, it was really hot.
That's right- we motored through Miami
The sun shine down oh so hot.
When we lost that two tone Bimmer, yes we did
In the Neiman - Marcus parking lot.
We hit that keychain finder
For to make our car commence to sing.
Yes, we hit that keychain finder
For to make that car commence to sing.
We looked all around; just couldn't hear a thing.
Well, I could see the lights were flashing,
But the horn, it would not blow.
Yeah, the lights, they were a-flashin'
But the horn, it would not blow.
Damn, it's a warranty job -
Gonna get it done before the show.
Red light a showin' - there's a sweet thing
In an LT 454. That's right.
The red light, it is shinin'
On that sweetheart in the Corvette LT 454.
Well, she smoked me at the green light;
And I ain't gonna do that any more.
Nothing like a frivolous exercise to get the juices going again...
Aaron Cheney
Favorite Chord: C 6/9
Mark Guinn was right. I carry a notebook with me EVERYWHERE. When I hear a cool turn of phrase or a neat metaphor, I write it down. RIGHT THEN!! I have learned my lesson in not writing it down. My latest one? "His face has more wrinkles than a trombone players sleeve." Love it.
Hear's a good quote:
"The shortest pencil remembers longer than the longest memory."
Was it Andy Worhall that said "Artists borrow, but great artists steal"? He was on to something. Look for ideas in everything you consume: books, TV, art, sports, groceries, cars, tiddlywinks. You never know where or when you'll find an inspiration. Last month my family took a road-trip, and to keep my kids occupied I brought a book-on-tape of The Oddessy. Half way through the story there was one sentence that suddenly hit me. I frantically started screaming at my wife to find my notebook and write it down. That seed has grown into a great song, which will be the title song on my upcoming CD, "Bad Luck, Good Story".
Observe. Look at things from the opposite point of view. Look at something from the height of a child. Stand on your desk. Take time to do nothing but stare at the ceiling, or sky, or stars. Spend half and hour watching a wrecking crane. Develop a child-like fascination with simple things.
And most of all, remember that quality only exists in the midst of quantity. If you want to write great songs, get used to writing crappy ones. They're the doorway to the good ones.
Aaron
http://www.aaroncheney.com
Hear's a good quote:
"The shortest pencil remembers longer than the longest memory."
Was it Andy Worhall that said "Artists borrow, but great artists steal"? He was on to something. Look for ideas in everything you consume: books, TV, art, sports, groceries, cars, tiddlywinks. You never know where or when you'll find an inspiration. Last month my family took a road-trip, and to keep my kids occupied I brought a book-on-tape of The Oddessy. Half way through the story there was one sentence that suddenly hit me. I frantically started screaming at my wife to find my notebook and write it down. That seed has grown into a great song, which will be the title song on my upcoming CD, "Bad Luck, Good Story".
Observe. Look at things from the opposite point of view. Look at something from the height of a child. Stand on your desk. Take time to do nothing but stare at the ceiling, or sky, or stars. Spend half and hour watching a wrecking crane. Develop a child-like fascination with simple things.
And most of all, remember that quality only exists in the midst of quantity. If you want to write great songs, get used to writing crappy ones. They're the doorway to the good ones.
Aaron
http://www.aaroncheney.com
I find that a dictaphone works better than a notebook; especially at night when I usually feel inspired. As for mornings; I don't think I've ever written a song before the middle of the afternoon. For that reason I work more on theory or mixing my songs.
Right on Aaron:
"And most of all, remember that quality only exists in the midst of quantity. If you want to write great songs, get used to writing crappy ones. They're the doorway to the good ones."
I think it was Neil Young who said, you can't write a descent song until you've written at least 100 bad ones (or something to that accord); or was it a thousand, LOL.
Gotta go, just got meself some inspiration. Good stuff this alcohol aint it?
Right on Aaron:
"And most of all, remember that quality only exists in the midst of quantity. If you want to write great songs, get used to writing crappy ones. They're the doorway to the good ones."
I think it was Neil Young who said, you can't write a descent song until you've written at least 100 bad ones (or something to that accord); or was it a thousand, LOL.
Gotta go, just got meself some inspiration. Good stuff this alcohol aint it?
Another way to come up with fresh musical ideas, is to write with a new instrument. I usually write with guitar, but have been pleasantly surprised when I start somewhere else... drum loop, bass line, violin riff, piano chords.
It evens helps if you AREN'T proficient on the instrument, because then you aren't locked into the conventions of the instrument... some of us guitar players have a hard time not playing pentatonic scales, or certain power chords when we pick up our guitars. So the alternate guitar tuning advice is good advice, because it adds that accidental discovery element into your writing.
Also, if you're a guitar player, try writing with a different guitar. For some reason, different guitars get me to think in different ways. John Frusciante of the Red Hot Chili Peppers says the same thing. If you normally play a Gibson, then pick up a Rickenbacker, and you'll get different musical ideas that are driven by the feel and the tone of the instrument.... then they kick you out of the guitar store.
Pete
It evens helps if you AREN'T proficient on the instrument, because then you aren't locked into the conventions of the instrument... some of us guitar players have a hard time not playing pentatonic scales, or certain power chords when we pick up our guitars. So the alternate guitar tuning advice is good advice, because it adds that accidental discovery element into your writing.
Also, if you're a guitar player, try writing with a different guitar. For some reason, different guitars get me to think in different ways. John Frusciante of the Red Hot Chili Peppers says the same thing. If you normally play a Gibson, then pick up a Rickenbacker, and you'll get different musical ideas that are driven by the feel and the tone of the instrument.... then they kick you out of the guitar store.
Pete
Cyrokk said:
John Lennon used something like this in I am the Walrus (what I'd call I-bIV-V: F-B-C, except of course that we're in the key of A).
Lennon's progressions are frequently very cool, as is his use of 3-bar phrasing (which McCartney also did, to a lesser extent).
As for getting unstuck, sometimes the only thing for it is time. I read a lot which is where some of my song ideas come from, sometimes I just come up with a phrase (like "salvation at a discount") which sticks with me until I write a song around it (in the case of that song, it ended up coming together with a nice bit of synchronicity where I heard a priest talking about Dietrich Bonhoeffer's concept of "Cheap Grace" which provided the key to the rest of the song.
I would also say that I really like to work out melodies away from any instruments. If you're not careful, if you write while strumming on an acoustic guitar, you end up singing chord tones the whole time.
-dh
when I lack ideas I listen to some loops on my little drumcomputer which really helps usually´(especially when I want to write rock songs)
writing a capella is also quite useful, as the melodies get fresher compared to those following always the same chord progressions on the guitar.
I prefer starting with a good, original title and try building the tunes around it.
what I never use is a tape recorder, because I usually remember all the good stuff and just forget the boring tunes.
good luck and keep the tunes flowing,
smirky
writing a capella is also quite useful, as the melodies get fresher compared to those following always the same chord progressions on the guitar.
I prefer starting with a good, original title and try building the tunes around it.
what I never use is a tape recorder, because I usually remember all the good stuff and just forget the boring tunes.
good luck and keep the tunes flowing,
smirky
STUCK/UNSTUCK
Sometimes messing around with combinations of diatonic cords will free up the brain. The various combinations seem to have different emotional effects Experimenting with them may lead you to discover which combination will best serve the lyric, and may reveal a different path for the lyric to take. Be prepared for some re-writing though. Someone once told me that the art of writing lies in the re-writing. Dont be afraid to take an idea in a new or different direction from what you had originally had in mind.
Write-on...
Sometimes messing around with combinations of diatonic cords will free up the brain. The various combinations seem to have different emotional effects Experimenting with them may lead you to discover which combination will best serve the lyric, and may reveal a different path for the lyric to take. Be prepared for some re-writing though. Someone once told me that the art of writing lies in the re-writing. Dont be afraid to take an idea in a new or different direction from what you had originally had in mind.
Write-on...
Senor Cactus
New member
Recently I was in kind of a lyrical rut so I was trying some collaboration projects with a friend of mine who writes his own lyrics. I found that reading through his songs actually helped me find inspiration for my own.
Sometimes we get trapped in our own heads trying to explore what's in there instead of letting new things in. Opening yourself to another person's perspective can help out a lot.
Sometimes we get trapped in our own heads trying to explore what's in there instead of letting new things in. Opening yourself to another person's perspective can help out a lot.
Collaborate, or ask someone you know on the internet to write you some lyrics. Or grab a poem and see what you can do with it. Iron Maiden made a 13minute epic from "Rhyme of the Ancient Mariner".
I know what you mean though - I hate 99% of what I write. That's proibably why I stopped writing for about a year. I'm picking it up again, after a year of writing small snippets of poetry to get my creative juices flowing again.
I know what you mean though - I hate 99% of what I write. That's proibably why I stopped writing for about a year. I'm picking it up again, after a year of writing small snippets of poetry to get my creative juices flowing again.
Roel
That SMART guy.
major240 said:
Very true indeed... I recently found out that theory is just one of the resources in learning music. While studying music theory, you'll learn to understand the progressions, know what they sound like, ... Up to the point where you don't need the theory anymore. The more theory you study, the more you can do without the theory. If you're on a point where the theory feels like a limitation, it means that you're working beyond what you know. (You can compose without theory, but then you really need to forget it. Very hard if you got some basics...)
So, study some more theory, and it'll bring you to the point where you don't need the theory to do what you're doing now. Could take years...
At least you're busy... 
Schoenbergs 'fundamentals of musical composition' has a nice part on melody. Learn how a period is build, starting from arpeggio's, additional notes, ... Play with that. Just write down a lick based on a simple arpeggio, and write alot variations of it. Vary rythm, intervals, add notes, ... Starting from a basic motive, writing entire melodies...